Media Reactions 2020

Where great ads thrive

 Introduction
Welcome to Media Reactions, a new Kantar study, which introduces a global ad equity ranking for
media channels and media brands.

These are challenging times for media companies as they seek to retain engaged audiences and
maintain advertising revenues during a major global recession. How different media owners build a
trustworthy reputation and how they respond to issues such as fake news and political unrest has never
been more under the spotlight. This creates new complexity for advertisers and agencies who are trying
to ’do the right thing’ with their media choices, but don’t want their campaigns to get swept up in
unintended media storms.

Media Reactions will help both media and advertiser brands to navigate a way through these choppy
waters, by providing a longer-term perspective on what people expect from advertising environments,
particularly content-led and social media.

This complimentary report provides an overview of the best channels and brands, along with
explanations of their success. It explores three divides in media equity, which the industry needs to
address. Firstly, there are major gaps in channel and brand performance online and offline. Secondly,
there are significant mismatches between consumers’ and marketers’ views. And thirdly, it’s clear
that not all media brands are able to convert equity in their platform to equity in their advertising
experience.

Many congratulations to the media channels and media brands which feature at the top of the
rankings. They clearly demonstrate the value of appropriate advertising formats and premium media
environments. In the appendix you’ll find more information on the methodology and details on how you
can buy the data and reports.

We hope you like it.

Jane Ostler Duncan Southgate

Global Head of Media, Global Brand Director,
Insights Division, Kantar Media, Insight Division, Kantar
Media Reactions 2020
The medium is part of the message
Advertisers and agencies
Media is not just a numbers game. Eyeballs and
cost per impression matter, but they are not the full — Where can I trust?
story. Media shapes and flavours how advertising
is perceived. Context influences people’s differing — What places align with my brand aspirations?
perceptions and attitudes towards different channels.
And these media reactions can make or break a
campaign. Viewers don’t necessarily love advertising,
but they do have clear opinions about the formats
they find more acceptable, and how much they trust
ads in different environments.

Media brands
Different challenges — How can I differentiate my ad environment?

Advertisers and agencies need to ensure they place — How to balance UX with monetisation?
ads in trusted environments, and that they are
aligned with their brand aspirations and campaign
messaging. Media brands need to differentiate
from their competition, not just based on the
target audience using their platform, but also on
the strength of their brand and the quality of their
advertising experience. They must balance their users’
desire for a relatively uninterrupted experience with
a need to commercialise via advertising revenue. Industry bodies
Industry bodies need to understand how their
— What strengths should we promote?
channels are perceived to ensure that educational
efforts, industry initiatives and best practice builds on
— What weaknesses should we address?
strengths and address weaknesses.

Media Reactions 2020

Media ethics are getting more complicated

Providing a premium quality media environment Analysis from Kantar’s COVID-19 Barometer
is not just about the transparency of supply indicates that consumer choice is influenced by
chains, managing brand safety and fraud increasing societal and ethical concerns that
reduction efforts. More subjective and politicised the pandemic has precipitated. Advertisers and
decisions about freedom of speech can agency partners are now taking surrounding
impact attitudes to media brands, and the content into account, and holding data owners
advertising that appears in those platforms. and publishers to a higher degree of scrutiny
The marketing industry and future investment than ever before. As part of this study, we
decisions are shaped significantly by opinions asked marketers what influences how they
about which channels and media brands are allocate media budgets. The top two factors are
most trustworthy, and which environments are ’channels appropriate for campaign objectives’
innovating to deliver greater acceptance. and ’channels where consumers are most
receptive’ - topics we explore in this study. These
Consumer trust of a medium is an increasingly two factors were rated more important than
important consideration for advertisers, as is other considerations such as media costs, sales
how well it fits with their own corporate values. response and ROI.

‘It comes back in the end to respect ‘We need our advertising to appear
for the consumer. in a trusted medium: it’s delivering
our message and must be delivered
If you don’t respect them and you effectively.
create annoying advertisement
experience, that’s bad for the If we appear in a medium that’s not
consumer, bad for advertisers, and trusted by it’s audience, consumers
bad for the industry in general’ aren’t going to trust our message’

Alejandro Betancourt, Micaela Lopez Parma,

LATAM Brand Director, P&G Regional Media Lead,
Colgate-Palmolive

Media Reactions 2020

 Introducing Media Reactions

Media Reactions is the first global equity evaluation

of a selection of media channels and media brands
among consumers and marketers.

