Explore every episode of the podcast The Campaign Podcast

Last week was the 40th anniversary of the Media Week Awards, and we celebrated the ceremony in London with almost 1000 people in the room.

This episode features the co-chairs of judges, Karen Eccles, former managing UK and Ireland at Sky Media, and Marcus Orme, founder and chief executive of Medialab Group. Joined by Campaign's deputy media editor Shauna Lewis and host, tech and multimedia editor, Lucy Shelley, they discuss their experience of the roadshow judging days and how they came to decide the winners.

They discuss the in-person presentations and the judging of the top three awards: Media Agency of the Year, which went to PHD, Independent Media Agency of the Year which went to Medialab Group and Sales Team of the Year which went to ITV Commercial.

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We are entering Christmas in adland which means soon some of the biggest ads of the year will drop across our TV screens, phones, billboards and more.

Both highly anticipated and highly speculated, this episode of The Campaign Podcast goes through what Campaign knows so far about the ads, from Lucy Punch and James Norton featuring in the M&S ad to McDonald's not creating a hero film for the second year, as well as looking back at previous years to predict what trends might appear in this year’s crop of xmas ads.

Hosted by Campaign's tech and multimedia editor Lucy Shelley, Campaign's creative team join the episode: creativity and culture editor Gurjit Degun, deputy creativity and culture editor Charlotte Rawlings and senior reporter Eszter Gurbicz.

Further reading:

Coca-Cola hires Ajaz Ahmed start-up for Christmas campaign

Is the World Cup a bigger opportunity for brands than Christmas?

Oxfam appoints creative agency for 2026 Christmas campaign

The Lists 2025: Top 20 film ads

Peta “Happy Christmassacre” by Grey London

Sainsbury's set to make it three Christmas ads in a row for the BFG

Shelter awards Christmas campaign to Meanwhile following pitch

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WPP Production opened its first global flagship office in September with an AI-powered high-tech studio in Devon’s Point, East London. Deputy creativity and culture editor Charlotte Rawlings attended the opening and gives her perspective on the facility.The opening comes as WPP’s Q2 results showed WPP Production was the only one of the holding company’s four units that reported positive growth.

Also in September, internal guidance from WPP Production was seen by campaign which asked staff to convince clients to insource all production, and avoid traditional commercial bidding by providing all three bids from WPP. This caused furore among independents and reignited a longstanding debate between in-house agency production companies and independents.

In this episode, Campaign's editorial team is looking into why production is such big battleground, and if WPP’s investment marks a step change for the sector. Tech and multimedia editor Lucy Shelley hosts the episode which features Rawlings, alongside creativity and culture editor, Gurjit Degun, and UK editor Maisie McCabe.

Further reading:

WPP Production takes down insourcing guidance

'A risk the work becomes narrower and worse': adland reacts to WPP Production insourcing guidance

WPP closes Hogarth and launches WPP Production

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What is the true balance between human spaceflight and robotic exploration when it comes to science, inspiration, and decision-making capabilities? How is space transitioning from a niche frontier to an everyday commercial workplace? What role do regulatory frameworks, such as the United Nations, the Artemis Accords, and the Astra Carta, play in keeping orbit and the lunar surface safe and sustainable? And how can the UK Government act as an "anchor customer" to bridge the commercial "valley of death" for domestic space startups?

Join Alice and Jonners in this special episode recorded in Chichester Marina with British astronaut Tim Peake as he shares insights on space adaptation syndrome, commercial space stations, lunar research bases, global space traffic management, and the future of human exploration to Mars.

Contributors:

Alice Bunn, President of UKspace

Dr Alice Bunn OBE FIMechE FRAeS CEng | LinkedIn

UKspace: Overview | LinkedIn

Jonathan Davies, The Karman Line

Jonathan Davies | LinkedIn

The Karman Line | LinkedIn

Tim Peake, Astronaut

Tim Peake | LinkedIn

Key topics covered:

• Human spaceflight vs. robotic exploration
• Space Adaptation Syndrome (nausea & gravity adjustment)
• Normalising space as a commercial workplace
• Transition from space stations to commercial Low Earth Orbit (LEO)
• Artemis programme & sustainable lunar research bases
• Astronaut selection mindsets, psychological profiles, and stress testing
• International space cooperation & soft power (ISS legacy)
• Governance, leaseholds, and regulatory frameworks on the Moon
• The Astra Carta & space sustainability
• Human exploration of Mars
• Government as “anchor customers

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Campaign's TV Advertising Summit took place in September, in partnership with Netflix, Sky Media and Dailymotion, questioning how the TV ad landscape has been remodelled, and what advertisers need to do to get ahead.

