When Donald Trump becomes president later this month, some news publishers will have updated tactics and strategies in place to cover his second term, ranging from a focus on softer news stories to more social media monitoring and engagement.

One head of social at a political news publisher, who asked to speak anonymously, said they encouraged staff to use some vacation days and take time off to “mentally prepare” for a “very fast and furious 90 days” of Trump’s first few months in office.

But for some publishers, it’s still too early to make any notable changes to editorial strategy. Three editors at top news organizations — who requested anonymity for candor — told Digiday at the end of last year that they felt prepared and poised to cover Trump’s second term and didn’t think it was necessary to shift resources or coverage plans yet.

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For Philadelphia 76ers shooting guard Jared McCain, there’s more to life than basketball. 

Specifically, there’s 4.4 million followers on TikTok and 1.5 million on Instagram watching as the 20-year-old ballplayer dances, makes skits and posts sponsored content on behalf of Amazon and Yahoo.

If you’ve been paying attention, you’ll know McCain isn’t an exception. Over the last 12 months, football players and brothers Jason and Travis Kelce inked a $100 million podcasting deal with Wondery; soccer stars Cristiano Ronaldo and Jude Bellingham launched YouTube channels; and Angel Reese capped a breakthrough season in the WNBA by launching her own interview podcast.

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One subplot worth tracking as M&A ramps up this year: brand advertising — or, more accurately, its metamorphosis into a marketing-entertainment mashup.

The days of this being mere theory are over. WPP teaming up with Universal Music Group for ad-fueled entertainment, talent agencies muscling into the ad industry, and the rise of new players like Common Interest all make one thing clear: the brand dollars are no longer waiting — they’re already there and moving fast.

“For a long while, we’ve been witnessing the death of the campaign and the birth of the cultural moment. Traditional advertising is entertainment’s understudy, while brands are learning merely to be protagonists in culture stories,” James Kirkham, co-founder of brand consultancy Iconic, explained.

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Predicting what will and won’t be popular throughout the year is a fool’s errand. Whatever you think will be the big thing may not be. Something you never could’ve predicted will probably be the biggest story of the year. And yet we do it anyway.

It’s a table setter for how we’re thinking about the year, what’s to come and what we expect to happen. When we inevitably look back on the previous year’s effort, there is often some truth and something missed that helps give us a sense of what’s changed.

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Fast food and quick service restaurant brands had a rough go over the past few years as shoppers have tried to save a few bucks amidst rising grocery prices and inflation. Seemingly, parts of the brand playbook are seeing a rewrite with things like $5 deals to make consumers feel they’re getting more bang for their buck.

It’s a tale all too familiar to Domino’s, the more than 60-year-old pizza brand that has marketed its way through brand lulls to try and win back customers who have pulled back on dining out. There were the “30 minutes or less” campaigns of the 90s, Pizza Turnaround in 2010 (when the pizza chain acknowledged the recipe needed work) Paving for Pizza in 2018, where Domino’s paved roads to ensure pizzas arrived to customers in good condition, and today’s Emergency Pizza, a pizza giveaway for so-called emergencies like burned dinner.

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Omnicom continued to focus on advances and changes in search during CES this week, announcing a partnership with Amazon Ads and Omnicom’s Flywheel unit that enables access to five years of purchase data — a move Amazon is announcing today for its Amazon Marketing Cloud clean-room solution, and an expansion from the current 13 months of data.

The deal gives Omnicom Media Group and Flywheel first-to-market access in the U.S. to the expanded data, with the goal to extend it globally. Again, much of the flow of information will also run through Omnicom’s operating platform Omni, as it did with Omnicom’s announced search deal with Google yesterday.

Via a beta test, Flywheel customers are able to access five years of purchase history to see how consumers’ purchase habits and conversions have evolved or changed in that time, which allows brands to adjust their strategies accordingly.

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As it has done at most major media tentpole events the last few years, Omnicom and its media arm, Omnicom Media Group, will take advantage of the attention around the Consumer Electronics Show this week in Las Vegas to unveil a series of partnerships with major platforms.

This year’s focus for OMG going into CES revolves around search — given the research the company conducted in late 2024 that reveals just how much search is changing.

The first of four partnerships, Digiday has learned, is with Google — the granddaddy of search. OMG and Google have struck a two-pronged partnership that starts with a planning tool and ends with AI-driven agentic support for investment and creative decisions for search-driven efforts.

