Thursday, October 15, 2026

17631: On Complaints, Crisis Management, And Conversations.

 

Advertising Age published a thoughtful perspective on cultural cluelessness, unintentionally underscoring how bias can come from the offenders and offended alike.

A complaint about your ad is information—it is not a verdict

By Stephen E. Terrell

In the fall of 1994, I put a naked man on a billboard in Fort Lauderdale. He lasted six days.

In fairness, he had already lasted 158 years. He was the young man seated by the sea in a Hippolyte Flandrin painting from 1836 that hangs in the Louvre, where to my knowledge nobody has ever called 3M about it.

The board was for Page & Associates, a Cleveland company that bought life insurance policies from people who were dying, so they could have the money while they were still alive to spend it. In 1994, that mostly meant gay men with AIDS. The copy ran five words: “Terminally ill ... there are options.” Then a phone number. No logo the size of a Buick. No starburst.

I chose the painting because my audience already knew it. For years, a print of it on a gay man’s wall was a signal flag hidden in plain sight. Any other gay man who walked into that home knew exactly what it meant. Everyone else saw a nice museum reproduction. I took the flag off the living room wall and ran it up a billboard. A man driving past did not need a headline to tell him who the board was for. The same ad had been running in gay magazines. Companies like mine were buying so much space there that Ad Age covered it that May. The billboard was that magazine ad with the volume turned up. The University of Miami Business Law Review later recorded it as the first billboard for a company in that business.

The location was not an accident, either. I put my boards in the gayest neighborhoods I could find. This one was aimed across four lanes of highway at the Copa, the biggest gay disco in South Florida. You find out where your audience dances, and you face the board that way.

It also happened to stand directly above a sports bar.

The owner complained. He told the local paper that the message was one thing but the naked man was tasteless. 3M, which owned the board, took it down six days into a 60-day contract.

Today, that is where the story ends. The brand posts a statement. The creative disappears. Somebody junior gets blamed, and everyone is at lunch by noon.

Here is what happened in 1994. The board went back up the next day. Nobody apologized. Nobody painted on a fig leaf. The company’s attorney made a call, and then a 3M representative did something radical. He sat down with the bar owner and explained what the ad was for. According to 3M’s spokesperson at the time, the owner had not fully understood it. Once he did, he agreed to have it back.

One conversation, 24 hours, same naked man.

That bar owner taught me three questions I still ask before anybody touches a campaign.

Who is complaining? The man downstairs was not my audience. My audience was across the highway, in line at the Copa.

Do they understand it? He saw a nude. He did not see men in his own city who were out of money and out of time. Somebody told him, and he changed his mind. People do that more often than a crisis plan assumes.

Is the audience you built it for complaining? Because when they are, you pull it, and you say thank you. I have done that, too. Years later I tested a Betty White radio spot on “The Rush Limbaugh Show.” It delivered 20-30 solid leads every time it aired. Then her fans started calling with one question: “Does Betty know?” I pulled it. The numbers said stay. The audience said go. The audience outranks the numbers.

Treat those two complaints the same way and you will kill your best work and keep running your worst.

Brands spend years and millions asking people to trust them. Then one stranger raises his voice and the brand drops its own work like a hot casserole. The audience notices. If you will not stand behind your ad for 24 hours, why would anyone stand behind your brand for 24 years?

The painting, for the record, is still in the Louvre. Still naked. Still up.

Wednesday, October 14, 2026

17630: How To Partner With Non-White Advertising Agencies.

 

Advertising Age published probable Hispanic Heritage Month content providing pointers on partnering with multicrumbtual advertising agencies.

While the perspective spotlighted common mistakes, potential pitfalls, and marketing microaggressions, there were no blatant references to cultural cluelessness, crumbs, or Prime Redlining.

So, it sorta feels like whitewashing systemic racism.

When to partner with a multicultural agency—and how to structure the work

By Sabrina Sanchez

For many agencies, creating campaigns for multicultural audiences is a challenge. Some handle it in-house, translating existing work or trying to tack on cultural relevance at the end. But agencies that specialize in multicultural work say that approach leaves little room for cultural insight to shape the strategy. Ad Age asked three members of the Ad Age Small Agency Network with Hispanic and multicultural expertise—Cien+ (CulturePlus Group), BeautifulBeast and Macías Creative—when to call in a partner, how to divide the work and how to manage the client relationship. The following guide was assembled from their answers.