Brands, media owners and agencies spoke at and attended the event, which ended with a session hosted by Lindsey Clay, chief executive of the TV marketing body Thinkbox, with three panellists: Elisabetta Farroni, brand director and executive creative director at Visa; Regan Warner, executive creative director at M&C Saatchi UK; and Aidan McClure, co-founder and chief creative officer at Wonderhood Studios.

This episode features a recording of the session, where the panellists take us through their top TV campaigns that have defined the medium, both from their own work and the ads they wished they made.

Before the session, Campaign’s deputy media editor Shauna Lewis joins tech and multimedia editor to discuss the top takeaways from the day, including competition with Big Tech and how Sky's acquisition of ITV impacts media buying.

The ads mentioned:

Waitrose & Partners "The perfect gift" by Wonderhood Studios

Visa "Level up your game" by VaynerMedia EMEA

The Department for Education “Get out of the everyday. Get into teaching” by M&C Saatchi Group UK

Magnum ad shows how buying copycat ice-cream can destroy a relationship

Confused.com brings familiar sayings to life through puppetry

Monzo “Get busy living” by BBH London

Nike “Stairs” by Wieden & Kennedy Portland

Anthropic Super Bowl ad highlights its AI assistant Claude

Twix "Camping" by Adam & Eve/DDB

Further reading:

Netflix UK's Ed Couchman: You can build a whole media plan on SVOD

Channel 4 calls for 'robust scrutiny' of ITV-Sky merger

UK competition watchdog launches inquiry into Sky/ITV deal

Will ITV generate enough ad revenue to earn £200m payout from Sky?

'One of the biggest shake-ups in UK TV': the potential impact of Sky-ITV

'I don’t think advertisers care enough yet': ITV's Kelly Williams on Meta

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Omnicom has moved to centralise impact and inclusion capabilities at group level. This led to Lucky Generals cutting its social impact lead Lameya Chaudhury.

Other holding companies including WPP and Publicis also have central DEI teams, so in this episode we are asking what it means to “centralise inclusion” and the impacts of doing so.

Hosted by Campaign's tech and multimedia editor Lucy Shelley, this episode includes Dino Myers-Lamptey, founder at The Barber Shop and trustee of Brixton Finishing School, former media editor Beau Jackson and data journalist Jamie Rossouw.

Further reading:

Professor Arday’s death should make brands consider the media ecosystem they fund

Podcast: Should an agency be judged by its diversity?

Xavier Rees: Adland leaders have “responsibility to speak up for inclusivity”

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Over the last two weeks, adland has seen some major changes for two of the biggest global media accounts: PepsiCo and Coca-Cola. 

In a shock move, Publicis Groupe took PepsiCo’s global media account from longtime incumbent Omnicom without a pitch, and pulled out of the contest for Coca-Cola’s international media, tech and data account in a two way pitch against WPP. As a result of Publicis taking rival Pepsico’s global account, Coke’s North America media account is now set to review with Omnicom and Dentsu understood to be in the running, and WPP not competing.

In this episode, Campaign's tech and multimedia editor Lucy Shelley is joined by editor-in-chief Gideon Spanier and UK editor Maisie McCabe to look into how Publicis managed to swipe PepsiCo's business without any pitch and what it means for purpose and value of the pitch process.

Further reading:

Omnicom ‘proud’ of PepsiCo media work as it reels from global loss and stock drops 5%

WPP closing in on Coca-Cola’s international media, data and tech account

Pepsi-Publicis coup will change how other brands and agency groups behave

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The final three months of the year are some of the most important in adland. Known as the golden quarter, the year closes with a final push to meet targets, helped by some of the biggest commercial moments of the year including Black Friday and of course, Christmas.

In this episode, Campaign is looking into how agencies and advertisers should approach the final three months, what their top priorities are and how this golden quarter will be different from previous years.

Hosted by tech and multimedia editor Lucy Shelley, the episode includes Campaign's editor-in-chief Gideon Spanier, UK editor Maisie McCabe and creativity and culture editor Gurjit Degun.

Plus, Campaign has today (8 September) launched a new website with a refreshed look and revamped navigation.

Further reading:

Will Andy Burnham’s social media strategy work?

UK competition watchdog launches inquiry into Sky/ITV deal

Will ITV generate enough ad revenue to earn £200m payout from Sky?

'One of the biggest shake-ups in UK TV': the potential impact of Sky-ITV

Is there a new 'big four' in adland?