The media brands evaluated vary by country but are mainly

content-led and social media environments. It provides an
overall ad equity metric, along with detailed diagnosis of
perceptions of different media environments. This year, for
the first time, Media Reactions combines two heritage Kantar
studies: AdReaction which has long assessed consumer
attitudes to advertising and Getting Media Right which has
explored strategic media and measurement challenges among
advertisers, agencies and media companies. Media Reactions
surveyed 4,000 consumers across seven major media markets
worldwide, alongside over 700 interviews with global marketers.

Media Reactions global ad equity rankings

The new overall ad equity metric identifies the places where

users of media channels and media brands most appreciate
advertising and are least likely to view ads negatively. In
essence a ‘Net Promoter Score’ for advertising formats and
environments.

By combining multiple positive and negative dimensions of ad

equity, we provide a comprehensive understanding of how ads
are viewed along with a detailed diagnosis of their strengths
and weaknesses.

Media Reactions 2020

 Global ad equity ranking - channels Our analysis has surfaced three important themes

1
The online-offline divide

Offline channels dominate the overall from fashion and beauty brands

1
ranking. In an incredibly tough year because they complement and sit

Cinema ads for the cinema industry, hopefully it

is some small consolation to know
well alongside the editorial content.

that people are so positive about But online ad formats suffer because
cinema ads. They top the list in part they are generally considered too
because of their strengths (‘fun and intrusive, with high ad saturation.

2
entertaining’ and ’good quality’), Moreover, they are perceived to use
Sponsored events but also because they avoid many of more excessive targeting techniques
the pitfalls of other ad formats (‘too than offline media, making viewers
intrusive’, ‘dull’, ‘excessive ad volume’ wary.
or ‘excessive ad targeting’). We also

3
know from effectiveness studies that Respondent-level correlation analysis

Magazine ads while cinema as a channel is typically has helped us understand that
low reach, it is also high impact. overall channel attitudes are
most damaged by intrusiveness.
Sponsored events have the lowest Thus, it is critical that marketers first
ad saturation and are considered understand which ad formats are

4
the least intrusive channel. People considered most intrusive so that
Digital OOH ads clearly appreciate brands supporting creative can be tailored to blend better
things they are passionate about, in these particular contexts. Excessive
whether that’s branded stadium LED frequency is then a secondary problem
advertising boards in a sports arena, which compounds intrusion.

5
or sponsoring the main stage at a
Newspaper ads music festival. Kantar’s Dimension 2020 study
found that 71% of consumers criticise
Print’s relative strengths are trust excessive frequency, so the online
and relevance, combined with low industry collectively needs to address
intrusion. Readers of style magazines these flaws to deliver better value to
are likely to be positive about ads advertisers.

Media Reactions 2020

 Global ad equity ranking - online channels However, consumers don’t see all online
advertising in a negative light. Some online
channels perform better than others.

Influencer content is viewed

1 Influencer branded content most positively because it is

considered more relevant.

2 Podcast ads Kantar’s Dimension 2020 study shows

that influencers are especially appropriate
for certain categories, such as luxury goods
and travel.

3
Podcasts are more popular because the ad
Streaming TV ads environment is less cluttered, and streaming
TV content is considered better quality. All
these formats avoid the negative associations
of other more intrusive online formats.

4
Social media story ads are considered

Online display ads more innovative and would perform even

better if they weren’t appearing in cluttered
environments.

5 Social media story ads

Media Reactions 2020

 And what of TV? Advertising attitudes of TV vs channel average
Well, TV ads are polarising. As the single
largest paid media, it seems that everyone
has an opinion one way or the other. While
not as popular as cinema or events, they
are more popular than most online formats.
Plenty of people think they’re fun and good
quality, and relevant and trustworthy too.
However, many others dislike the saturation
and repetition.

Consumers are very likely to appreciate

industry initiatives that seek to reduce ad
volumes per hour, and advertisers who are
careful about TV frequency capping.