Step 1: Check when the work calls for a partner

Macías Creative leaders—Marcos Macias, founder and chief creative officer; Alex Macias, managing partner and chief operations officer; and Ernesto Ruiz, executive director of strategy and accounts—identified three situations that call for cultural expertise:

If the assignment explicitly targets Hispanic or multicultural audiences

Bring in a partner while developing the strategy.

If growth depends on a market where Hispanic consumers are a major economic force

Bring in cultural expertise, even if the brief does not explicitly name that audience. Macías Creative cited markets such as California, Texas, Florida, New York and the Southwest where winning with Hispanic consumers can be critical to growth.

If cultural nuance is central to the strategy or idea

Consider a multicultural agency partner, even if the brief does not name a particular audience. Macías Creative pointed to cultural spaces involving food, family, sports, music, identity and traditions—all of which are places where deeper fluency can help shape the work.

The agency also offered signs that a team may need outside expertise:

• If research is being used as a substitute for established cultural expertise.

• If a few Hispanic people on the team are being treated as proof of Hispanic marketing capability; that capability also requires dedicated expertise, experience, tools and processes.

• If the U.S. Hispanic market is being approached as one audience, without accounting for differences in country of origin, language preference or relationship to American culture.

Another sign, Macías Creative said, is asking someone at the end of the process whether the creative “feels right.” That person “probably needed a seat at the table much earlier.”

Flor Leibaschoff, BeautifulBeast’s co-founder and CCO, said general-market agencies should not wait for a sign; they should already be working with Hispanic and multicultural agencies. To her, a plan built around translating general-market work, rather than developing a strategy for the audience, already shows the need for a different approach.

Claudia Avans of Cien+ posed a broader question: “Do we have the right perspectives at the table for this opportunity?” Cultural insight can help an agency understand a particular audience, she said, and it can reveal shifts that matter to the wider market.

Step 2: Decide whether you’re creating or adapting

How an agency approaches its creative determines when a multicultural partner needs to join and what they can contribute.

If the work needs a new strategy, platform or idea that will resonate with Hispanic audiences

Bring the partner in from the beginning while the insight and creative direction are still being developed. “If a perspective could change the strategy, give it a chance to shape the strategy,” Avans said.

If the assignment involves adapting an existing idea

For an assignment focused on adapting an existing idea for a specific audience or market, bringing in that expertise later can sometimes make sense, Macías Creative said. Even then, Macías Creative said both agencies should discuss the audience’s needs and agree on their approach at the outset. The partner should help determine whether adaptation is the right assignment.

Joining early lets a partner help shape the insight, idea and plan. Once creative is underway, their role can narrow to changing what has already been decided. “They become translators and fixers instead of strategists,” Leibaschoff said. If collaboration cannot begin at the pitch or strategy stage, she said, bringing the partner in for the brief is the minimum.

Step 3: Agree on how the agencies will work together

The next decision is what expertise the assignment needs, and how each agency will contribute.

If the assignment calls for several kinds of expertise

Avans described several ways to assemble a team: a lead agency can bring a cultural partner into the strategy phase; two agencies can build the brief together and split leadership by expertise; a partner agency can join for a few critical sessions; or different partners can lead at different stages. A cultural agency might also bring in a technology, data, creator or community partner when the work calls for it.

If the question is who works directly with the client

Leibaschoff named three arrangements she has seen work: an introduction, where the general-market agency connects the partner agency with the client and lets it work with them directly on that part of the business; white-label work, where the partner agency works behind the scenes under the lead agency’s name; or a hybrid, where the partner meets the client but the lead agency keeps the relationship. Any arrangement can work “as long as it’s agreed on from the start,” she said. Cien+ has also worked both behind the scenes and directly with clients, depending on the assignment.

Macías Creative draws a different line. It will not take an assignment where its team has no direct client contact, at least for key meetings. The agency says passing cultural insights through another team can weaken the collaboration and reduce the partner agency to an execution role. One setup Macías Creative described involves a small senior team working alongside the lead agency from the strategy stage.