Publicis pulls out of Coca-Cola global media pitch after PepsiCo win

PepsiCo appoints Publicis Groupe to global media without a pitch

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Waitrose's branded podcast recently passed one billion downloads, views and listens, staking a claim as the world’s most successful branded podcast, while also receiving the most nominations for this year's British Podcast Awards. Media and entertainment are becoming more ever closer, so in this episode, Campaign digs into why branded content is on the rise, what makes it good and questions whether Dish’s success can be achieved by other brands. 

The team discusses how brands don't want to "rent" their audiences, but own them, the struggle of too many chief executives wanting to be on the podcast and how branded content performs compared to other forms of media.

Hosted by tech and multimedia editor Lucy Shelley, this episode features Lucinda Rouse, multimedia editor of Campaign’s innovation team, deputy media editor Shauna Lewis and deputy creativity and culture editor Charlotte Rawlings.

Further reading:

Aardman moves into branded content partnerships

LBC sees record quarter amid geopolitical unrest

British Podcast Awards 2026 shortlist revealed

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Since Andy Burnham became Prime Minister in July, he has been producing social media content with creators and has garnered over half a million followers in TikTok and over 700,000 on Instagram. But will a social media-focused strategy work for the PM?

Benedict Pringle, partner and global client lead at T&P and host of The Political Marketing Podcast, joins the episode this week to discuss why Burnham has chosen social media to speak to voters, the risks involved and if it will work or not.

Hosted by Campaign's tech and multimedia editor Lucy Shelley, this episode also includes UK editor Maisie McCabe and deputy creativity and culture editor Charlotte Rawlings.

Further reading:

What Andy Burnham's social-first strategy teaches agencies

Andy Burnham is 'proactive' towards online safety, Ian Russell says

Adland reacts as Andy Burnham reappoints Lisa Nandy as culture secretary

Could Andy Burnham's rise put the accent on regional pride in adland?

Which party won the social media election?

Alastair Campbell on combative politics, social media and who will lead the UK

‘A headache to enforce’: What does adland think of Andy Burnham’s subscription crackdown?

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WPP reported its Q2 results in the last few weeks, six months after chief executive Cindy Rose launched its three year Elevate28 plan to turn the holding company’s fortunes around. Now almost a year into her role, Rose said the network has “everything it needs” to achieve its plan, with analysts calling the results “better than expected” and a “glimmer of hope”.

In this episode, Campaign's journalists look at how Rose is “fighting” for business, whether the Elevate28 plan is actually working and how the holding company and its competitor set are doing. Hosted by tech and multimedia editor Lucy Shelley, this episode features Campaign's UK editor-in-chief Gideon Spanier, UK editor Maisie McCabe and deputy media editor Shauna Lewis.

Further reading:

Five key charts behind WPP’s Q2 2026 results

Cindy Rose more than doubles WPP's bonus pool

Can we talk about WPP's cuts?

Is the agency sector ‘in a good place’?

Havas' Yannick Bolloré: Agency sector is now ‘in a good place’ as perceptions have ‘flipped’

Omnicom records 6.1% increase in organic growth in Q2 2026

Publicis raises 2026 guidance and reports 4.8% growth in Q2

Publicis’ Arthur Sadoun: 'We have never wanted to be an AI company'

Havas reports 2.5% expansion in Q2 but UK growth 'slightly negative'

Will Cindy Rose's plan save WPP?

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Pitching is what many call the “lifeblood” of agencies, but also the cause of their biggest strain. Almost three-quarters of adland employees have considered leaving the industry due to new-business-related stress, found research from The Great Pitch Poll 2026 published this summer, which also revealed that client expectations and demands relating to AI have increased pressure. 

AI and LLMs are also impacting the search and selection process for pitches, with clients using them to suggest agencies to shortlist. This episode of The Campaign Podcast features Campaign's journalists discussing to what extent AI is impacting pitching and making it more stressful.

Campaign's media editor Beau Jackson, senior reporter Eszter Gurbicz and editor Maisie McCabe. we are discussing to what extent AI is impacting pitching, making it more stressful and if the process still works. Tech and multimedia editor Lucy Shelley hosts the episode.

Further reading:

ChatGPT is telling clients to invite my agency to pitch – it's shifting the playing field

Are clients becoming more demanding?

Can we talk about the ingredients of VCCP's new-business potion?

Netflix ad tools could see 'agentic AIs talking to each other'

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At Cannes Lions this year, the Media Lions grand prix went to Uber Eats’ “Build your own Super Bowl commercial” by Special US, a campaign which acts as a form of entertainment for the viewers. This win followed Amanda Morrissey, Global President, iProspect and Chief Growth Officer of Media at dentsu, who was a juror on the Media Lions and said on The Campaign Podcast that judging the media category was more like judging an entertainment category. Plus, Publicis Groupe acquired sports and entertainment agency 160over90 this year, which will sit in the holding company's media division.