Reducing irritation and improving effectiveness

Consumers are astute at assessing frequency levels. Many of them believe TV and radio ads are too
repetitive, and this is also borne out in media effectiveness data. Kantar’s CrossMedia effectiveness
studies typically measure TV and radio campaign frequency levels of 15, which are very close to the
ceiling beyond which we see dramatic falls in effectiveness. Actual frequency levels are much lower for
online video and social media, and well below our effectiveness ceiling, yet some consumers feel these
ads are also too repetitive. Again, context is important.
Media Reactions 2020
 Global ad equity ranking - media brands In stark contrast to the channel rankings, ad equity is generally higher
for the global digital media brands than for local media brands with an
offline heritage. It seems that the ’general failings’ of online ads are less
of an issue for most of the premium digital environments included in our
study. But it may also be that users of specific digital media brands are
more forgiving of ads on ’their’ digital platforms of choice, than ads in

1
the TV channels they choose to watch.

Among the selection of media brands

2
measured* in more than four markets, TikTok
tops our inaugural ranking. The excitement
and passion for the innovative content on
this platform clearly extends to the creative

3
advertising that is also starting to appear.

We often see a honeymoon period for new platforms (both in terms of

4
ad equity and effectiveness), so there is a clear incentive for advertisers
to be early adopters in this space. In fact, the top three brands are all
’younger’ digital brands, founded in the past decade.

5
Media Reactions 2020 *See appendix for list of media brand coverage by country
Advertising attitudes of TikTok vs brand average

Although TikTok is still a relatively small brand, users find ads on the platform to be fun, entertaining
and innovative, and they are far less likely to think that the platform contains too much advertising.

The gamified media formats (not just ads, but also Hashtag Challenges) are likely helping to drive these
positive opinions. This currently makes the platform an appealing advertising environment. Of course,
the challenge for TikTok will be to maintain these perceptions as they ramp up monetisation.

Media Reactions 2020

Country variations in ad equity ranking While TikTok scores well in all markets
we measured it in - topping the list
in three out of five countries - there
is significant variation in ad equity
by country. In China, TikTok (Douyin)
was topped by Redbook. While ads
on Redbook aren’t considered as
innovative as those on Douyin/TikTok,
it is the least cluttered ad environment.
In France, TikTok was nudged out by
Twitch. Twitch was only measured
in France and the UK but scored
incredibly well among its relatively
small number of users.

Google tops the ranking in Brazil,

and scores well in the US, Germany
and Australia, thanks to trust and
relevance. It scores less well in the
UK and France due to user targeting
concerns. Instagram scores well
globally, especially in Germany, where
it is considered more relevant and
useful than all other ad platforms.
While the best online brands tend to
dominate the top of the list, some
offline heritage brands score well in
particular markets (e.g. Spiegel in
Germany thanks to trust, and ESPN in
the US thanks to fun).

Media Reactions 2020

 Global

2
The consumer and marketer divide preference Consumers Marketers
While cinema, events and print are
the most popular ad formats among
consumers, marketers prefer TV and

1
digital formats. Clearly, each group is
arriving at this evaluation from a different
perspective, with marketers keen to Cinema ads Online video ads
deliver impactful ads, whereas consumers
generally prefer an uninterrupted viewing
experience. However, it seems that

2
marketers struggle to disentangle their
knowledge about media - e.g. declining Sponsored events TV ads
print circulations - from their attitudes
towards them. Just because print
audiences are shrinking doesn’t mean

3
these ads have stopped working.

When we isolate stakeholder segments, we Magazine ads Social media news feed ads
see that marketers trust similar channels
to consumers (both trust TV ads, TV
sponsorship and radio ads), but marketers

4
trust online video much more and they
trust print far less. Digital OOH ads Streaming TV ads

5 Newspaper ads Social media story ads

Media Reactions 2020

 Global
preference Consumers Marketers Marketers’ enthusiasm for new media formats exceeds
that of consumers, but for new media brands, consumers’
enthusiasm is higher than that of marketers. Within the
global digital media brands, consumers are generally
most positive about the newer platforms, such as TikTok

1 with less advertising, whereas marketers prefer more

established platforms, such as YouTube.