Before work begins, agree on who owns the client relationship, who presents the cultural insight, who makes decisions, how feedback and approvals move, how the work is credited, and how fees and billing will work.

Those choices can lead to different arrangements. In a healthcare partnership described by Cien+, the agencies led the general and Hispanic market work respectively and shared the client relationship. On a consumer goods launch described by Macías Creative, the lead agency kept the client relationship and led strategy, creative and execution, while a senior Macías team contributed cultural insight from the strategy stage.

Step 4: Avoid the mistakes that weaken partnerships

The agencies pointed to five recurring problems:

1. Bringing in expertise too late—or giving it too little time. Once strategy and creative are set, a cultural partner has little room to shape either.

2. Leaving roles and fees unclear. Responsibilities, decisions, client contact and billing need to be settled before work begins.

3. Falling back on translation under deadline pressure. Even with a partner agency involved, a team may revert to translating general-market work, reducing that partner to a translation role.

4. Creating a one-person department. A single Hispanic employee is expected to cover strategy, creative, media and social listening. “That’s a lot of hats for one head,” Leibaschoff said, “and it’s not fair to them or to the work.”

5. Treating the partner as competition or as an execution vendor. “If you value the expertise enough to bring in a partner, give them a real seat at the table,” Macías Creative said.

Step 5: Consider what the partnership can add

Sharing work with another agency may raise concerns about revenue and the client relationship. Leibaschoff argued that the greater risk is failing to help a client pursue the opportunity: the client may eventually find someone else who will. “It’s not about splitting the pie; it’s about making the pie bigger,” she said.

Macías Creative made a similar point: work that initially looks like shared revenue may lead to additional, dedicated budget for multicultural efforts.

Avans framed the benefit in terms of what the lead agency can solve for its client: “The lead agency becomes even more valuable because of the ecosystem it can bring together.”

This story used AI-assisted tools to summarize and structure insights from Ad Age’s original reporting. It is based solely on the responses Ad Age received for this story, and was reviewed by editors and reporters to ensure accuracy, clarity and context.

Tuesday, October 13, 2026

17629: On Grey Matters.

Advertising Age reported on executive moves at Grey that were overshadowed by the resignation of  VML Global CEO-WPP Creative CEO Jon Cook, adding accelerant to the global flaming dumpster.

Back in 2020, Grey almost vanished via plans to fold the White advertising agency into AKQA—until staffers and clients protested. The merger reignited in 2024–2025 and dissolved in 2025 when Grey shifted under the Ogilvy Group banner.

Now it appears even Grey employees don’t wanna be associated with Grey, as the Global Chief Creative Officer bailed out to launch his own White advertising agency.

Meanwhile, other Grey executives were shuttled to different positions within the single White operating company.

Instead of asking, “Pardon me, would you have any Grey Poupon?” the question is, “Pardon me, would you have Grey pooped on?”

Grey’s global chief creative officer leaves to start his own agency

By Brian Bonilla

Multiple leadership changes are underway at Grey, according to an internal memo Laurent Ezekiel, global CEO of The Ogilvy Group, sent this morning, which Ad Age obtained.

Most notably, Gabriel Schmitt, Grey’s global chief creative officer, is leaving to launch his own agency, Ezekiel wrote in his memo. Schmitt’s departure from the WPP agency is effective Oct. 1.

“For a creative of Gab’s caliber, this marks a natural evolution in his leadership journey, which we are proud to champion,” Ezekiel wrote.

Schmitt wasn’t immediately available for comment. He joined Grey as global CCO in March 2023 after serving as co-chief creative officer of FCB New York. During his tenure, Grey produced work including Anheuser-Busch InBev’s “For Every Golden Moment,” which Ezekiel described in his memo as the brewer’s biggest-ever global campaign, as well as “SOS POS” for BCP Bank, which won a Creative Data Grand Prix at the 2026 Cannes Lions International Festival of Creativity.

Two other Grey leaders are making moves within WPP. Global Chief Client Officer Jason Kahner and Global Chief Strategy and Data Officer Jonathan Lee will move into dedicated WPP global client and strategy leadership roles for Henkel and Kenvue/Kimberly-Clark, respectively, according to Ezekiel’s memo. Those transitions will take place over the next few months.