Campaign's journalists discuss how much media is becoming more like entertainment, with insights from the jury press conferences. Tech and multimedia editor Lucy Shelley hosts the episode with media editor Beau Jackson, deputy media editor Shauna Lewis and deputy creativity and culture editor Charlotte Rawlings.

Further reading:

Adidas UK wins Entertainment Lion Grands Prix for Oasis work

Cannes Lions 2026: Watch all the Grand Prix-winning work

Cannes 2026

Cannes Lions debrief: how did the UK work perform?

Cannes Lions entries rise 'reflecting strong global participation'

Mindshare New York wins Media Lions Grand Prix

Gut’s 'Handshake hunt' takes home Media Lions Grand Prix for Mercado Libre

Media Lions Grand Prix goes to Leo Burnett Sydney

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From Catbird Seat which was unveiled earlier this month through to a few other recent launches such as Baby Teeth, Ace of Hearts and 05:37 Brand Studio, agencies are thinking long and hard about their branding. But how much do these monikers matter, is it just about the work and the people? And what what are some of the pitfalls when you get it wrong?

Campaign's editorial team explore these questions and more. Deputy editor Gemma Charles hosts the episode and is joined by UK editor Maisie McCabe, media editor Beau Jackson and deputy creativity and culture editor Charlotte Rawlings.

Further reading:

Can we talk about the indie surge?

Larissa Vince and Andy Jex launch Catbird Seat

Richard Huntington launches Feral

Can we talk about strategy, Feral and untethered in space?

Lynsey Atkin, Chris Watling and Rebecca Lewis launch start-up Baby Teeth

Richard Brim, Martin Beverley and Polly McMorrow launch Ace of Hearts

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As the Fifa World Cup gets closer to crowning the winner, Campaign invites advertising creatives to review a selection of ads that are celebrating the football tournament.

The episode includes Richard Brim, founder and chief creative officer at Ace of Hearts; Carren O’Keefe, chief creative officer at Digitas, and Dan Watts, chief creative officer at Pablo London. 

Hosted by tech and multimedia editor Lucy Shelley, the guests critique six ads, including the rival Nike and Adidas films, and discuss whether it was a vintage year for World Cup ads.

The ads discussed are:

1. Nike x Palace "England x Palace" (in-house)
2. BBC “Let’s make it iconic” by BBC Creative
3. Nike Football “Rip the script” by Wieden & Kennedy
4. Adidas “Backyard legends” by Lola US 
5. Paddy Power “Nobody does football better than us” by BBH London
6. Uber Eats “Who could cook at a time like this?” by Mother

Further reading:

Nike vs Adidas: Who won the battle of the World Cup ads?

World Cup 2026 round-up: Snapchat, Deliveroo, Hilton, Asda and more

How brands hijacked Fifa's logo ban to earn attention and share of voice

Nike’s 'Rip the script' to become longest ad ever to air on ITV

World Cup kick-off draws 7.7 million as ITV 'breaks record for commercial success'

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The Campaign editorial team are back after spending last week (22 June - 26 June) at Cannes Lions International Festival of Creativity 2026.

It was a week packed full with panels, parties and prizes and this episode of The Campaign Podcast sees tech and multimedia editor Lucy Shelley speak to the editorial team about their highlights as well as the work that took home the awards.

Shelley is joined by Maisie McCabe, Campaign's UK editor, Gurjit Degun, creativity and culture editor, and Charlotte Rawlings, deputy creativity and culture editor. The team discuss whether taste is an objective truth, which was the topic of a debate hosted by McCabe during the festival, Campaign’s daily livestream Live in Five, and how the UK performed.

The guests also reflect on Campaign’s Cannes Contenders, the pieces of work the editorial team thought deserved to win big at the awards such as Claude’s “A time and a place” by Mother and Coinbase’s “Your way out” by Isle of Any.

Further reading:

• Claude and Mother win Film Grand Prix at Cannes 2026
• Cannes Contenders: Coinbase
• Cannes Contenders: Anthropic
• Cannes Contenders: Waitrose & Partners
• The Cannes taste debate: David Kolbusz, Lynsey Atkin, Chaka Sobhani and Rick Brim
• Wieden & Kennedy's Ana Balarin: Craft can be a distraction from weak ideas
• Cannes Lions 2026: final UK winners table

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PARTNER CONTENT: Media fragmentation is often painted as one of marketing's biggest challenges. But what if the real issue isn't complexity itself – it's how organisations respond to it?