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If Perplexity wants to make a mark on advertising, Andrew Beck will be one to watch.

As head of business development, he’s been at the forefront of convincing advertisers (so far) to buy in — a task he took on just months before the company began selling ads around its search results.

And what a task it is: leading the AI startup’s bold attempt to challenge Google’s auction-based ad system, where marketers bid for sponsored links against search queries. Instead, Perplexity’s model lets marketers sponsor questions, generating AI-produced answers approved by the advertiser. The twist is its reliance on CPMs over CPCs, an unexpected approach for an AI-powered search engine.

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Several new ad networks joined the bevy of existing (and growing) retail media networks last year with new terminology to match: financial media networks, travel media networks and, as of just last month, the (allegedly) first real estate media network (Re/Max). Ah, 2024, the year that nearly every brand (well, every brand that hadn’t yet done so) realized the potential of an ad network. The thinking seems to go, if everyone else has one — and they’re getting the additional revenue from ad dollars — why shouldn’t my brand have one too?

Re/Max aside, the bulk of 2024 ad network debuts took place during the first half of the year (Chase, Revolut, United Airlines, Expedia, T-Mobile, Costco). The second half was quieter for new entrants (PayPal, Grubhub, Thrive Market), but many of the existing players beefed up their capabilities. Walmart finally finishing its Vizio acquisition was likely the biggest example of this. Could it be that all of the brands that were setting up their ad networks had already done so? Have we finally reached peak ad network?

“While the pace of new ad network launches has slowed, it is unlikely that we have fully reached ‘peak ad network,’” surmised Jim Misener, president of creative consultancy 50,000feet. “Instead, the market is likely entering a phase of consolidation and specialization.”

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Every December, the industry churns out breathless predictions about what’s next in media and advertising. Spoiler alert: most of it won’t happen. 

Unified CTV measurement? Influencers with integrity? Ad tech that’s not a black hole for your budget? Dream on. 

Instead of joining the prediction parade, let’s talk about the things we know won’t materialize in 2025 — because some traditions are just too persistent to break.

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Billy (not his real name) is the kind of senior marketer who usually has a hot take for every occasion. Brand safety? He’ll unravel the industrial complex behind it. Transparency? Buckle up; he’ll spill it all.

However, when it comes to Interpublic Group’s Acxiom, Billy’s take is conspicuously missing. It’s not because he’s uninformed; he just doesn’t think IPG has offered enough answers to form an opinion worth having. 

“It [Acxiom] was always much stronger in the U.S. compared to Europe in terms of the IDs at its disposal, so there wasn’t really enough we could’ve done with them,” said Billy, who is one of IPG’s clients. “And even then, it was us pushing for it, not them [IPG].”

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Despite serving as the unofficial kickoff to the advertising and media industry’s calendar, this week’s Consumer Electronics Show in Las Vegas doesn’t necessarily set the industry’s agenda for the year. But it does help to put it in motion.

Advertisers and agencies come to Sin City with their budgets planned out for the year, and with the annual technology showcase as the backdrop, they meet with publishers, platforms and tech vendors to map out how exactly to spend that money.

“You’ve already set the groundwork back in October [when many brands set their annual marketing budgets]. This is that ‘come to Jesus’ moment of, ‘You committed to me a million dollars. What are we doing this year?’” said Mark Wagman, managing director of data and technology at MediaLink, the UTA-owned consulting firm that will host the “Marketing Reinvented” session track during CES. “It’s a little bit of like, ‘What’s on the table and what’s coming?’”

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Both a boon of opportunity but also the bane of most media folk that have to immediately snap out of holiday mode and head to Las Vegas, CES is again upon us. With each passing year, CES becomes a more important staging area for agencies and ad-tech firms to not only learn what’s just around the corner but also to showcase what they’ve assembled. 

Tech, in its various guises, is rapidly becoming a differentiator among both holding companies and independent media agencies alike. And tech is what’s helped power French agency holding company Publicis to the forefront of its holdco brethren — at least by the gauge of financial results and stock performance. 

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This year, chatter concerning mergers and acquisitions is all about whether 2025 will spark a deal frenzy across advertising and ad tech. Here’s the twist: the deal flow never really dried up in 2024.