‘Grey remains Grey’

The moves represent another step in Grey’s integration with Ogilvy, which began in May 2025. The agencies have maintained their individual brands while increasingly operating as part of a broader Ogilvy Group.

Grey’s creative leadership will now report to Liz Taylor, Ogilvy’s global chief creative officer. This officially leaves Grey without a traditional global leadership team; its global CEO, Laura Maness, departed last year.

“Broadly speaking, reporting lines will remain as is—in most instances, routing directly through local office leadership and respective regional structures, and ultimately up through me,” Ezekiel wrote. “This gives teams the autonomy and ability to make decisions closer to client and other local considerations.”

The latest changes are intended to give Grey’s regional and local offices greater responsibility while connecting them more directly with Ogilvy’s broader capabilities, Ezekiel said. Grey’s local office leadership and regional structures will remain intact, according to the memo. Its teams will also continue to pitch for business and produce work under the Grey name, and its culture, social channels and email signatures will remain unchanged.

Grey teams will also have increased access to The Ogilvy Group’s capabilities across sports and entertainment, PR, health and innovation, as well as WPP’s technology offerings.

“Grey remains Grey,” Ezekiel wrote. “Day to day, Grey teams will continue to identify, pitch, win and create work as Grey.”

Monday, October 12, 2026

17628: On Powerade’s Performative Poppycock.

Advertising Age reported on Powerade—via Ogilvy, WPP Open X, and WPP Production—taking a performative stand against the Sydney Sweeney Novig campaign.

It’s dim-witted divertsity, divertorial, and divertisement drivel.

As previously noted, a naked Sweeney plays perfectly to the young male-dominated Novig audience.

On the flipside, who is Powerade appealing to? The social post depicted above addresses an exclusive bunch.

Most Powerade fans wouldn’t know Ogilvy, WPP Open X, or WPP Production. Hell, the majority of WPP drones display indifference to the segregated silos.

Powerade brags about its alleged legacy of supporting women’s sports. Okay, does The Coca-Cola Company award the average woman athlete the same $pokesperson contract as her male commercial counterpart? Don’t bet on it.

Powerade continues to run a distant second to Gatorade. And now the brand is striking out against Sweeney’s curves.

Powerade rebukes Novig’s nearly naked Sydney Sweeney ads

By Jon Springer

Powerade has delivered a response to Novig’s scantily clad Sydney Sweeney campaign: women’s sports have never been “just” sports. The Coca-Cola-owned sports drink brand is joining the backlash against the prediction market company’s controversial creative with its own digital outdoor ads that celebrate women athletes’ determination and resilience. Supported by content on Powerade’s social channels, the work turns Novig’s “Just Sports” slogan into a rebuke of the ads that have been criticized for sexualizing women in sports.

Ogilvy, part of WPP’s dedicated Coke agency, Open X, touted the campaign in a social media post today that emphasized Powerade’s history of supporting female athletes. The post depicts the response running in Times Square with an adjacent image of the Novig ad.

“When the conversation around how women are portrayed in sports started to pick up, we felt it was important for Powerade to share our perspective and reinforce what’s always been at the heart of our brand: athletes,” Leah Macko, Powerade’s VP of brand marketing, said in a statement.

“We’ve long believed that there’s no ‘just’ about what it takes to compete, especially for women in sports, so we saw this as an opportunity to celebrate the determination, resilience and impact female athletes bring to their sport,” she said.

Novig’s “Just Sports” campaign, which launched Sept. 9, features Sweeney appearing almost nude—with only strategically placed sports equipment covering her body—to promote its focus on the sports prediction market. The campaign spans digital advertising, social media, online video and out-of-home placements, including in Times Square, throughout football season.

Novig did not immediately respond to a request for comment on the Powerade campaign.

After its debut last month, many female athletes swiftly denounced the ads for sexualizing women and undermining their achievements in sports.

But Novig has since doubled down, releasing a second Sweeney spot over the weekend called “No BS.” The company cited rising trading activity and a spike in app downloads as evidence that the campaign is working.

Sweeney is an equity investor in Novig and helped shape creative direction and strategy, including by suggesting that Novig center its message around its sports-only focus, according to Novig CEO Jacob Fortinsky. The “Just Sports” campaign was developed in-house, led by head of creative Alex Thompson, working with Sweeney.

