A new series of the musical talent show Pop Idol is to be watched on the screens of Nova and Markíza TV Groups starting from September.

Porota letošního ročníku soutěže SuperStar, zdroj: TV Markíza

From September, a new series of a local version of the musical talent show Pop Idol (known as Czech and Slovak SuperStar or SuperStar) will be broadcast on the screens of Nova and Markíza TV Groups (the CME/PPF media group). As Markíza has informed, this year will be judged by Pavol Habera, Marián Čekovský, Leoš Mareš, Patricie Pagáčová and Monika Bagárová. Both TV companies started their castings for the new season of SuperStar this spring.

“SuperStar is the most successful musical talent show in the Czech Republic and Slovakia and I strongly believe that the upcoming year will continue the success of the last season,” said Creative Producer and Director of SuperStar Pepe Majeský. This year’s winner will receive a prize of EUR 75 thousand.

Last time, Nova broadcast SuperStar in the spring season of 2020. On average, it was watched by 881 viewers aged 15+ (share of 22%). In the 15-54 viewer group, which is crucial for Nova due to ad sales, the show’s share accounted for 29%.

All new items on its programme schedule will be specified by Nova at a press conference to be held next week. Apart from programming news, we may expect to receive some strategic information. This spring, Nova applied for sports broadcast licences for its channels Nova Sport 3 and Nova Sport 4 and registered several new brands it can use, specifically Novaland, Lady Nova, Nova Fun and Nova Land. There are several castings going on for Nova’s upcoming shows: Asia Express, Souboj na talíři and Extreme Makeover.



Over-the-top and connected TV advertising heated up in 2020 as restrictions were imposed to address the Covid-19 pandemic, leading people to stay home and binge on streaming content or their favorite cable television programs. Thanks to the measurable reach they offer, OTT and CTV became incredibly popular marketing and advertising channels over the past year. 

However, with experts predicting precipitous drops in the number of viewers and the number of hours those viewers consume this type of content as life returns to “normal,” how can advertisers continue to leverage these channels in a strategic way in 2021? Here, nine members of Forbes Agency Council share effective ways to do just that.

1. Work With Partners Who Provide Transparent App Reporting

Advertisers should know that the growth in CTV is still there, with more traditional linear TV viewers moving to CTV. With CTV, having transparency into which apps and channels your ads are running on is important. There is still some gray area around brand safety in CTV, so advertisers should remain vigilant by working with partners who run ads on specific apps or are able to provide transparent app reporting. – Greg Garunov, Sightly

2. Use Dayparting To More Effectively Reach Target Audiences

Dayparting, a pay-per-click tactic in which ads are scheduled for certain times of the day or days of the week, will become more important as life goes back to normal. They might increase during the week and decrease on the weekends, when users tend to travel or explore outside, or they might activate around key moments such as sporting events or summer programs. – Jason Wulfsohn, AUDIENCEX

3. Use Data To Reach More Relevant Niche Audiences

Ad presence on OTT/CTV isn’t just about audience reach, but rather the ability to reach audience segments that are not expected to return to linear. As such, marketers should continue to leverage OTT/CTV capabilities to reach more niche and targeted audiences relevant to their brands based on first-, second- and third-party data, using ad technology to measure online and offline metrics. – Donna Robinson, Collective Measures

4. Look At Lessons Learned And Stay Nimble With Budgets

According to research done by the Interactive Advertising Bureau, 60% of U.S. advertisers plan to shift their ad spend from linear TV to CTV/OTT in 2021, with most looking for better targeting and efficiency. Fewer viewers means more competition for eyes and ears. Smaller brands are likely to be outbid more often, so take a hard look at lessons learned from targeted work in 2020, stay nimble and flexible with budgets and keep up with any advances in cross-channel identity and measurement. – Megan Devine, d.trio marketing group