Recorded from Campaign House during Cannes Lions, this special episode of The Campaign Podcast, sponsored by Camphouse and hosted by Campaign tech editor Lucy Shelley, brings together:

• Bridget Evans, global head of advertising business marketing at Spotify
• Alexander Högman, CEO of Camphouse
• Lucie Guillerminet, vice president of marketing at Match Group.

Together, they unpack why today's increasingly busy media landscape may actually present marketers with a competitive advantage. From changing consumer behaviours and the evolution of media planning to the growing importance of campaign data, the discussion explores how brands can embrace complexity instead of trying to simplify it.

Whether you're grappling with audience fragmentation, looking to get more value from your campaign data or considering how AI can support your marketing operations, this conversation offers practical insights into why the marketers who organise for complexity today may be the ones who outperform tomorrow.

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The Campaign team looks back on Cannes Lions Festival of Creativity 2026. Editors from Campaign's sites around the world pick their highlights, including the Film Lions and Titanium winners and the big themes of the festival, plus the best parties.

Gideon Spanier, UK editor-in-chief of Campaign, hosts the podcast, alongside Maisie McCabe, editor of Campaign UK, Jameson Fleming, editorial director of Campaign US, Nikita Mishra, editor of Campaign Asia, and Chris Powell, co-editor of Campaign Canada.

This is the last of three Campaign Cannes Global Podcast episodes. We previewed the festival in episode one and reported on the ground from Campaign House at Cannes in episode two.

Further reading:

Cannes Lions 2026: Watch all the Grand Prix-winning work

Cannes Lions 2026: final UK winners table

Ogilvy, LePub Milan and Heineken win network, agency and brand of year at Cannes Lions 2026

Can we talk about taste?

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The Campaign team has been busy in Cannes Lions and reports what's been happening so far at the festival, which runs from 22 to 26 June.

Editors from Campaign's sites around the world discuss a 25% drop in award entries, the work that has been winning from their region and some of the key sessions in the Palais and at Campaign House.

Gideon Spanier, UK editor-in-chief of Campaign, hosts the podcast, alongside Maisie McCabe, editor of Campaign UK, Jameson Fleming, editorial director of Campaign US, Vinita Bhatia, editor of Campaign India, and Chris Powell, co-editor of Campaign Canada.

This is the second of three Cannes global podcast episodes. The third episode will look back on Cannes and be released in the week after the festival.

Further reading:

Cannes Lions 2026: rolling UK winners table

Cannes Lions round-up: UK Grand Prix wins, shortlists & high mane-tenance horses

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The Campaign team looks forward to Cannes Lions in this preview episode about the festival, which runs from 22 to 26 June. Editors from our sites around the world give their tips for the festival and discuss everything that’s going on at Campaign House, our dedicated venue at Cannes. Plus they talk about how the Lions award entry rules have changed this year, the work from their region that they would like to see win and the mood in the ad industry.

Gideon Spanier, UK editor-in-chief of Campaign, hosts the podcast, alongside Maisie McCabe, editor of Campaign UK, Nikita Mishra, editor of Campaign Asia, Jameson Fleming, editorial director of Campaign US, Vinita Bhatia, editor of Campaign India, and Chris Powell, co-editor of Campaign Canada.

This is the first of three Cannes global podcast episodes. The second episode will be recorded at Campaign House and published during the festival and the final episode will look back on Cannes and be released the following week.

See the full agenda for Campaign House at: https://www.campaignatcannes.com/

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Lord Heseltine tells the story of the birth of the European Space Agency. Why post-Apollo, when the US was spending £1.2 billion a year on space, the whole of Europe was spending just £200 million. Why the birth of ESA was driven by the self-interest of three major countries. Why the US general with a $29 billion budget for the Star Wars project wanted to invest in Heriot-Watt University in Edinburgh. Why, the idea that Britain could compete alone with the technologies that were accumulated and available to the American capitalist system was “simply laughable”. Why “being European is not selling out British interests”. And why Margaret Thatcher told him: “If you want to get on and put your budget into this, you can, but you're not getting any of mine." 

Join Alice and Lord Heseltine as they pick apart the negotiating contrivances and the wheeling and dealing to circumnavigate “turkeys not voting for Christmas” that ultimately put European space on the map.

Contributors:

Alice Bunn, President of UKspace 

Dr Alice Bunn OBE FIMechE FRAeS CEng | LinkedIn

UKspace: Overview | LinkedIn

Lord Heseltine, Member of the House of Lords

Key topics covered:

• Creation of the European Space Agency (ESA)
• US "Star Wars" program and brain drain
• Geopolitical case for European R&D collaboration
• Impact of Brexit on science and technology

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Ahead of Cannes Lions Festival of Creativity taking place next week, Campaign catches up with three jurors to give us an insight into the judging process and what they expect from the festival and its winners this year. 