“We have enormous respect for female athletes and the continued growth of women’s sports,” Fortinsky told Ad Age. “We’re focused exclusively on sports. Sydney’s not a female athlete and was not claiming to be one.”

Powerade’s investments in women’s sports include two NCAA March Madness campaigns with Flau’Jae Johnson, Paris Olympics work featuring Sha’Carri Richardson and Katie Grimes, and campaigns with Alex Morgan and Tatjana Smith. The brand said it will continue that support in 2027 through its partnerships with the U.S. Women’s National Team and the FIFA Women’s World Cup.

Contributing: Brian Bonilla

Sunday, October 11, 2026

17627: On Charlie The Tuna & Dead Fish.

 

MediaPost recently reported StarKist named Tombras as its AOR, consolidating the business from multiple White advertising agencies to one. The StarKist VP of Marketing/Innovation gushed about bringing new energy to the brand and spotlighting iconic critter Charlie the Tuna.

The banner above appears to represent the new campaign. Sorry, Charlie—the work sucks and the responsible creative team should be canned like cheap tuna.

Starkist Consolidates Account, Selects Tombras As AOR

By Fern Siegel

Tombras has been named agency of record for StarKist.

The Knoxville, Tenn.-based agency will lead brand strategy, integrated creative development, media planning and buying, organic social and community management, measurement and analytics.

Previously, several agencies handled the brand. Now, it is combined into a single team.

“StarKist has tremendous brand equity, and this partnership gives us an opportunity to build on that strength with a fresh, integrated approach. Together with Tombras, we are bringing new energy to the brand, putting Charlie the Tuna back in the spotlight and creating work designed to drive relevance and long-term growth,” Michael Merritt, Jr., vice president, marketing/innovation at StarKist, told Agency Daily.

First campaign work begins this fall and will feature the brand's long-term mascot. Media spending for 2025 was estimated at $7 million, according to COMvergence.

“Partnering with StarKist is exciting for me personally on multiple levels. It's special to work on a truly iconic brand with so much equity. StarKist is a brand I grew up with. Now, we have the opportunity to introduce the brand to a new generation of consumers,” added Dooley Tombras, president at Tombras.

Tombras’ creative work also includes E.L.F., Rubbermaid, Rippling and Arby’s.

StarKist Co. is a wholly owned subsidiary of Dongwon Industries Co., Ltd.

Saturday, October 10, 2026

17626: On The New Age Of Abuelas.

 

Advertising Age published a Hispanic Heritage Month perspective on giving a multicultural marketing makeover to abuelas.

The new abuelas—it’s time for Hispanic marketing to retire an outdated archetype

By Jorge Becerra

Few characters are as familiar in Hispanic advertising as the abuela. For decades, she has been one of the most heavily used creative shortcuts for signaling family, tradition and cultural authenticity.

But while longevity has changed what later life looks like, advertising’s version of the abuela has barely changed at all. In fact, the abuela that advertising keeps putting on screen increasingly bears little resemblance to today’s abuelas.

Recently, I started reading Andrew Scott’s The Longevity Imperative, and it got me thinking about how our idea of later life is changing dramatically, and how slowly advertising has changed with it. People are living longer, but culturally we still compress older people into a remarkably narrow set of roles.

For Latina women, that disconnect is especially striking.

According to the CDC, a Hispanic woman who reaches 65 can expect, on average, another 23 years of life. In other words, 65 is not the beginning of the epilogue. It can be the beginning of another two-decade chapter.

And those years are not necessarily being spent withdrawing from the world. According to AARP research, 62% of Hispanic adults 50-plus say they maintain a healthy, active lifestyle. And 34% are focused on learning new skills.

We are comfortable showing abuela teaching. Why not show her learning?

Working life also deserves a place in the frame. Hispanic adults have higher labor force participation than white and Black adults across the 55-plus, 65-plus and 75-plus age groups. Working longer is not necessarily a choice, but it certainly challenges the image of later life as a permanent retreat from the world.

And yes, there is also life beyond giving romantic advice to grandchildren. Among Americans 65-80, 40% report being sexually active, and nearly three-quarters of those say they are very satisfied with their sex lives. Research also suggests older Hispanic adults are having even more sex than non-Hispanic white people the same age.

