It’s a spectacular amount of money for so little airtime, but dozens of companies have no problem forking over the cash. After all, a Super Bowl spot is probably the best shot an advertisement has at being seen by an enormous captive audience all year. Not only is the viewership astronomical, how Do Ad Blockers Make Money many non-football fans actually tune in for the commercials themselves rather than the game. Thanks to some surprisingly great comedy writing, hullabaloo around the Super Bowl commercials has been increasing for years, so much so that CBS did an extensive primetime production on Feb. 2 that counted down the 50 best of all time.
With Super Bowl commercials an essential part of February’s cultural core curriculum, it’s hard to think that they aren’t worth their magnificent expense. But do they actually influence sales? Multiple researchers have studied the relationship between ad success and sales and the answer is usually a flat no. The fact that the numbers aren’t good does make sense when you think about it. Sure, some ads could work: man on couch sees delicious Snickers in Betty White Super Bowl ad, longs for delicious Snickers, and buys delicious Snickers in checkout line, noting how much he pined for it that Sunday on the couch as he chews.
For most of the other commercials, however, it’s hard to see how they’re working. Henri Toulouse-Lautrec’s French cabaret posters that are on cultured college students’ walls worldwide. 5 million slots locked down as early as November? Maybe it’s because the ads aren’t supposed to actually sell product. Confirming what we all know, Communicus CEO Jeri Smith told Ad Age that many popular Super Bowl ads aren’t even aired after the game. If this is their best stuff, why don’t these companies keep running them?
All signs point to a conclusion that Super Bowl ads are, to some extent, simply an expensive vanity project for wealthy companies. With the massive hype placed on Super Bowl ads, it’s not a bad bet. 5 million as an entry fee to a pop culture forum that’s pretty much guaranteed to involve the brand in contests for countless Monday morning lists of best Super Bowl commercials. If the commercial is good enough, there could be enough exposure through these means to justify the costs of airtime and production. The Super Bowl commercial breaks, then, are like little film festival for which the biggest companies play rich uncle and pick up the tab.
Winning this National Ultra-Short Film Festival usually means the company must be okay with playing second violin, or the timpani, behind the ad agency’s best creative team. Not every company seems content with this model of entertaining instead of selling, and last year Budweiser actually appeared to break the mold that it helped create. In one ad, the company addressed its battle with craft beer head on, presenting it as an unpretentious blue-collar alternative to the IPA. Playing a good game on a court that small is difficult for any brand or advertising agency, but it’s possible to provoke sales while winning over the public. Look at Errol Morris’ Miller High Life ads, which revived the drowning brand at a time when American macro-lagers were hurting.
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A link has been posted to your Facebook feed. A man reads the newspaper ‘Financial Times’ at the 46th Annual Meeting of the World Economic Forum in Davos, Switzerland Jan. But its more advanced point was pronouncing the digital news business at the point of death, too. In the past six years the print newspaper business in the U. 30 years of the print edition of Fleet Street upstart the Independent.
The passing enthusiasm for paywalls as an alternative revenue stream has, other than for a few must-have titles, produced scant revenue as well as falling readership and a collapsing brand awareness for many newspapers. In this model, the digital natives can yet hope to sell to deep-pocket buyers, whereas the traditionals can only go out of business. In other words, while neither consumers nor advertisers will pay enough for news to cover its costs in print form, they won’t cover the costs in digital either. Immediacy and efficiency and searchability and connectedness have not proved to be any more valuable than the slow delivery of yesterday’s news. Apps, once a promised land, got little traction with advertisers and also demanded that publishers transcend their skill and financial limitations and turn into software developers. Even Twitter, once seen as a revolution in both the form and distribution of news, seems too, with its growth plateaued, to be a failed revolution.
At present, the FT concludes, there is no viable economic model for a written news product. Hence, in some ever-increasing existential darkness, it’s back to the drawing board in search of one. Some of the solutions seem arguably worse than even the present crisis, with publishers ceding their businesses, and relationship to their readers, in new publishing and traffic partnerships with the same platforms — Facebook, Google and now Snapchat — that are competing with them. Another approach is to somehow change the nature of what advertising is and who actually creates the advertising content, to become a new sort of advertising agency. Or to be more like Vice, the digital media video darling which makes a significant part of its money from producing sponsored content. But that means not only going into the advertising business, but also the video business.
And, indeed, almost every news organization has glimpsed its future in video, creating quite a tsunami of unwatched preroll and, in a glutted market, a fall in video ad rates. The most ambitious new digital news organizations now imagine themselves escaping from Web video into real television. Ray Chelstowski, a newspaper marketer, suggested the newspaper business should see itself as rather like IBM when it lost its dominance in personal computing, and, likewise, turn itself into a kind of consultancy. It should offer not just advertising but a full range of back office business-support services, like accounting and health care management.