5. Keep These Three Important Things In Mind

Brands that want to leverage OTT/CTV must keep three things in mind. First, be fluid; watch the data in real time and shift your budgets to where they are most impactful. Second, accept that your cost per mille, or CPM, may go up; you’re still hitting your goals and reaching the right people at the right time. Third, match your creative to where customers are in the funnel. More than ever before, creative is king. – Brook Shepard, Mason Interactive

6. Stick With OTT And Consider Other Burgeoning Channels

Covid increased the adoption curve on a number of technologies—telemedicine, video conferencing and streaming services chief among them. While people will spend less time watching TV, how they consume entertainment has changed. Advertisers need to push their OTT spend, not decrease it; and they need to look for other burgeoning channels, such as social audio and gaming, as places to develop a presence in. – Mary Ann O’Brien, OBI Creative

7. Use Your Best-Performing Spots From The Previous Year

Attention never goes away, but it does shift. Brands that leveraged OTT and CTV in 2020 should review the viewership data and ROI of their content and audience demos. Use your demo data to understand where attention is shifting, such as to YouTube or social media, and pivot accordingly. Use your best-performing spots from the previous year and reformulate them for your “next platform” campaign. – Bernard May, National Positions

8. Target An Audience Of One With A Precise Approach

We are not concerned about the predictions, as it’s never about reaching everybody with OTT and CTV. It’s about reaching the right people with the right message. Use available data to market to an audience of one: your target. You’ll reach people you can’t reach on traditional media with a more precise, micro-targeted approach. – Jonathan Schwartz, Bullseye Strategy

9. Offer Special Promotions To Gain Visibility

One of the most important things to do is make sure you are able to get messages out through OTT and CTV advertising that you would not be able to get out anywhere else. Offering special promotions with codes and other such tactics are a great way to ensure that you have what you need in terms of visibility. – Jon James, Ignited Results



Prima launched its new Prima Pauza video website, offering shows edited to short-form videos. It is available on iPrima and

The Prima group introduced a new video website named Prima Pauza focusing on young and busy users. Prima wants to offer them short-form videos for fast viewing. Prima has cooperated with in this project. The website is placed on the and platforms.

“Prima Pauza targets young audience that is used to entertainment and short videos thanks to social networks. We have decided to create a tailor-made new platform for them based on short and concise content to be watched within any short break. In addition to entertainment and popular series, we prepare our own content and bonus videos on the Prima group’s new shows for Prima Pauza,” said Filip Vážanský, Non-Linear Content Manager of Prima, who is in charge of the new platform.

The first shows to be offered on the platform are TV series Krejzovi, Ohnivý kuře, Přístav or V.I.P. vraždy. Their stories will be edited to take 12 minutes. As for entertaining programmes, you will be able to watch the following as soon as possible: recipes from the cooking shows Karolína, domácí kuchařka and S Italem v kuchyni; DIY procedures from Vychytávky Ládi Hrušky, the travel show Ženy na cestách, the reality show Tlouštíci or the talk show Nečum na mě.

On this platform, Prima will offer bonus content relating to the TV group’s new autumn shows. The content is available for free, without registration; selected content may be watched by users as part of the cooperation.



Prima has launched a new platform called Prima Pauza intended for viewing the most interesting video content in a short time. The product focuses on young and busy users who want to have fun and learn important information but do not have enough time to watch the whole shows. It also targets its viewers who are interested in bonus content relating to upcoming programmes. Within Prima Pauza, Prima initiated exclusive cooperation with 

“Prima Pauza targets young audiences that are used to entertainment and short videos thanks to social networks. We have decided to create a new tailor-made platform for them based on short and concise content to be watched in any short break. In addition to entertainment and popular series, we create our own content and bonus videos relating to new Prima’s programmes for Prima Pauza,” says Filip Vážanský, Non-Linear Content Manager of Prima, who is in charge of the new platform.

The first programmes to be available to the lovers of short-form content in summer holidays include popular TV series KrejzoviOhnivý kuřePřístav, and V.I.P. vraždy with the story edited to take 12 minutes.