2
Consumers and marketers are more of mind for marketers, TV and online
aligned in their opinions about the video are still considered innovative by
most trusted digital media brands consumers.
(Google, YouTube and Instagram) and
the most innovative brands (TikTok, Ultimately, managing this format

3
Instagram and YouTube). - brand divide requires marketers
to consistently re-evaluate their
But sitting on opposite sides of the own assumptions. While they may
screen does mean marketers and be comfortable or familiar working
audiences have differing views on with particular media partners, they

4
what formats are innovative. Both should frequently assess whether
find social media stories, digital OOH those platforms remain relevant for
and influencers innovative. While their target audience.
podcasts and streaming TV are top

5
Media Reactions 2020
 The impact of the pandemic

Faced with a sudden downturn in their own businesses, and with

concerns for the future as a result of the pandemic, businesses
are adopting recessionary behaviours.

69%
* Sixty-nine percent of Kantar’s
clients said their Q2 2020
performance had been impacted
negatively - 15% very negatively

As a result, 60% have reduced their marketing spend overall

- 30% have reduced it a lot. Although the majority (64%) is
optimistic that their business will recover in 6-12 months, most
appear to be saving their way out of the crisis.

At the same time, the pandemic has acted as an accelerant

for key trends, which businesses can no longer ignore, including
a greater focus on brand purpose and digital transformation.
Ninety-five percent think online consumer spending will increase;
62% by a lot.

Fifty-four percent of businesses will therefore increase

e-commerce capabilities, and a further 26% will introduce them –
needing to catch up. This digital business transformation will also
likely be reflected in increased digital media spend.

Media Reactions 2020 *Source: Kantar Global Business Compass

Our Media Reactions survey of global marketers TV investment suffered a short-term reversal
showed that all digital channels saw a net but is expected to bounce back. Spend on
increase in media spend and resource allocation cinema, events, OOH and print have fallen
due to COVID-19. This shift looks set to accelerate significantly and that trend looks set to
further into 2021, especially for online video. The continue into next year.
global platforms most likely to benefit are:

Changes in budget/resource allocation (% net +ve) Due to COVID-19

Anticipated in 2021

Online Ads in Ads in Online Branded TV ads Ads in TV ads TV program Radio ads Digital Newspaper Magazine Billboard/ Events Cinema
video ads social social display ads content while podcasts sponsorship billboard/ ads ads outdoor sponsored ads
media media shared streaming outdoor ads by brand
stories news feeds by online via smart ads
influencers TV

Media Reactions 2020

The COVID-19 pandemic has emboldened marketers to Long-term impact of COVID-19 on approach to media and advertising investment
speed up change, rather than making them more cautious.

53%
say that they expect
to ‘be more innovative
and more willing to try
something new’.

A clear driver behind the shift to digital is the need for

greater agility, but this will also extend into more flexible
buying arrangements across all media. With volatility across
many categories, marketers are keen to minimise risk by
avoiding long-term lock-in arrangements that could turn
out to be unsuitable with unforeseen events.

Interestingly, the single biggest shift will be an increased

focus on campaign effectiveness, making optimisation and
measurement vital. Just 4% of marketers believe there
will be no long-term impact.

Media Reactions 2020

 Global brand equity rankings

3
The brand and ad equity divide

People will only spend time visiting and

1
revisiting a media environment if they
find it relevant, useful, and better than
other media.

Kantar’s extensively validated brand

equity framework assesses the degree

2
to which brands are Meaningful
(affinity and meeting needs) and
Different (unique or setting trends). In
this study we applied these measures
among users of each brand.

3 Of the media brands measured in

multiple markets, Google has the
highest brand equity thanks to
strongly meeting needs, while users of
Netflix have especially high affinity.

4
As we saw with ad equity, users are
generally more positive about online
media brands than they are about
offline brands.

5
Media Reactions 2020
Country variations in brand equity ranking We see a lot of variation in brand equity
across markets. While Google tops the
list globally, Netflix tops the brand equity
ranking in four of the five countries
where it was included. Clearly there is a
huge passion for the content available
via the Netflix platform, but it is likely no
coincidence that this is a channel that does
not carry advertising.

Overall, popular brands are more likely to

be popular ad environments. However, not
all media brands successfully translate their
brand equity into advertising equity. Many
beloved media brands are being let down
by their advertising proposition.

Excessive or inappropriate monetisation via

ads may eventually reduce brand equity.
Other platforms have strong ad equity but
are yet to establish brand loyalty, these
tend to be smaller platforms. It is generally
harder for larger platforms to have high ad
equity, but of course they do offer greater
potential scale for advertisers.