Helen Rhodes, chief creative officer at Grey London; Amanda Morrissey, global brand president at iProspect and James Brook-Partridge, head of production at WPP Production UK join the episode. They discuss the new transparency guidelines and how it's impacted the judging process, the added AI subcategory in the craft awards and which work they think will win. Morrissey who is judging the media lions said that the entrants are leaning more towards entertainment this year, while Brook-Partridge and Rhodes argued that craft becomes even more valuable with the insurgence of AI.

Campaign will be at Cannes with a full week of sessions at Campaign House, including interviews with WPP chief executive Cindy Rose, Publicis Groupe chief executive, Arthur Sadoun, will.i.am, and a chat with Ian Russell, chair of the Molly Rose foundation on the safety and accountability of digital platforms.

Further reading:

Cannes Contenders: Instacart

Cannes Contenders: Waitrose & Partners

Cannes Contenders: Anthropic

Cannes Contenders: Bournville

Cannes Contenders: McDonald’s

Coming up in the Campaign calendar:

The Campaign Ad Net Zero Awards second entry deadline has been extended to Thursday 28 May.

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In 2025, Cannes Lions was dampened by controversy after three awards were withdrawn over fabrication of case studies and concerns around their legitimacy.

DM9’s “Efficient way to pay” was retracted after the DDB agency was caught using AI to fabricate news coverage and misleading the jury. Two others Lions were also removed from the agency. In response, Cannes Lions updated the entry process and introduced a set of "integrity standards" to ban agencies for up to three years that submit "wilfully false" campaigns.

Campaign's UK editor Maisie McCabe recently spoke to Cannes Lions on the new awards process and "necessary" reset to the standards. In this episode, Campaign's editorial team discuss how the awards will be different this year, both for those that have entered and the juries that are judging them, and what the industry makes of the changes. Plus, the team reveal how the Cannes Lions is making efforts to reduce bias in the judging rooms.

Hosted by tech and multimedia editor Lucy Shelley, this episode includes McCabe, creativity and culture editor Gurjit Degun and reporter Eszter Gurbicz. It was edited by Haymarket's producer Inga Marsden.

Further reading:

Cannes Lions retires Creative Company of the Year Award

Decade-old Sainsbury’s ad used in Gut’s 2024 Media Grand Prix-winning case study

Cannes Lions entries rise 'reflecting strong global participation'

Icaro Doria steps down as co-president and CCO of DM9 following Cannes controversy

Adland’s ‘New Year's’ resolution should be to revive its integrity at Cannes Lions

Maybe Cannes Lions isn't capable of picking all of the best work

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In 2025, there was a major rollback of DEI initiatives, and in 2026 the gender pay gap widened in advertising, while it shrinks in other sectors. 

However, the IPA Census reported the proportion of women in C-suite surpassing 40% in adland for the first time, and ethnic minority representation at senior levels improved following two successive years of decline.

Campaign’s School Reports highlight and critique an agency’s efforts to improve its diversity, which has received some criticism for focusing too much on race and gender and overlooking class.

In this episode, Campaign's journalists are asking whether, in a time of declining DEI initiatives, an agency should be judged by its diversity, how much do clients care, and is agency diversity becoming less of a priority.

Hosted by tech and multimedia editor Lucy Shelley, this episode includes premium content editor Nicola Merrifield, deputy media editor Shauna Lewis and UK editor Maisie McCabe.

Further reading:

Why has adland's gender pay gap got worse?

School Reports 2026: The end of “performative window dressing” for diversity

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Campaign's Media 360 opened its doors last week to a room of senior marketers, media owners and agency leaders. Food critic and Masterchef presenter Grace Dent opened the two-day conference in Brighton with speakers including co-host of The Rest Is Politics, Alastair Campbell, The Guardian's global chief advertising officer Imogen Fox and Michelle Spillane, managing director, Paddy Power Online at Flutter UK.

This episode features the event's co-chairs: Sannah Rogers, chief executive of Zenith UK, and James Bailey, chief executive of Dentsu Media UK and Ireland. They chat to Campaign's tech and multimedia editor Lucy Shelley about their reflections on the media industry following the conference and discuss the biggest changes affecting the media industry and the people in it.

Before the interview, media editor Beau Jackson and deputy media editor Shauna Lewis chat with Shelley on their reflections after day one, on themes of trust, community and Big Tech.