As for other entertainment, the items to be available soon include recipes from the cooking shows Karolína, domácí kuchařka, S Italem v kuchyni; DIY procedures from Vychytávky Ládi Hrušky, the travel show Ženy na cestách, the reality show Tlouštíci or the talk show Nečum na mě. There will also be bonus and exclusive content relating to new shows from Prima’s autumn star season. 

The content is available for free, without registration; selected content may be watched by users as part of the cooperation.

Prima among the online video leaders

“We have decided to develop the existing cooperation between Seznam and Prima in order to combine our powers and achieve synergies. Prima provides us with its video content and we are assisting it in delivering the content to additional target groups and online viewers. The result is higher visibility of Prima shows and common monetization of the existing TV content,” says Igor Kalaš, Business Development Director of 

The Prima group has long been one of the leaders in online video in the Czech market. An average Czech would need thirteen lives to view the total volume of videos that were watched in May. In total, users watched video content that would cover 1,005 years. Out of the total time of 72.15 billion seconds of video content on the Czech internet, the Prima group with its iPrima website holds a 44% share with 31.72 billion seconds. In June,  iPrima with 4,951,524 real users ranked among the TOP 5 websites on the Czech internet. The leading formats in the video library included the reality show LIKE HOUSE with 4,469,915 video views in June. The second place in the video library of was taken by the series Slunečná with 1,594,524 views, and the series Sestřičky with 689,789 views placed third. The most popular shows in iPrima’s video store (Videopůjčovna) were the series Slunečná and Sestřičky and films Princezna zakletá v čase, 3Bobule and Šarlatán.

Source: NetMonitor – SPIR – Gemius, May and June 2021, ATO-Nielsen Admosphere



Marketers shouldn’t lose sight of the fact that they are living in a period of data abundance.

Agencies are frustrated about TV measurement.

In the past, TV currency data provided a consolidated view of how TV budgets were spent. Broadcast, cable and even selective digital video could be consolidated into a single view of delivery to age/gender audiences. Now, TV is splintered into myriad formats: traditional, addressable, programmatic and multiple forms of ad-supported streaming. Each has its own unit of measure: persons based on demo, strategic segments based on a household, and strategic segments based on persons using a digital ID. To make matters more complicated, many partners present measurement using their own data.

Where’s the silver lining?

With all the frantic change, TV advertisers shouldn’t lose sight of the fact that they are living in a period of abundance. Data abundance, to be more specific.

Multiple TV platforms are able to provide advertisers with proprietary data-based TV insights. This data abundance means that today’s advertisers are more able to point their TV spend toward a business outcome than at any point in the past. They are now able to pinpoint if they reached their customer, whether the ad had an impact on image or sales and how they can do better going forward.

In short, TV advertising has everything it needs to perform.

In the past, “performance” was associated with narrow metrics such as click-through rate and bulk buying on long tail websites. Today, performance data can be used with Emmy-winning shows distributed by our greatest entertainment companies. And performance can be defined more broadly—did the advertiser achieve their business goals?

This can mean a CPG brand reaching parents for back to school, an insurance company seeking motorcycle insurance sign-ups or a TV network promoting that same Emmy-winning show. All of it is based on an array of data partners.

Here is how some of the most progressive advertisers are leveraging TV data:

Measuring reach for strategic segments

Then: Advertisers would use projected panel data to measure their linear reach to age/gender audiences.

Now: Linear and streaming ads can be linked to attribute data from Experian, Polk and other data leaders. Media partners can provide advertisers with reach calculations for strategic segments such as “In the market for a crossover SUV” and “Household income $125k+” that are more likely to link to purchase intent.

Measuring reach in linear and streaming together

Then: Advertisers would see reach in the linear ecosystem alone, and “digital” investments, including CTV, would be measured separately in a way that could not be reconciled with linear. Because audiences could not be targeted and measured holistically, the result was wild inefficiencies and the risk of overexposure or underexposure.

Now: Automatic Content Recognition (ACR) data can measure all content on the TV—linear and streaming—and present advertisers with a single, consolidated view of reach and frequency.

