Chatter about AI agents is suddenly everywhere — from Silicon Valley to the ski slopes of Davos – but just how will they impact Madison Avenue?

Just yesterday, OpenAI previewed its new “Operator” AI agent tool to help users with web-based tasks like booking travel, making restaurant reservations and buying groceries. Early brand partners across e-commerce and travel include eBay, Etsy, Uber, Instacart, Reuters, AP, Priceline, Target and StubHub.

Despite so much use of the A-word, it’s still early for AI agent adoption, meaning marketers should ask what agents are for, how they’re made, what they do, what they might do — and what they can’t do — including potential reputational risks.  

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When TikTok went down over the weekend, so did its sister app CapCut — revealing how content creators across platforms have become reliant on ByteDance’s software to edit their videos. Following CapCut’s return, creators are divided on whether to continue using the app or explore alternatives before it potentially goes away for good.

Pro wrestling YouTuber and Twitch streamer MinniePortable believes CapCut is one of the best available video editing options for content creators, paying $9.99 per month to use the premium version of the app to edit videos for YouTube and Instagram. When it went down over the weekend, she experimented with alternatives, but found that none of them worked as well for her.

“I was looking for something similar, and people on Twitter were recommending several other ones. One was Filmora, which was a good piece of editing software,” said MinniePortable, who asked to keep her real name private. “But then, when I tried to export it, it said ‘export with watermark or pay the annual $50 a year to export it.’ I’m not doing the $50 a year with no watermark, so I just stopped trying to edit, and was hoping for CapCut to come back.”

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Marketers are coming off of what they felt like was a pretty successful year last year, which is a good feeling. An even better feeling? Heading into 2025 expecting bigger revenues and bigger marketing budgets — a lot of which marketers will put toward influencer marketing.

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The cloud of TikTok’s uncertain future is still lingering.

Some marketers are forging ahead on TikTok creator campaigns after its brief shutdown this month, albeit warily, given the app’s unclear future. Others are maintaining their strategies as if a ban is still in effect and limiting their long-term campaigns as they consider the various twists and turns happening around the ByteDance-owned platform.

“We are still seeing deals come through as usual, but some brands are focusing on other platforms outside of TikTok at the moment because of the long-term uncertainty,” said Ali Grant, co-CEO of influencer agency The Digital Department. “Once TikTok was inoperable in the U.S., we received emails about moving campaigns to alternate platforms. But as we know, that was short-lived.”

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As the 41st annual Sundance Film Festival kicks off in Park City, Utah this weekend, more marketers and creators are joining the ranks of the film industry attendees. The festival, which will run from Jan. 23 to Feb. 2, has typically been a host to advertisers like Adobe, Acura and Shutterstock that set up houses on Main Street with experiential marketing and programming to appeal to attendees. 

While that’s still the case — the festival has myriad returning sponsors as well as new ones like Casamigos and Free People — more marketers are looking to the festival not only as a potential experiential marketing offering but as an event that can help shape their marketing efforts for the year. Anecdotally, marketing execs, ad agency senior leaders and talent agency execs noted that there has been more interest from marketers in attending the conference than in previous years. 

There are a few reasons. The Brand Storytelling conference, which takes place in Park City from Jan. 22 to 25, has brought more marketers to the area. It’s not just a matter of right time, right place. With more creators attending the festival, it’s a place for marketers to meet with potential creators and foster working relationships, noted execs. This interest in Sundance also comes as marketers have a renewed interest in brand marketing after years of focusing on performance over brand. One example of that: The investment in brand studios continues apace as marketers look to create the entertainment that people want rather than simply advertise around it. With that being the case, the festival likely helps marketers network with potential talent, look for funding opportunities for their brands to get in the mix with new creatives as well as seek inspiration. 

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In spite of the weekend’s momentary TikTok shutdown, sales on TikTok Shop didn’t miss a beat.

The hours-long TikTok shutdown on Jan. 18 and 19 did not have a negative impact on the platform’s sales over the weekend. In fact, TikTok Shop sales spiked in the days immediately preceding the ban, as well as on the day that the ban was lifted.

On Jan. 19, the day the outage was lifted, total sales volume on TikTok Shop amounted to $32,064,590, according to data shared by the e-commerce data platform Charm.io — an over $500,000 jump from the total sales figure of $31,429,366 on Jan. 18, and a nearly $5 million week-over-week increase from the total sales of $27,536,680 on Jan. 12. The post-outage spike in sales was on track with a general increase in TikTok Shop activity that began in the lead-up to the potential ban.

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Publishing businesses like the LADBible Group aren’t supposed to be thriving. They depend on ad dollars and platform traffic in an era where brands are skittish about news and platforms barely acknowledge publishers. 

