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The Year’s 2. 3 Best Media Plans, From Netflix and Hulu to Go. Pro and Google – Adweek. With a constant stream of information inundating consumers at every turn, it’s becoming harder than ever for advertisers to reach their target audiences in meaningful ways. That’s where our Media Plan of the Year honorees come in. Whether they were turning social media outrage into candy sales like Snickers (see more on our Media Plan of the Year here) or showing beer drinkers how their empty bottles can help save the environment, these 2. The Judges. Many thanks to our esteemed panel of jurors who carved out time to judge another record year of Media Plan of the Year entries.

If you’re interested in serving as a juror in 2. Jemima Mendenhall at Jemima. Mendenhall@adweek. Sasha Savic (chair), Media.

Com• Kamran Asghar, Crossmedia• Neil Goodspeed, Carmichael Lynch• Carmen Graf, GSD& M• Trevor Guthrie, Giant Spoon• Sarah Kramer, Spark Foundry• Lynn Lewis, UM• Maureen Mc. Closkey, Kinetic U. S.• Rachel Mercer, Deutsch New York• Eric Perko, MUH- TAY- ZIK HOF- FER• Sheri Roder, Horizon Media• Neil Smith, 3. David Song, BARKER• Mel Stern, J3• Jeff Tan, Dentsu Aegis Network USAUM Hulu, “The Laws of Gilead”Categories: Campaign ($1. Best Use of Native ($1 million +)To promote the dystopian world of The Handmaid’s Tale, where women have no voice, Hulu and its agency UM Los Angeles tuned in to and amplified female- driven conversations from social media and the post- election protest marches early this year.“We wanted to be bold but empathetic and in the right tone,” says Kacie Sage, UM’s svp, group partner, “so we listened to how people on the front lines were thinking, feeling and speaking out about women’s rights.”The result was “The Laws of Gilead,” a digital, social, editorial, radio, experiential and TV effort that drove home the oppressive rules of the near- future drama (women aren’t allowed to read, they must wear the color of their caste, they’re subservient and powerless) by linking them to current- day events. One highlight of the campaign involved having a group of women in red cloaks, the signature handmaid outfit, roam the South by Southwest festival and other high- traffic events.

Costume exhibits with partners Vogue and Vanity Fair emphasized the harsh symbolism of the apparel so that potential viewers could “feel the impact in a relevant context,” Sage says. An art installation on New York’s High Line encouraged people to take one of the 4,0. Margaret Atwood’s novel on which the series is based, while thought leaders spread provocative quotes from the once- banned book. Fans responded immediately. The Handmaid’s Tale was the internet’s most- discussed show during its launch week, with 1. Awareness skyrocketed among nonsubscribers, the series premiere drove the highest daily subscriptions to the streaming service year to date, and the drama became the most- viewed debut of any series on Hulu. T. L. S. Mullen. Lowe Mediahub Netflix, Earn Your Power.

Breaking news, weather, analysis and information from the Omaha World-Herald about Omaha events, local weather, sports, schools, crime, government, health and.

It’s been a debate that’s raged across the internet for years now. It should be a simple task to stream a show like Game of Thrones online, right?

Category: Campaign ($5. Netflix knew that the sweet- spot audience for its new Iron Fist series wasn’t going to be easy to reach. The people most aware of the Marvel comic book—and likeliest to watch its TV adaptation—were overwhelmingly male, millennial and hard- core gamers.“Gamers are highly aware of product placement and integrations, and if done wrong it can be pretty lame,” says Shauna Spenley, vp for marketing, licensing and merchandising, North America at Netflix. The platform and its agency, Mullen. Lowe Mediahub, found a way to engage gamers by inviting them to activate a code on the gaming news and info sites IGN and Game. Spot. Once the code was accessed, users were treated to footage from the series.

The campaign continued with a livestream of two gaming superstars, Justin Wong and Daigo Umehara, facing off on the platform Twitch. The campaign resulted in 2.