Measuring results in linear

Then: Advertisers could not tie linear buys to business results. Lacking the evidence, traditional media buyers (and sellers) were stymied from justifying the value of traditional linear—while digital promised clickers and shoppers.

Now: Increasingly, linear advertisers are able to use ACR and set-top box data linked to a post-campaign action (website visit, TV tune-in, post-campaign purchase) to show the value of linear advertising. And while this type of attribution used to require a custom project, weeks of delay and stapled powerpoints, today this type of reporting is increasingly standard with many TV media partners.

Measuring results in linear and streaming together

Then: Advertisers thought linking linear and streaming together was a pipe dream.

Now: Advertisers can combine linear ad exposure with ACR data and campaign ad exposure in CTV, combined with impact data such as sales and website visits, to see a total view of TV campaign effectiveness.

Years ago, advertising pros would speak yearningly of “the holy grail”—the ability to measure the sales impact of TV. They would cite the Philadelphia retailer John Wanamaker about not knowing which half of their advertising was wasted. Those references, as boardroom chatter, have all but faded away.

TV still isn’t perfect. Advertisers face new problems in TV, to be sure, including rapid change and the confusion brought about by an abundance of programming and data. But facing new problems—isn’t that another way of saying progress?



The key battle will be fought primarily for the total time spent watching TV screens in households according to a forecast by Nielsen.

Linear TV continues to be a significant tool to address mass audience, however, the role of a TV screen will gradually move from linear to digital. The importance of streaming has increased at the same time. The above-mentioned trends will impact the development in the audio-visual segment in the following years, predicts Nielsen. It presented the forecast on Tuesday’s webinar The State of Global Media. In addition to the two above-mentioned trends, it finds the growing impact of social media to be crucial.

Despite the high total reach of linear TV, Nielsen points out that linear TV viewing decreases by 2-3% on average globally every year. “It is not a dramatic decline but it is visible. In spite of that, linear TV has been critical and will continue to be for several next years,” said Ranjeet Laungani from Nielsen during the presentation.

He expects that the key battle will be fought predominantly for the total time spent watching TV by households. The position of a TV screen has been transformed from linear to digital according to researchers. Traditional linear TV broadcasters seek to offer video on demand (VOD); on the other hand, originally digital players are looking for a way to linear supply. The total time spent watching the “big screen” should thus become crucial. Therefore, Nielsen has started mapping the total “TV time” on the US market by individual types – broadcast linear TV, streaming or cable TV.

For now, the research agency’s data do not indicate that TV advertisers would cut their ad budgets for linear TV. Although most of them said in the survey that they were planning to keep the budget for linear TV adverting at a comparable level in the following 12 months, while a minority considered reducing the budget, reality does not correspond to the behaviour declared. For the first quarter of 2021,

global linear TV investments increased by 7%, which was more than the total media investment growth (+5%) in that period.

In certain markets (South America, South-East Asia and South Africa) it is not true that TV is watched predominantly by viewers aged 50+, the audience includes more young viewers (most of them are up to 49 years) than in Western Europe and the United States. There are also differences between streaming services in the demographics of the audience they address. For example, Amazon Prime Video addresses older viewers than Disney+, while for YouTube and Netflix the age representation is balanced and similar across various age groups.



According to monitoring, the first half of 2021 brought more money from ad sales to the Czech media than the first half of last year.

Monitored investments relating to the purchase of ad space in the media in the first half of this year achieved a higher volume than in the same period of 2020, according to the data of AdIntel monitoring by Nielsen Admosphere. In aggregate, they were up six percent (CZK +2.7 billion) year-on-year in the monitored media types (TV, press, radio, OOH).

According to the monitoring, the highest year-on-year increases were achieved by print advertising (+11%) and TV advertising (+7%) in the first half and the volume of investments in radio advertising has also grown (+5%). On the contrary, OOH reported lower investments compared to last year.

