Dear Distinguished Subscribers,
Welcome to the 70th Edition of Stuffed.
With the days being darker and colder, lonely brown firs sit outside houses, and the cheer of Christmas is dissipating all too quickly “Blue Monday” is thought to be the most depressing day of the year. A predicted 25% of consumers will look to retailers and rely on online shopping to cheer themselves up. In addition to your spending spree, we’ve got a jam packed edition of Stuffed to help you bust the January blues.
In this week’s Stuffed, we look at the split response to Apple’s latest advertising, how Olay are using their platform to focus on closing the gender gap and finally what the future holds for CTV in 2022.
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Happy reading and stay safe everyone.
From your friends at Goodstuff.
STUFFED WITH CULTURE
We all know that the most effective advertising should provoke a strong emotional response, although the latest Apple Watch advert has split opinion, with critics arguing that the brand has gone too far in trying to capture attention. Used to promote the watch’s ability to make emergency service calls, the ad shocks with audio of calls made from the device, inspired by real-life stories of rescue. Regardless of your view on Apple’s tactics, you can’t deny that the ad holds a striking power in its simplicity of delivering the core message, a strategy that could lead the way to greater use of emotional realism in comms, described by Faris Yakob as ‘an untapped opportunity’ as he explores the approach in his latest WARC blog.
Following on from last week’s edition where we examined the rise of CTV, Enders Analysis have predicted that whilst we will continue to see the diversification of AV audiences, TV advertising will remain strong in 2022, with the rebound in spend and exceptional 2021 market growth forecast to continue. As well as being driven by shifting consumer behaviours, the report also suggests increased confidence in the effectiveness of television in driving return on investment in both the long and short term, a fantastic result for all!
Switching gears to SVOD, with Netflix thought to have attracted just 800,000 new UK subscribers in 2021 – it’s lowest figures for a decade – it’s been suggested that the platform is approaching peak saturation. To mitigate this, Mark Sweney’s article makes for an interesting read on the untapped opportunity of “silver streamers”, a 65+ audience that has boomed during the pandemic and could be the platform’s key to protecting future growth.
STUFFED WITH CREATIVITY
French agency Herezie produced an extension of the world’s favourite boardgame for the Observatory of Inequalities. The game is played with rules and Chance cards that apply to individual players, depending on their characteristics. Each rule aids learning about social inequalities e.g. underprivileged social classes don’t progress as quickly and women earn less when passing Go.
Congratulations to Levi’s France and agency Pavilion Noir, who’ve managed to shoehorn an NFT idea into jeans buying. Levi’s are promoting their limited edition recyclable 501s by giving away 10 pairs with an NFT allowing owners 5 years free repairs. Shoppers must scan QR codes in stores to find out if they’re winners.
As a brand of science and a brand for women, Olay India focus their purpose on closing the gender gap in Science, Technology, Engineering and Maths careers. A commendable bursary idea, backed by this campaign, will encourage and help 1.2m girls across India get an international level education in STEM subjects and help break gender stereotypes.
The BBC have rebranded Green Park Station ‘Green Planet’ to launch Sir David Attenborough’s new TV series – and, no doubt, befuddle a few tourists. This has sparked an industry debate as to whether station branding is ‘done to death,’ against an opposing view that naysayers are too concerned with novelty rather than public opinion.
STUFFED WITH COMMS
Both Disney and Discovery see opportunity for commerce to play a large part in the future of connected TV, a rapidly growing market. The market share and ad spends are increasing, and more so since the beginning of the Pandemic. For large companies, the space of commerce in connected TV is becoming more of a priority. The ability to buy has becoming increasingly simple for a number of reasons, including the use of QR codes. The big players in the market want the ease of transactions to be embedded into our homes and Connected TV environment for consumers. Although, companies such as Disney note that the challenge will be to avoid interrupting the TV content. Discovery see themselves as a perfect fit for commerce through Connected TV, especially due to their food and home content which is perfect for a shopping experience from the comfort of our sofas.
Throughout the pandemic, the publishing market proved just how adaptable it is by pivoting their business models almost overnight in order to protect their brands. Brave publishers have embraced the new world of NFTS (non-fungible tokens), ESI was the first UK publisher to make moves in the space, launching their LFW ES Magazine with an NFT as a cover.
The New York Times concealed an within NFT of one of their columns, subtly and delicately headlined ‘Buy This Column on the Blockchain!’. At auction this was bought for 350 ether6 the roughly to $560,000. This was donated to NYT-affiliated charity, the Neediest Causes Fund.
This is paving the way for publishers to move into the crypto world, with Amazon are investing in the blockchain and crypto payments, and Substack allows subscribers to pay using crypto. It’ll be interesting to see how publishers navigate this space in 2022.
Thanks for tuning in to the 70th edition of Stuffed, we’ll see you next week.