YouTube tops the ranking in Brazil and is

also the highest rated ad-funded platform
in Australia, France, and the US. Spotify
leads the ad-funded platforms in Germany.
Among offline platforms, Sky in the UK is
considered strongly unique.

Media Reactions 2020

 Managing medium as message

There’s no such thing as the perfect media brand personality. What is

‘good’ is what is appropriate for the brand being advertised. However, it is
likely that more clearly defined media brand characters will enable stronger
transference. Also, because no single brand can be all things to all people,
advertisers will need to ‘blend’ media personality types to provide the
optimal mix for their campaign.

Many of the social media and streaming video brands are considered fun,
but they differentiate themselves via their secondary personality attributes.
YouTube is fun and creative. Snapchat is fun and playful, and Hulu in the US
is fun and desirable. Some brands like TikTok have a consistent personality
across countries (always playful and fun). Others can see more variation,
for example Twitter is considered more rebellious in France, and more
innocent in Germany. Similarly, Facebook is deemed more fun in Brazil, and
more assertive in Germany.

Amazon, along with Google and many of the news brands and TV
broadcasters share more ‘serious’ personalities (in control, straightforward,
assertive). But there can still be significant differences between TV
broadcasters. In the UK, ITV is friendly and straightforward, whereas
Channel 4 is rebellious and different. Understanding these nuances is
important for brands wishing to maximise halo effects.

Media Reactions 2020

 Summary: the three key media equity divides

1. The divides Offline media channels are generally favoured due to more trust and the
between online perception that they are better quality. Consumers prefer the less intrusive
and offline channels experiences of cinema, sponsored events, and print ads.
and brands
However, low receptivity towards online advertising doesn’t translate to all
online media brands. TikTok, Instagram and Snapchat top our inaugural
global ad equity ranking. Digital brands generally have higher ad equity
because they are more fun, entertaining and innovative.

2. The divide Marketers prefer more intrusive formats such as online video, TV, social
between consumers media news feeds, stories and VOD. They are most favourable towards
and marketers YouTube and Google.

The COVID-19 pandemic has accelerated reliance on digital in media plans

as marketers have responded to increased consumer usage of online media
channels. While TV spend should rebound, decreased spend in cinema,
events, OOH and print look set to continue into 2021.

3. The divide Many media brands are well loved, but brand equity does not always
between brand translate to analogous perceptions about the ads on the platform. Excessive
and ad equity monetisation on platforms with high usage can ultimately reduce ad equity.

Regardless of their size, media brands display very different personality

characteristics. Many social media brands are more ’fun’, while news and
broadcasters are more ‘serious’, but there are important nuances between
individual brands, and these profiles can vary across countries.

Media Reactions 2020

 Implications for advertisers and agencies Implications for media companies

1. Tailor your Reduce frequency in channels and media brand environments where 1. Take inspiration Be mindful of the trade-off between relevance and privacy. Concerns about
advertising consumers think there’s already too much repetitive advertising. Make sure from best-in-class excessive targeting and intrusiveness are large factors in lower overall
approach based you entertain and are relevant in more intrusive environments, whilst not media channels and receptivity. Online publishers need to collectively improve their industry
on consumer using excessive targeting approaches. Lobby your major media partners to brands reputation for intrusion. Offline channels could learn from the engagement
expectations address the weaknesses that undermine their ad equity, and ultimately your generated by fun new online approaches.
chances of advertising success.

2. Keep pace with The world has changed. Consumer media habits have changed, and your 2. Appeal to both Innovate your advertising formats regularly to satisfy marketer needs, while
changing consumer media spend needs to move with it. This won’t just be a short-term blip. Now the consumer and keeping consumers entertained and paying attention. Instagram balances
habits and is the time to speed up innovation rather than to be cautious, and to focus the marketer these needs well. TikTok has captured the hearts of consumers, but still
expectations more than ever on effectiveness (doing the right things and doing them needs to convince marketers. Beware of salami-slicing receptivity by steadily
cost-efficiently). Engage in social issues, be authentic, have a point of view increasing ad saturation. You’ll only find out you’re running too many ads
and reflect this in your media partner selection. when it’s too late and your users have moved elsewhere.