That probably isn’t the abuela most advertising has been showing us.

This is a new generation of abuelas: women who are living longer, working longer, traveling, exercising, dating, creating, spending, caring for multiple generations and continuing to reinvent themselves well into what we once considered “old age.”

Yet our cultural image of them hasn’t caught up.

In AARP research, 76% of Hispanics 50-plus said older people are underrepresented in advertising, and 84% said they would be more likely to buy from a brand featuring people their age. Perhaps even more revealing, 60% said they try to keep up with trends, compared with just 24% of the general 50-plus population surveyed.

That is a very different consumer from the one much of Hispanic advertising keeps casting.

For U.S. marketers, this represents more than an opportunity for better representation. It is a challenge to rethink one of Hispanic marketing’s most persistent cultural archetypes.

The abuela can still represent family, wisdom and tradition. But she can also represent ambition, independence, vitality and possibility.

The opportunity is to give abuelas the same dimensionality we increasingly demand for every other audience.

Marcelo Arango, founder and CEO of Young Aurelius, a strategic consultancy focused on helping companies navigate demographic change, foster intergenerational collaboration and better understand older generations, believes the shift requires marketers to rethink the assumptions they have long made about aging.

“We are long overdue for a new playbook. Longevity didn’t just add years to the end of life. It created an entirely new stage of adulthood. The demographics have changed, but we are still marketing to a world that no longer exists,” said Arango.

For our industry, that should force a creative reset.

Abuela has long been one of Hispanic marketing’s most efficient cultural shortcuts. Put her in an ad, and within seconds we communicate heritage, family, care and authenticity.

But shortcuts become stereotypes when we stop updating them.

In recent years, we have become much better at questioning one-dimensional representations of Latinas, or younger generations. Yet somehow, abuela remains stuck in an outdated script.

The next generation of abuelas can still embody wisdom, tradition and connection. Those qualities have not disappeared. What has expanded is everything around them: their economic lives, ambitions, relationships, identities and sense of what is still possible.

Perhaps the most respectful thing Hispanic marketing can do is stop treating older Latinas primarily as custodians of the past.

They are also participants in the present and, most importantly, authors of the future.

Friday, October 09, 2026

17625: On Cookie-Cutter Corporate Construction.

 

Advertising Age reported McCann CEO Tyler Turnbull will take the WPP Creative Global CEO title from departing VML Global CEO-WPP Creative Global CEO Jon Cook.

So much for a thoughtful transition. Then again, given the speed at which WPP CEO Cindy Rose replaced former WPP CEO Mark Read, hyper-accelerated musical chairs appear to be standard operating procedure for the single White operating company.

This also calls into question the transparency Rose once claimed to foster. How long was Turnbull courted behind the scenes? Surely the offer wasn’t hatched last week after Cook announced his resignation.

Turnbull is abandoning Omnicom, triggering suspicion of poaching and/or restructuring resentment. Regardless of the motivations, he’s hopping from the proverbial frying pan into the global flaming dumpster.

In closing, it’s worth noting Cook—a performative proponent for DEIBA+ and certified defender of Divertsity—ultimately replaced himself with two White men.

McCann CEO Tyler Turnbull set to take over as WPP Creative global CEO

By Brian Bonilla and Ewan Larkin

WPP is set to appoint Tyler Turnbull, the global CEO of McCann, as global CEO of WPP Creative, according to people familiar with the matter. Turnbull would succeed Jon Cook, who is due to step down by March.

It wasn’t immediately clear if Turnbull’s remit would extend beyond WPP Creative. Turnbull interviewed for the Ogilvy global CEO role before Laurent Ezekiel’s appointment in late 2025, according to people close to the situation.

WPP, Omnicom, McCann and Turnbull did not immediately return requests for comment.

Turnbull became McCann’s global CEO last December, following Omnicom’s acquisition of Interpublic Group of Cos., and now leads one of Omnicom Advertising’s three creative networks alongside BBDO and TBWA.

Before McCann, Turnbull rose through the ranks at IPG’s FCB. He joined in 2014 to revive the struggling Canadian office, later led New York, became North America CEO in 2019 and ascended to global CEO in 2022. FCB has since been folded into BBDO following the Omnicom deal.

Contributing: Judann Pollack