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Ad-supported video-on-demand, cookieless identity resolution, give CTV advertisers more options

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DistroTV announces Spanish-language ad-supported free streaming bundle

As the connected-TV (CTV) space matures, advertisers are finding more campaign opportunities in ad-supported video-on-demand (AVOD). This week, Yahoo expanded its partnership with Glewed TV, a significant player in AVOD with over 20,000 hours of premium content and display inventory in food, sports, movies, documentaries and other categories.

Glewed TV is now a preferred partner in Yahoo’s supply-side platform. It has also adopted Yahoo’s cookieless identity solution, Yahoo ConnectID, providing identity resolution for display ads.


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Why we care. Ad-supported streaming TV is a much different experience for viewers than Netflix and other ad-less streamers. This makes AVOD a question mark for advertisers without the identity resolution and performance metrics that enable this emerging channel to prove its worth within an omnichannel campaign.

Growing viewership. Viewers are flocking to AVOD, an eMarketer study shows. That’s a promising sign. Over half of video watchers are tapping into AVOD, which means that ad dollars aren’t being wasted.

These numbers are projected to climb even further to over 61% of all U.S. video viewers by 2025, or 165.4 million people. The costs of linear cable, and mounting subscription pricing for streaming services, is expected to attract viewers to free ad-supported alternatives.

“Growth in AVOD ad spend is outpacing other channels and is projected to be worth $47 billion of the global CTV market by 2023,” said Iván Markman, Yahoo Chief Business Officer. “That’s double its 2018 value.”

Advanced targeting. In addition to identity resolution methods like Yahoo’s ConnectID, advertisers will also be able to take advantage of advances in automatic content recognition (ACR).

“This will be the year the market fully realizes the value of ACR data – paired with the surge in ad-enabled CTV inventory and content consumption,” said Markman. “Its first-party data is highly beneficial to addressable advertising, incremental reach, and the ability to target streaming viewers outside of a linear campaign. In 2022, more advertisers will proactively seek out planning and buying solutions that include this coveted data.”


Ad supported video on demand cookieless identity resolution give CTV advertisers more options

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CTV measurement. AVOD isn’t coming out of nowhere. As part of the CTV ecosphere, it benefits from the measurement and analytics advertisers gain by running campaigns through an omnichannel SSP.

“CTV platforms offer advertisers digital-quality targeting, attribution and analytics at scale, while traditional TV provides reach and scale,” said Markman. “Plus, AVOD is a new way to reach TV viewers who don’t subscribe to cable and/or are fans of streaming CTV content.”

He added that for advertisers, AVOD complements traditional TV ad spending.

AVOD and omnichannel campaigns. “The access to Glewed TV’s inventory is in line with our overall approach for our DSP,” Markman explained.

The aim is to provide “multiple dimensions” with AVOD and other ad formats, such as mobile, video, brand integrations, digital-out-of-home (DOOH), audio, and immersive XR (extended reality, including AR and VR).

Read next: IAB Tech Lab updates ad formats for CTV and digital video

“This is critical for modern marketers who increasingly want to buy all of their media programmatically, through the same, unified platform,” Markman said. “In fact, we are seeing consolidation in the category in an effort to deliver on that demand to advertisers.”

AVOD audiences. Yahoo is seeing increased interest from advertisers in media and entertainment, retail and e-commerce, pharmaceuticals, automotive and consumer packaged goods.

“These categories are capitalizing on CTV’s growing viewership, as well as its ability to provide deeper personalization, direct consumer relationships and more agile creative,” said Markman. “And while cord-cutters trend younger, AVOD has reached mainstream and is a mainstay across nearly every viewer demographic.”


About The Author

datafuelX launches predictive analytics solutions to improve linear TV and
Chris Wood draws on over 15 years of reporting experience as a B2B editor and journalist. At DMN, he served as associate editor, offering original analysis on the evolving marketing tech landscape. He has interviewed leaders in tech and policy, from Canva CEO Melanie Perkins, to former Cisco CEO John Chambers, and Vivek Kundra, appointed by Barack Obama as the country’s first federal CIO. He is especially interested in how new technologies, including voice and blockchain, are disrupting the marketing world as we know it. In 2019, he moderated a panel on “innovation theater” at Fintech Inn, in Vilnius. In addition to his marketing-focused reporting in industry trades like Robotics Trends, Modern Brewery Age and AdNation News, Wood has also written for KIRKUS, and contributes fiction, criticism and poetry to several leading book blogs. He studied English at Fairfield University, and was born in Springfield, Massachusetts. He lives in New York.