This June saw a continued year-on-year growth in investments in all above-mentioned media types, with OOH leading the way (+23%)

The overview excludes comparison of investments in the internet advertising as the monitoring only includes banner and video ads and does not cover other forms of internet advertising.

Please note that the monitored investments do not express real financial volumes, they are based on price list costs and do not include discounts, bonuses or commissions.



Ad supported streaming options continue to become more popular according to Horowitz Research.

ROCHELLE, N.Y. – Despite the proliferation of subscription streaming services in the streaming market, ad-supported streaming options continue to gain momentum, according to Horowitz Research’s “State of Viewing and Streaming 2021” report. 

The findings call into question the perception that linear TV may have less of a role to play in the streaming world, which was initially dominated by SVOD services like Netflix that offered on demand content with no ads. 

According to Horowitz, almost half (46%) of TV content viewers in the U.S. report used an ad-supported streaming service (AVOD) at least monthly, and a full 28% using a free ad-supported TV (FAST) service with ad supported linear channels in addition to theiron-demand offerings.

Source: Horowitz Research

In addition, consumers are using a wide range of ad-supported services with linear content. Pluto TV, Tubi, The Roku Channel app, and IMDb TV are the services consumers report using most often.

Ad-supported streaming services do not yet command the share of viewing enjoyed by subscription-based streaming services, a market dominated by original aggregators like Netflix, and a wide range of direct-to-consumer alternatives like Disney+, Peacock, and Discovery+, Horowitz reported. 

However, the growth of these free ad supported TV services signals an important turning point for media companies struggling to adjust their business models to the streaming environment. Despite the explosive growth of streaming, linear (broadcast and cable) ad sales are still considered by most media companies to be their cash cow. This is due to the ongoing struggle to drive the same levels of revenue in the streaming environment, the report explained. 

The Horowitz study also found that streaming is poised to eclipse traditional platforms in terms of share of viewing of long-form TV content. 

Among consumers overall, the pie is split rather evenly: 35% of self-reported time spent is now spent on linear content delivered via a traditional service (cable, satellite, or over-the-air through an antenna), while 37% is spent on streamed content (the rest is spent on cable or satellite-delivered VOD, content that is DVR’d, or DVDs).

Among younger consumers, the picture is very different: a full 50% of time spent among 18-34 year olds is on streamed content, while only 18% of their time is spent with traditional, linear content. 

As a result, the need to monetize TV content in the streaming environment as robustly as it had been monetized in the traditional environment is a matter of survival for media companies big and small in this new ecosystem, Horowitz explained. 

The good news is that consumers are very open to advertising in the streaming space—perhaps even more so than they were in the traditional, linear space, Horowitz found. 

While about half of streamers go out of their way to avoid advertising when watching TV, there is more tolerance when watching content that is available for free (or at low cost). Six in ten (58%) streamers feel that ads are a fair “price” for being able to watch TV content for free (i.e., telling us they do not mind seeing ads if they are paying very little or watching for free). Moreover, almost 4 in 10 consumers are starting to notice- and appreciate—the more customized, personalized advertising experience they are getting through streaming.

“Consumers’ love for entertainment content—and their desire to get as much of that content as they can for as little as they can— hasn’t changed. The fundamentals of the industry haven’t changed,” notes Adriana Waterston, SVP of Insights and Strategy for Horowitz.

“What has changed are the expectations consumers have about how, where, and when they can consume the content they love, and the technology that exists to deliver those experiences. When delivered in the screen-agnostic, watch-anywhere, and highly personalized viewing experience of the streaming environment, we are seeing some consumers not just tolerating, but welcoming advertising, particularly when it is customized to their interests,” she added. 

“State of Viewing & Streaming 2021” provides analysis of U.S. TV content viewers (people who watch 1+ hours TV/day), as well as key demographic and subscription segments. The survey was conducted online in May 2021 among 2,000 TV content viewers.

Source: Horowitz Research



Latest Payback study examines channels with scale, less risk, plus short & long term impact

Edition Five of The Payback Series from ThinkTV aims to show how to maximise return on investment by choosing channels with the ability to deliver positive ROI as well as short and long-term sales.