And yet, LADBible Group, known for its youth-focused content, is defying the odds. Its revenue has tripled in five years, soaring from £30 million in 2020 to £90 million today. Advertising has been the driving force, accounting for 98% of the group’s revenue. Meanwhile, its audience surged 19% in the first nine months of 2024, surpassing half a billion people (503 million).

Digiday sat down with LADBible Group CEO Solly Solomou to uncover what’s next for the publishing group, which owns titles such as LADBible, SPORTBible, Betches Media, in the year ahead.

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President Donald Trump was sworn in for his second term earlier this month. During the inauguration ceremony, a coterie of Big Tech CEOs in prominent positions was prominently featured, and observers interpreted this as a bid to curry favor with the current occupant of the Oval Office. 

Among their number was Alphabet CEO Sundar Pichai, who, despite being the lowest profile of the assembled executives, is arguably in the deepest hot water given the host of battles it faces with the Justice Department and could do with a sympathetic ear in the executive branch of the U.S. government.

Examples include the business-critical search case, where it faces the forced sell-off of the Chrome browser, and in addition to this case, which Google lost but is in the process of appealing, is its ongoing ad tech antitrust trial, where a verdict from presiding Judge Leonie Brinkema has been anticipated for weeks. DOJ lawyers are pushing for a forced sell-off of its sell-side ad tech tools. Many expect the ruling to go against Google, prompting (yet another) appeals process, with the looming uncertainty splitting opinion on how best to position oneself for the resulting fallout.

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Havas Media Network has kicked off the new year with an acquisition aimed at deepening its sports marketing expertise and diversifying its revenue base.

The media arm of Havas struck a deal to acquire CA Sports, a specialist sponsorship agency based in Spain, and add it to its entertainment-focused Havas Play unit. It’s the first acquisition by the French holding company since it was listed on the Euronext Amsterdam stock exchange in December, following a spinoff from the Vivendi media empire.

According to Jorge Irizar, CEO of Havas Media Network Spain and global COO of Havas Media Network, it’s the first of 10 acquisitions the media group is targeting over the course of this year, and part of a multi-year process to broaden its business model.

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This week’s Media Briefing looks at how the TikTok ban impacted publishers’ onsite traffic and social referrals, as well as what companies like CNN, The Daily Mail and The Washington Post are doing with their short-form video efforts in light of the shutdown drama.

• Data shows the TikTok ban in the U.S. didn’t have much of an effect on publishers’ site traffic, and publishers say they will focus efforts on their onsite short-form video strategies going forward.
• Le Monde leaves X, AI companies to face more litigation from publishers, and more.

TikTok after-effects

TikTok’s shutdown over the weekend was short-lived, and so was its apparent impact on how people spent their time online. Publishers’ site traffic and social referral traffic did not deviate from the norm, and YouTube Shorts received a miniscule uptick in viewership, for example. 

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For those still counting, there’s another retail media network to add to the list. Alongside real estate, airlines and banking, airport shops have joined the race.

WHSmith, a retail chain that operates hundreds of stores in airports across the U.S., is set to launch a retail media side-business combining in-store out-of-home and digital out-of-home media inventory and audience data for use in off-site campaigns.

Stuart Michell, chief commercial officer at WHSmith North America, said the network’s appeal rested on the huge numbers of people who routinely trudge through American airports — some 2.3 million a day, according to a 2023 Transportation Security Administration (TSA) estimate.

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This week’s Future of TV Briefing looks at why advertisers are keeping an eye on streaming services’ ad product developments and ad loads.

• ‘Have you tried to watch streaming?’
• Streaming watch time hits new highs
• Meta’s & YouTube’s TikTok creator charm offensives, Bluesky’s & X’s video updates and more

‘Have you tried to watch streaming?’

As covered last week, Netflix didn’t exactly break new ground in its meetings with ad buyers during the Consumer Electronics Show earlier this month. But it did strike a nerve. 

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More advertisers are turning to Amazon’s ad tech as their mainstay for programmatic buying — not just for Amazon’s own media properties, but increasingly for ads across the wider web too.

The reason, according to vp of Amazon Ads Kelly MacLean, is simple: “They’re now using Amazon DSP as their primary DSP.”

While there’s no hard data to back up this claim, it aligns with a growing body of anecdotal evidence over the past year. Once seen as an instrument for pushing product listings, Amazon’s DSP has evolved into a versatile ad buying platform, vying for market share against heavyweights like Google’s DV360 and The Trade Desk.