3. Invest in media There’s no ‘perfect personality’ for media brands, other than the ones which 3. Assess whether For some brands, ad equity is undermined by ad saturation, while others are
environments that best fit your intended positioning. Make sure your ads are enhanced by the your ad equity considered intrusive or boring. Work to address weaknesses while promoting
reflect your brand places they appear. Social media and streaming media brands generally makes the most strengths. Understand your brand character and the type of ‘halo’ effect you
aspirations have a playful and fun style, whereas Google, Amazon and news sites are of your brand can provide to advertisers.
more serious in tone. Social stories, online games, video streaming and
digital OOH are seen as innovative. Select complementary channels.

Media Reactions 2020

Appendix

About our study

We’ve been talking to consumers and marketers for many years about their media Media Reactions complements
experiences and perceptions. This year we’ve combined the consumer and marketer Kantar’s comprehensive portfolio
studies to give a complete view of the current media landscape and how to navigate it. of media measurement and
Beyond the publicly available materials, global and country data files and reports are effectiveness solutions, including
available to purchase with much more detail. approaches which enable the
testing of ads in different media
Consumer survey contexts and channels.
We conducted a 15-minute online survey amongst 16-65-year olds, 500 interviews in
each of in Australia, Brazil, China, France, Germany, UK and 1,000 in the US.
Visit our website or contact your
Marketer survey local Kantar representative for
733 senior marketers (Advertisers, Agencies and Media Companies) answered a further information.
15-minute online survey.

Media Reactions 2020

Media Reactions 2020 measured the following channels and brands

Channel coverage (consistent globally) Media brand coverage by country

Global Australia Brazil China France Germany UK US

TV ads* Google* Google Baidu Google Google Google Google

YouTube* YouTube BJ Satellite TV YouTube YouTube YouTube YouTube

TV program sponsorship*
Facebook* Facebook CCTV Facebook Facebook Facebook Facebook
TV ads while streaming via a smart TV*
Instagram* Instagram Douyin Instagram Instagram Instagram Instagram
Newspaper ads*
Hunan Satellite
Twitter* Twitter Twitter Twitter Twitter Twitter
Magazine ads* TV

Radio ads* Snapchat* globo.com Huya Snapchat Snapchat Snapchat Snapchat

TikTok* UOL iQIYI TikTok ARD TikTok TikTok

Billboard/Outdoor ads (posters)*
Netflix Mercado Livre JD.com Twitch ZDF Twitch Netflix
Digital Billboard/Outdoor ads (video screens)*
Spotify Spotify Kuaishou Netflix RTL Netflix Spotify
Cinema ads (appear before movies at the cinema)*
Seven Network Deezer QQ Spotify SAT 1 Spotify Hulu
Online display ads (images + text)*
Nine Network Rappi QQ Music Deezer Pro 7 BBC HBO
Online video ads* France
Redbook Télévisions
Events sponsored by a brand* Network 10 TNT VOX ITV Disney +
(Xiaohongshu) (France 2, 3, 4 &
Ads in digital streaming music services 5)

SBS SporTV Tencent News TF1 Kabel 1 Channel 4 NBC

Ads in podcasts*
ABC Multishow Tencent Video M6 RTL 2 Channel 5 ABC
Branded content shared by online influencers*
Foxtel Telecine Tmall/Taobao CANAL+ Netflix Sky CBS
Ads in social media stories*
Stan Globo Toutiao Leboncoin Spotify Disney Fox
Ads in social media news feeds*
news.com.au SBT Wechat Amazon Amazon Prime Amazon ESPN
Ads in online or mobile games nine.com.au Band Weibo Cdiscount BILD Pinterest Fox News
Ads on news website or portals The Guardian Record Xiaomi TV Le Monde Spiegel The Guardian CNN

Ads in video streaming websites or apps Daily Mail RedeTV Youku Le Figaro Focus Daily Mail CW Network

Media Reactions 2020 *These media channels and media brands are also included in the global marketers survey
Kantar is the world’s leading evidence-based insights and consulting company. We have a complete,
unique and rounded understanding of how people think, feel and act; globally and locally in over 90
markets. By combining the deep expertise of our people, our data resources and benchmarks, our
innovative analytics and technology, we help our clients understand people and inspire growth.

Media Reactions 2020