Speaking to Mediaweek, ThinkTV director of research Steve Weaver explained: “In the past we have put ROI on the map. More businesses should be thinking about the impact of a campaign in terms of how to improve the sales result. We don’t want to focus too much on the ROI number itself, as opposed to focusing more on the sales growth of a business.”

The latest findings offer media investment insights for advertisers planning a media spend starting at $500,000 through major investments of $100m or more.

The Payback Series is an Australia-first study that analysed the campaign performance of 60 brands with a combined annual media spend of $450m. The data examined was all pre-Covid.

Source: ThinkTv

Five Payback Series studies have been conducted since 2017 with the latest edition produced in partnership with GroupM Australia and global marketing effectiveness consultancy Gain Theory.

The headline finding is that for media buyers focusing on efficiency, TV gives a far better return on continuing spend.

The findings also highlight that TV has three times the growth opportunity than the next best option. When examining the average proportion of media-driven sales, TV was well ahead of the pack in short term and long-term effect. The next best, but some way behind, in short term was Search. Next best long term was Out of Home.

The best cross channel combination is using TV with Search.
Source: ThinkTV

The research analysed all the media channels and notes that out-of-home spend works best if the media budget is $5m or more.

The optimal media mix indicates different percentages of TV spend. For $1m and under it is 40% or less, from $2m to $10m it is close to 50%, dropping lower again as the spend increases. Note that the dollar spend doesn’t drop on larger budgets, just the percentage of the total budget.
Source: ThinkTV

Payback over time

While most media channels deliver positive ROI, some channels generate sales for longer periods making the return on investment more valuable as the channel drives greater and sustainable business growth.

ThinkTV CEO Kim Portrate said of the results: “ROI is about the last thousand dollars you spent; scale-ability is about the next thousand dollars.

“If you invest in cheap channels based on ROI, and those channels don’t generate the right volume of sales before you start to see diminishing returns, you’re never going to grow brands. Other channels will be needed to make your media spend work the way it should.”
Source: ThinkTV

Specific findings

• Channels drive markedly different levels of demand. For example, where campaigns allocate, on average, around 18% of spend to out-of-home, this spend accounts for less than 16% of media-driven sales. TV, with an average of more than 50% media allocation, delivers more than 50% of media-driven sales.

• Channels with strong ROI may not sustain sales volume over campaign investment periods. For example, search has the strongest ROI but is one of the weakest media selections when it comes to generating sales beyond short-term timeframes.

• The rate of return for media channels differs and so too does the potential for sales growth. The rate of incremental sales for TV reduces more slowly than any other channel. This means increased investment in TV will improve ROI over time.

• The risk in achieving a return varies by channel with digital video the least risky channel and cinema the most. There is not a huge difference in the risk ratios, but the other one that stands out as higher risk is Social.

Unlike share portfolios, a higher risk media mix does not necessarily deliver better efficiencies or growth.
Source: ThinkTV

Portrate added: “Marketers have long been chasing the best return on investment for their campaign spend, but the research shows efficient ROI may not always be effective ROI.

“While ROI is important to all brands in all categories, not all ROI is equal. This research suggests a much-needed reassessment of channel selection is required to ensure campaigns are being optimised for maximum ROI and maximum sales impact over both short and long-term timeframes.

“And that’s where TV comes into the equation. TV has the strongest media-driven incremental sales of any channel and the capacity to scale up with the only limit the size of the viewing audience. With an average monthly reach of more than 20 million people, TV is hard to beat.”

Market impact of Covid: ‘TV is a real workhorse’

When asked about the turbulent market conditions in the past year, Portrate told Mediaweek: “Pre-Covid, TV offered significant certainty you are going to get the greatest return. TV is a real workhorse. What we have seen over the past 12 months is that doesn’t change with Covid. TV in the past has demonstrated less risk, more scale and better returns. We would only expect that would continue through and beyond Covid.”