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On Inauguration Day, President Donald Trump signed a flurry of executive orders, including one aimed at the dismantling of government diversity, equity and inclusion initiatives. The move signals yet another step in the DE&I about-face and speaks to the shifting cultural landscape that marketers and advertisers are reckoning with now.

In response, media buyers said they’re on high alert, prioritizing brand safety and clamping down on media buying practices to more frequently review ad placements. In what’s expected to be a volatile news cycle, media buyers said they’re more regularly reviewing inclusion lists, websites and domains deemed brand safe and acceptable for serving ads.

“The prevailing mood and direction, at least in my experience, has just been to stay really tight around the election we just had,” said one agency executive who asked to remain anonymous. “It’s just been really rigorous, making sure nothing un-brand suitable comes through.”

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Whether on a large scale or small — in this case, medium sized — consolidation continues apace in the media agency world, following tectonic changes at the end of last year.

GroupM continued to centralize its operations at a global corporate level, with global CEOs of the brands taking on company-wide roles — at least those who haven’t already left the company. 

Although one internal executive insists it’s not the beginning of the end of the individual brand names within GroupM — Mindshare, Wavemaker and EssenceMediacom — the moves indicate a simplification that more easily enables client-centric mini-shops to get crafted where needed, sometimes across agency brands. GroupM declined to comment on the record.

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Gabriela Cendrzak, content writer, Zeropark, a Commerce Media Tech company

In 2025, brands and retailers face a pivotal moment: the end of the generic ads and one-size-fits-all strategies era. Today’s consumers demand personalized, meaningful experiences that meet their needs and respect privacy.

The brands thriving in this landscape will be those balancing creativity, technology and strategy to craft resonating campaigns. 

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Over the last year, marketers have been shelling out dollars to show up in sports, the supposed last bastion of monocultural moments and opportunity to get ads in front of a massive audience. There’s been an uptick of interest in unconventional sports like pickleball, and women’s sports. Streaming platforms like Netflix bet big on live sports in hopes to bring in more money from advertisers. Finally, since the National Collegiate Athletic Association (NCAA) approved its name, image and likeness (NIL) policy back in 2021, the lines between influencers and athletes is becoming more blurred.

That said, it’s getting more difficult for brands to stand out from one another as more advertisers flock to the space. That’s true even for a brand as big as Verizon, according to Nick Kelly, Verizon’s vp of partnerships. “We have to find something that we can own,” Kelly told Digiday. 

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By now, spotting influencers in major ads and at events is all but mainstream — but what if artificial intelligence allowed influencers to tap into old-school product placement without actually having to shoot in person with brands?

Imagine seeing more seamless product placements across movies and TV shows that are more story-driven and adaptable to various pieces of content, where brands get virtually inserted onto products, backgrounds or signage in post-production. New AI-backed virtual product placement tools, such as Mirriad, Ryff and Inshorts, can add an election billboard to a movie scene or edit in clothes in the background of a creator’s lifestyle videos without the talent or creators actually featuring those products in the filming. Brands from Hallmark to Univision have been testing this product placement method since 2020.

With these platforms, brands can make product placements far more natural-looking and scalable now — and the hope is this technology can bridge the gap in the world of product placement and simultaneously boost influencer content across channels. For example, Mirriad included its virtual product placement in 2024 TV Upfronts. South Korean ad company Inshorts last year also applied its AI digital product placement to drama “Maestra.”

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As virtual-world platforms such as Roblox and Fortnite attract the lion’s share of both users and advertising dollars, the Korean-owned app Zepeto has quietly staked its own claim to a corner of the metaverse.

The metaverse might be a few hype cycles past — but gaming platforms have continued to expand the capabilities of their immersive, three-dimensional worlds, with the “big three” of Roblox, Fortnite and Minecraft dominating much of the conversation. 

Nipping at the heels of the major players is the Seoul-based Zepeto. The app, which describes itself as an “immersive avatar-based social universe,” has a total user base of over 400 million registered accounts and a monthly active user count of 20 million. Last week, Zepeto partnered with Walmart to launch the platform’s first-ever e-commerce experience for physical goods. 

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Publishers had mixed feelings about how 2024 shook out for their companies and the media industry as a whole, and it looks like those feelings are going to continue on into 2025. In other words, publishers are optimistic about this year in some important ways, but there are also some things they don’t feel great about.

This is according to a Digiday+ Research survey conducted in the fourth quarter of 2024 among more than 50 publisher professionals.

Digiday’s survey found that it’s a mixed bag for publishers when it comes to optimism for 2025 — they’re optimistic for their individual companies but not optimistic about the industry as a whole (similar to our findings about publishers’ feelings on whether 2024 was a successful year).

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