Further reading:

PepsiCo on how a media shake-up boosted OOH

Bauer’s Thomas Garry wins Media360 Challenge 2026

How Just Eat and British Heart Foundation manage brand risk in influencer marketing

Guardian ads chief: Brands need to embrace cultural turbulence

'If you ask us to make an AI ad, we will inherently fail': Particle6 on AI in production

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The advertising and media industry is going through a period of massive change, as a result of AI, economic and global pressures, organisational restructures and redundancies. In the latest market report from Campaign Red called “The Great Reboot”, we reported that the top holding companies cut 12,000 people from their businesses.

As the industry is contracting, how are the people within it, its leaders and those seeking employment obtaining mentorship to push themselves and the industry forward?

So far this year, we have seen the launch of mentorships schemes from The Marketing Skills Trust, Ogilvy UK and Rapp UK, an expansion of Lollipop mentoring’s existing programme and launch of Zoo.London’s career community.

In this episode, Campaign's editorial team discusses why mentoring is so important in periods of rapid change, if adland puts enough value on the power of mentoring, and what happens if it’s neglected altogether. Fiona Cameron joins the episode as vice president of women’s professional support programme Bloom, and former learning and development partner at Group M, now called WPP Media. 

From Campaign, the episode features deputy editor Gemma Charles, deputy creativity and culture editor Charlotte Rawlings, and hosted by tech and multimedia editor Lucy Shelley.

Further reading:

Campaign Inspiring Women Awards winners 2026: Mentor of the Year

What does it take to be an ad agency chief executive?

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Adland’s agency networks have been forced to think differently, after a challenging year for holding companies with economic instability, a mega-merger and AI disruption.

Publicis began calling itself a “platform organisation” years ago, while Omnicom restructured to become a “premier marketing and sales company” after the acquisition of IPG last year. In February, WPP’s chief executive Cindy Rose said: “We don’t want to be a holding company any more”, but a “single operating company” instead.

Campaign Red released a market report called "The big reboot", looking into the top network's 2025 FY results and what the post-holding company era looks like for the industry.

In this episode, Campaign's editorial team is discussing why the largest agency groups are moving away from the holding company label, and what this "reboot" means. Editor-in-chief Gideon Spanier, media editor Beau Jackson and deputy media editor Shauna Lewis join the episode hosted by tech and multimedia editor Lucy Shelley.

Further reading:

Arthur Sadoun on why “pressure” from investors doesn’t matter, Publicis' “resilience” and the competition

Publicis grows 4.5% in Q1 as Arthur Sadoun pans “squeeze to please Wall Street”

Q1 expected to be “worst quarter” for WPP’s new business in 2026

WPP reports 6.7% revenue decline in Q1 2026

Omnicom revenue grew 3.9% in Q1 after IPG acquisition

Chapter 1: Revenue

Chapter 2: Headcount

Chapter 3: M&A

Chapter 4: Share price

Chapter 5: New business

Chapter 6: Creative awards

AA/Warc: adspend forecast for 2026 drops amid methodology shake-up

“The fragmentation of media is clear”: adland reacts to AA/Warc Expenditure Report

AA/Warc: adspend to break records and smash £50bn ceiling in 2026

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Media has seen a string of deals in the last year, poised to consolidate key areas of the market. Paramount Skydance seeks to complete its $111 billion takeover of Warner Bros., and in the UK, Sky ponders its bid to acquire the broadcast and ad sales division of ITV. In publishing, after several other attempts fell through, European media group Axel Springer, which owns Business Insider and Politico, has agreed to buy the Telegraph Media Group for the sum of £575m.

So, pending various approvals, what would such deals mean for the media landscape and its advertisers?

Campaign's editorial team gather in the studio to discuss why media owners are consolidating, the impact on media buyers and what it means for competition. Hosted by media editor Beau Jackson, this episode includes Campaign’s UK editor Maisie McCabe, editor-in-chief Gideon Spanier and deputy media editor Shauna Lewis.

Further reading

• Will Sky’s proposed takeover of ITV be good for advertisers?
• ITV confirms talks with Sky about £1.6bn sale of M&E unit
• Paramount Advertising takes sole control of UK sponsorship deals

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Publicis Groupe acquired sports marketing and entertainment agency 160over90 this month, in a move it claims will “disrupt” the sector.

In this episode, the Campaign team discusses why Publicis has made this "big bet" now, whether the sector needs disrupting and how influencers are changing the game. The team discusses why some say "the gap between brands and consumers is widening" and how athletes are becoming their own "self-contained media platforms, because their performance in the game is so intrinsic to their personas".

Hosted by tech and multimedia editor Lucy Shelley, this episode includes deputy creativity and culture editor Charlotte Rawlings, creativity and culture editor Shauna Lewis and deputy news editor Marianne Calnan-Holland.