Weaver added: “With disruption from Covid and lockdowns comes change in behaviour. It is a significant event that forces people to do things differently. When forced to vary your habits, you are open to change. It is an important time to have strong brand presence. There are more FMCG brands on TV this past year. They are spending money on mass-reach to keep awareness high.”



Diversity and Inclusion are major themes for advertisers right now, as the last few years have made it plain how poorly marginalised communities feel they have been represented in traditional advertising. Across every channel and sector there’s an interest in representing diversity better, more authentically, but also more effectively. We’ve all seen ads which feel tokenistic, stereotyped or embarrassing, and there can be a fear of getting it wrong.

The new report Feeling Seen tries to remove those fears with a guide to making diverse and inclusive advertising that’s both true to life and commercially effective. It’s based on work combining quantitative and qualitative research with the actual groups represented in diverse ads. How does it feel seeing people like them on screen? What mistakes do brands make trying to represent diversity? Which ads work best for diverse communities?  Which are the most effective commercially?

Over 10,000 interviews were completed across 6 different diverse groups, using the general population data and System1’s database of over 50k ads globally, as the control.

The central findings of the report should reassure any media owner or brand who is nervous about either making missteps in representation, or about the commercial impact of diverse advertising. The best examples of inclusive advertising score well with the population as a whole but even better among the groups they work to include. For instance, in the System1 Test Your Ad model, used to measure responses to each ad,  McCain’s ‘We Are Family’ ad scored a very strong 4.7-Stars. The ad prominently features two Muslim women chatting over a meal, and among British Asian viewers the score jumped to a near-maximum 5.8-Stars.

The report finds this pattern again and again, in ads for Renault, Boots, IKEA and many more. Ads score strongly overall and then see an uplift among the groups in the ad, driven by higher happiness and more intense response. In other words, when people feel seen in ads, they feel good.

That matters because positive feeling helps drive long-term brand growth, and intensity of feeling helps drive short-term sales. In other words, for brands who get it right there’s a “diversity dividend” of greater commercial effectiveness, and the report also features interviews with many CMOs involved with the ads who testify to the business impact of the work. As many of them also point out, commercial impact isn’t the only reason for it – but the report highlights that there’s a business case for inclusion, not just a moral case.

So what can marketers and media channels take away from the Feeling Seen work? The report puts forward 5 main insights.

  • FEELING SEEN FEELS GOOD: Marginalised groups in society like to see their lives and stories on screen – it’s great to feel seen. There’s far more appreciation than criticism for brands making the effort.
  • DIVERSE ADVERTISING UNITES US: The diverse samples responded in the same way at the same moments as the general population sample – just with more intensity. There’s no need to make completely different ads for different audiences – a good ad brings everyone together.
  • CELEBRATE LIVES AND CULTURES: A consistent theme across quant and qual work is the desire of people to see their joy, not just their struggle, on screen. For instance, Black British viewers were delighted to see an ordinary Black family celebrating little victories on screen in IKEA’s “Hooray! For The Wonderful Everyday”. Tell stories rooted in ordinary lives, not just in trauma or oppression.
  • DIFFERENT PEOPLE, SAME RULES: The way to make a great diverse ad is to make a great ad that’s diverse, not make a diverse ad and hope it’s great. In other words, it’s still crucial to get the storytelling, branding, characters, soundtrack and executional details right, as that’s what will ensure wide popularity and create the baseline for the diversity dividend.
  • DIVERSE IS NOT AN IDENTITY: Remember to be authentic and try and reflect a specific identity – ‘painting the rainbow’ and cramming in as many different groups as possible can make for a feelgood ad but can also leave some feeling shortchanged. And umbrella categories like “LGBTQ+” and “older people” mask some major differences in experience and outlook.

The report goes into more detail about specific ads and the routes they took to make a success of diversity. The overall point is clear, though – diverse advertising is a win-win scenario, for the groups featured, the viewers, and the brands who invest in it.