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Why Even Crushing Content Failures Aren’t Mistakes

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Why Even Crushing Content Failures Aren’t Mistakes

Did you follow the Apple iPad Pro content debacle?

Here’s a quick recap. A recent online ad for the new iPad Pro showed a large hydraulic press slowly crushing various symbols of creativity. A metronome, a piano, a record player, a video game, paints, books, and other creative tools splinter and smash as the Sonny and Cher song All I Ever Need Is You plays.

The ad’s title? “Crush!”

The point of the commercial — I think — is to show that Apple managed to smush (that’s the technical term) all this heretofore analog creativity into its new, very thin iPad Pro.  

To say the ad received bad reviews is underselling the response. Judgment was swift and unrelenting. The creative world freaked out.

On X, actor Hugh Grant shared Tim Cook’s post featuring the ad and added this comment: “The destruction of the human experience. Courtesy of Silicon Valley.”

When fellow actor Justine Bateman shared the Tim Cook post, she simply wrote, “Truly, what is wrong with you?” Other critiques ranged from tone-challenged to wasteful to many worse things.

Actor Justine Bateman shared Tim Cook’s post on X, which featured the ad, and added this comment: "Truly, what is wrong with you?".

A couple of days later, Apple apologized and canceled plans to air the ad on television.

How not-so-great content ideas come to life

The level of anger surprises me. Look, the ad does show the eyeballs on an emoji-faced squishy ball popping under the plates’ pressure, but still. Calling the ad “actually psychotic” might be a skosh over the top.

Yes, the ad missed the mark. And the company’s subsequent decision to apologize makes sense.

But anyone who’s participated in creating a content misfire knows this truth: Mistakes look much more obvious in hindsight.

On paper, I bet this concept sounded great. The brainstorming meeting probably started with something like this: “We want to show how the iPad Pro metaphorically contains this huge mass of creative tools in a thin and cool package.”

Maybe someone suggested representing that exact thing with CGI (maybe a colorful tornado rising from the screen). Then someone else suggested showing the actual physical objects getting condensed would be more powerful.

Here’s my imagined version of the conversation that might have happened after someone pointed out the popular internet meme of things getting crushed in a hydraulic press.

“People love that!”

“If we add buckets of paint, it will be super colorful and cool.”

“It’ll be a cooler version of that LG ad that ran in 2008.”

“Exactly!”

“It’ll be just like that ad where a bus driver kidnaps and subsequently crushes all the cute little Pokémon characters in a bus!” (Believe it or not, that was actually a thing.)

The resulting commercial suffers from the perfect creative storm: A not-great (copycat) idea at the absolutely wrong time.

None of us know what constraints Apple’s creative team worked under. How much time did they have to come up with a concept? Did they have time to test it with audiences? Maybe crushing physical objects fit into the budget better than CGI. All these factors affect the creative process and options (even at a giant company like Apple).

That’s not an excuse — it’s just reality.

Content failure or content mistake?

Many ad campaigns provoke a “What the hell were they thinking?” response (think Pepsi’s Kendall Jenner ad or those cringy brand tributes that follow celebrity deaths).

Does that mean they’re failures? Or are they mistakes? And what’s the difference?

As I wrote after Peloton’s holiday ad debacle (remember that?), people learn to fear mistakes early on. Most of us hear cautionary messages almost from day one.

Some are necessary and helpful (“Don’t stick a knife in a live toaster” or “Look both ways before you cross the street.”) Some aren’t (“Make that essay perfect” or “Don’t miss that goal.”)

As a result, many people grow up afraid to take risks — and that hampers creativity. The problem arises from conflating failure and mistakes. It helps to know the difference.

I moved to Los Angeles in 1987 to become a rock ‘n’ roll musician. I failed. But it wasn’t a mistake. I wasn’t wrong to try. My attempt just didn’t work.

Labeling a failed attempt a “mistake” feeds the fears that keep people from attempting anything creative.

The conflation of failure and mistakes happens all too often in creative marketing. Sure, people create content pieces (and let’s not forget that there are always people behind those ideas) that genuinely count as mistakes.

They also create content that simply fails.