In fact, the year kicked off with LiveRamp snapping up Habu for $200 million, and the pace of dealmaking steadily picked up — though it never quite became a flood.

Month after month of 2024 delivered notable deals, from Walmart’s February acquisition of Vizio to Outbrain’s August purchase of Teads.

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When training data is similar across major large language models, finding ways to make them more creative and more differentiated is increasingly important. That reality has more enterprise customers asking for ways to make AI more creative when generating content — and to help with the actual process of thinking creatively.

Last month, the AI startup Writer released a new LLM called Palmyra Creative that aims to help enterprise businesses squeeze more creativity out of generative AI. The goal isn’t just to help with outputs; it’s also to help companies using AI in more creative ways. Palmyra Creative follows other domain-specific LLM released from Writer such as the the healthcare-focused Palmyra Med and the finance-focused Palmyra Fin. (Writer’s customers using various models include Qualcomm, Vanguard, Salesforce, Kenvue, Uber and Dropbox.)

In terms of creative thinking, AI models overall already have evolved quite a bit over the past few years. Some experts have found LLMs to be more creative than humans in areas like divergent thinking. Last year, researchers at the University of Arkansas published a paper exploring how OpenAI’s GPT-4 model is able to generate multiple creative ideas, find varied solutions to problems, and explore various angles. However, current LLMs still are largely limited to their own knowledge via training data — rather than lived experiences or learned lessons like humans are able to tap into.

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Have you ever planned a vacation using just TikTok to search your destination(s)? That’s more common these days than it used to be, thanks to the changing habits of consumers, who spend more time on social platforms or engaging with influencers.

According to new research coming out of Omnicom Media Group — aptly called The Future of Search — search has essentially evolved from a channel to a behavior, thanks to some of the above consumer adaptations as well as advances in AI and algorithmic application of content across the social sphere. 

Joanna O’Connell, Omnicom Media Group’s chief intelligence officer for North America, spearheaded the research but assembled a variety of team members from influencer shop Creo, cultural specialists Sparks & Honey, commerce shop Flywheel as well as design and research departments. S&H even did a Boolean query to see the latest cultural chatter on the topic. 

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Omnicom’s proposed acquisition of IPG, announced last month, would make it the world’s largest agency-holding company, with $25 billion in annual ad revenue and over 100,000 employees.

The deal aims to generate $750 million in cost synergies, primarily by consolidating back-office functions and reducing redundancies by potentially cutting 30% of staff. A depressingly familiar page in the corporate playbook.

However, the initial pitch from IPG and Omnicom’s executive teams focused on other outcomes, such as AI and the combination of both entities’ big bets in data-enabled marketing. 

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It’s unsurprising that more teenagers aspire to become influencers, given how many grew up watching TikTok stars like Charli D’Amelio and Ariana Greenblatt go from social media to the big screen.

During this year’s U.S. presidential election, we saw greater interest from candidate Kamala Harris to engage Gen Z through TikTok trends like “brat” summer. Many major creators have also expanded beyond social apps to launch careers in acting, music or starting other businesses.

These are the first cohorts to grow up as digital natives, so they daydream about being creators, explained Alyssa Stevens, global director of PR, social media and influencer marketing at independent agency Connelly Partners.

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In June 2024, the mobile game developer HOMA published “Clean It,” a casual game inspired by the #CleanTok TikTok trend — and the game became a viral hit. 

The game launch, the result of a collaboration between HOMA and TikTok, is the latest example of the TikTok’s intentional bid to court game publishers onto its platform.

“Clean It” was not the first TikTok-inspired game to be published by HOMA, whose most popular titles include mobile games such as “Merge Master” and “Aquarium Land.” For years, the developer has created casual games by combining popular game genres with relevant TikTok trends. 

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Tech giants and startups alike have spent the past year building new generative AI tools for users and advertisers.

From AI images for programmatic ads to a growing number of AI-generated TV commercials, brands are starting to explore new ways of thinking about creative across various platforms. The final weeks of 2024 had big news with expanded access and improved outputs of generative models like OpenAI’s Sora, Amazon’s Nova and Google’s Veo.

Despite the technical feats, AI-generated content has gained both eager devotees and harsh critics. Depending who you ask, the category’s a powerful new form of creativity, underwhelming “AI slop,” or an IP-stealing job-killer. However, the question is, which of these viewpoints will be the one to stick.

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