Twitch stream, which was 5. Iron Fist became the most- binged Netflix drama during first- quarter 2.

One key takeaway: “By leaning into cultural gamer insights—their love for nostalgia and competition—we could create experiences that the audience loved and appreciated,” Spenley says. Janet Stilson. Mullen. Lowe Mediahub Netflix, Black Mirror, Season 3: Unblockable Ads. Thorne: Sleepyhead Full Movie Part 1 on this page. Category: Campaign (less than $5.

Targeting an audience that is highly skilled at avoiding ads certainly was a head- scratcher for Netflix and Mullen. Lowe Mediahub when they were looking to develop a campaign for the third season of Black Mirror. Watch Return To Oz Online (2017). Research showed that about two- thirds of the audience in their sight lines—tech savvy sci- fi fans ages 2. So Netflix simply went around the ad blockers. The company worked with Mashable, The Next Web and Slate to build a native content message directly into the publishers’ CMS in order to avoid triggering ad blockers. The message was appropriately eerie: “Hello ad blocker user,” it read.

You cannot see the ad, but the ad can see you. What’s on the other side of your Black Mirror?”If applied improperly, the strategy might have backfired, given the target’s aversion to ads. With the anti- blocker concept, we felt it struck the right balance of getting what the show was about and reaching its intended audience,” says Shauna Spenley, vp for marketing, licensing and merchandising, North America at Netflix. The results were strikingly better than the previous season’s campaign had been, driving five times more search volume and 3. The series also became a top 1. Symphony Advanced Media.

J. S. Mindshare U. K. Marks & Spencer, Love Mrs.

Claus. Category: Campaign ($1- 5 million)After five years of declining Christmas sales, Marks & Spencer needed to make a change. So the British department store decided to refocus its holiday advertising on a core demographic it had been neglecting: women over 4. Cue Mrs. Claus—the empowered and relatable 1. Rainey Kelly Campbell Roalfe/Y& R, then the brand’s creative agency—brought into the real world last winter through a wide- ranging media campaign from Mindshare. A keystone TV partnership with Britain’s Channel 4 kicked off the network’s Christmas programming during hit reality show Gogglebox, placing Mrs. Claus in custom advertising with the broadcaster’s own talent. A social response activation saw Mrs.

Claus take over Marks & Spencer’s Twitter feed to interact with fans. A line of Mrs. Claus products—including her outfit from the main spot—quickly sold out from the retailer’s online and brick- and- mortar stores.“To have this iconic character who was a bit older but still super glamorous and really inspirational, for us that was a really exciting part to play,” says Fleur Stoppani, client partner at Mindshare. We knew we had to bring her to life in more ways than simply the ad.”Most importantly, it worked. A 5. 9 percent year- over- year increase in quarterly sales reversed the brand’s holiday sales slump—proving Mrs.

Claus really was the heroine the brand needed. Gabriel Beltrone.

UM and Mc. Cann Worldgroup U. S. Army, ‘White Hats Wanted’Category: Best Use of Insights. The stakes were high when Dan Donovan and Mat Bisher developed the “White Hats Wanted” TV campaign for the U. S. Army. That’s because the duo, who serve as executive creative directors for Mc.

Cann Worldgroup, knew that over the last 1. U. S. government institutions have risen 1,3. The campaign’s mission was tough: convince the best and brightest hackers to turn a new leaf and help fight cybercrime. Donovan and Bisher developed a TV ad that featured lines of code being rapidly typed out on an unmanned computer screen. To the untrained eye, it didn’t look unusual.

But the code contained a secret message, challenging hackers to solve a decryption puzzle that was created by Army Cyber Command personnel. In a sense, the Army became Mc.

Cann’s production partner. The Army wanted to have control of how the back- end experience worked,” explains Bisher. So we weren’t in complete control once that user journey happened of trying to crack the code.”All told, 7.

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