Don’t let extreme reactions make you fear failures

Here’s the thing about failed content. You can do all the work to research your audience and take the time to develop and polish your ideas — and the content still might fail. The story, the platform, or the format might not resonate, or the audience simply might not care for it. That doesn’t mean it’s a mistake.

Was the Apple ad a mistake? Maybe, but I don’t think so.

Was it a failure? The vitriolic response indicates yes.

Still, the commercial generated an impressive amount of awareness (53 million views of the Tim Cook post on X, per Variety.) And, despite the apology, the company hasn’t taken the ad down from its YouTube page where it’s earned more than 1 million views.

The fictional Captain Jean Luc Picard once said, “It is possible to commit no mistakes and still lose. That is not weakness. That is life.” The Apple ad turns that statement on its head — Apple made many mistakes and still won a tremendous amount of attention.

I’m not suggesting that people shouldn’t criticize creative work. Constructive critiques help us learn from our own and others’ failures. You can even have a good laugh about content fails.

Just acknowledge, as the Roman philosopher Cicero once wrote, “Not every mistake is a foolish one.” 

Creative teams take risks. They try things outside their comfort zone. Sometimes they fail (sometimes spectacularly).

But don’t let others’ expressions of anger over failures inhibit your willingness to try creative things.

Wouldn’t you love to get the whole world talking about the content you create? To get there, you have to risk that level of failure.

And taking that risk isn’t a mistake.

It’s your story. Tell it well.

Subscribe to workday or weekly CMI emails to get Rose-Colored Glasses in your inbox each week. 

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Cover image by Joseph Kalinowski/Content Marketing Institute 



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The Future of Content Success Is Social

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The Future of Content Success Is Social

Here’s a challenge: search “SEO RFP” on Google. Click on the results, and tell me how similar they are.

We did the same thing every other SEO does: We asked, “What words are thematically relevant?” Which themes have my competitors missed?” How can I put them in?” AND “How can I do everything just slightly better than they can?”

Then they do the same, and it becomes a cycle of beating mediocre content with slightly less mediocre content.

When I looked at our high-ranking content, I felt uncomfortable. Yes, it ranked, but it wasn’t overly helpful compared to everything else that ranked.

Ranking isn’t the job to be done; it is just a proxy.

Why would a high-ranking keyword make me feel uncomfortable? Isn’t that the whole freaking job to be done? Not for me. The job to be done is to help educate people, and ranking is a byproduct of doing that well.

I looked at our own content, and I put myself in the seat of a searcher, not an SEO; I looked at the top four rankings and decided that our content felt easy, almost ChatGPT-ish. It was predictable, it was repeatable, and it lacked hot takes and spicy punches.

So, I removed 80% of the content and replaced it with the 38 questions I would ask if I was hiring an SEO. I’m a 25-year SME, and I know what I would be looking for in these turbulent times. I wanted to write the questions that didn’t exist on anything ranking in the top ten. This was a risk, why? Because, semantically, I was going against what Google was likely expecting to see on this topic. This is when Mike King told me about information gain. Google will give you a boost in ranking signals if you bring it new info. Maybe breaking out of the sea of sameness + some social signals could be a key factor in improving rankings on top of doing the traditional SEO work.

What’s worth more?

Ten visits to my SEO RFP post from people to my content via a private procurement WhatsApp group or LinkedIn group?

One hundred people to the same content from search?

I had to make a call, and I was willing to lose rankings (that were getting low traffic but highly valued traffic) to write something that when people read it, they thought enough about it to share it in emails, groups, etc.

SME as the unlock to standout content?

I literally just asked myself, “Wil, what would you ask yourself if you were hiring an SEO company? Then I riffed for 6—8 hours and had tons of chats with ChatGPT. I was asking ChatGPT to get me thinking differently. Things like, “what would create the most value?” I never constrained myself to “what is the search volume,” I started with the riffs.

If I was going to lose my rankings, I had to socially promote it so people knew it existed. That was an unlock, too, if you go this route. It’s work, you are now going to rely on spikes from social, so having a reason to update it and put it back in social is very important.

Most of my “followers” aren’t looking for SEO services as they are digital marketers themselves. So I didn’t expect this post to take off HUGLEY, but given the content, I was shocked at how well it did and how much engagement it got from real actual people.

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7 Things Creators Should Know About Marketing Their Book

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7 Things Creators Should Know About Marketing Their Book

Writing a book is a gargantuan task, and reaching the finish line is a feat equal to summiting a mountain.

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