Further reading:

What does the fan experience of the Fifa World Cup look like from the UK?

Coca-Cola World Cup spot explores emotional journey of football

Why is gaming not a media channel?

Beyond borders: why countries don’t define modern fandom

Fifa 2026’s longer tournament window presents a golden opportunity for fan activations

Burnley FC and X unveil social documentary on women’s team

Burnley FC and X partner with Sure For Men for UK’s first X Original series

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Last year WPP, Apple and Amazon increased their in-office days, with the latter two tech companies mandating five days in office. In February this year, adland’s best-performing holding company Publicis Groupe increased its mandated staff attendance from three days to four.

In the age of AI and efficiency, this episode of The Campaign Podcast is asking if being in the office more does actually increase productivity, if its possible to measure productivity and if adland will soon be in the office for more days a week. 

Hosted by tech and multimedia editor Lucy Shelley, this episode includes deputy editor Gemma Charles, deputy media editor Shauna Lewis and deputy creative and culture editor Charlotte Rawlings.

Further reading:

Should adland follow Publicis and WPP’s four-day office mandate?

This is adland: 2025

Updated: latest hybrid working policies at “new big six”

Why do more office days no longer boost staff’s sense of belonging?

Hybrid working in adland: who struggles most with stricter in-office policies?

Hybrid working Credos report: Less than half of adland happy with home/office split

Mark Read: 'People are happier when they’re in the office'

Is a four-day working week viable for adland?

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In March, Meta and Google were found liable for designing addictive platforms that harmed a young user's mental health, a verdict both platforms disagree with and plan to appeal. Channel 4 also released its documentary called Molly vs The Machines about a 14 year old girl who took her own life after seeing harmful content online. Plus, the UK Government began a consultation for a potential ban for under 16s to improve digital safety, following Australia's ban in December, with Prime Minister Sir Keir Starmer saying we “have to act”.

Instagram, Facebook, YouTube and other platforms rely on advertising to make money. So whether a government ban or strict regulation of the platforms is the solution, this episode questions how much responsibility should the brands funding these platforms have.

Jake Dubbins, managing director at Media Bounty and co-chair of Conscious Advertising Network, joins the episode alongside Campaign's UK editor Maisie McCabe and editor-in-chief Gideon Spanier. This episode is hosted by tech and multimedia editor Lucy Shelley.

Further reading:

Ian Russell challenges Instagram boss to “chat” at Cannes Lions

Molly vs the Machines showed us that advertising choices aren't neutral

Can we talk about whether fraudulent ads are the tech platforms' biggest problem?

Ofcom research finds rise in concern over online risks versus benefits

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In-house agencies have been growing over the last few years, as brands have been taking more work in-house and building bespoke teams. In the last few weeks, Allwyn launched an in-house studio, ITV shifted its retained creative account from Uncommon to ITV Creative and Uncommon’s executive creative director Richard Biggs jumped to BBC Creative. 

Campaign Red analysed this trend and last month produced an in-depth global report, The Inside Job, looking into what disciplines brands are in-housing, why they are luring agency talent and how they are collaborating with external agencies. 

In this episode, Niki Garner, director of ITV Creative, joins The Campaign Podcast to discuss the in-housing evolution, why she hires from agencies and how in-house teams can provide the most value. Garner was also named In-house Agency Leader at Campaign’s In-House agency awards last year.

Joining from the Campaign team is data journalist Jamie Rossouw, co-author of The Inside Job, and premium content editor Nicola Merrifield. This episode is hosted by tech and multimedia editor Lucy Shelley.

Further reading:

How to build a successful in-house agency

Allwyn's media director: in-house shop Studio 59 aiming for “newsroom mentality”

BBC Creative appoints Natalie Lau as head of planning

ITV Creative lead dismisses past 'snobbery' aimed at in-house agencies

ITV promotes I’m a Celebrity… South Africa with hand-drawn animation

“The darker side of water”: behind the scenes of Channel 4’s “The fountain of filth”

Lego ad calls 'play' with array of characters performed by Tom Holland

Specsavers highlights audiology services by 'rebranding'

Over four in 10 in-house agencies want to be brand’s lead agency, IHALC research finds

ITV, Reckitt and Pepsi in-house leaders to speak at Campaign's In-Housing Summit

The Lists 2025: Top five in-house creatives

Campaign In-House Agency Awards 2025: winners revealed

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In a break from the usual listen, we're bringing you the first three episodes of The Karman Line, a new podcast about the UK space industry from Haymarket Media Group, the owner of Campaign. This burgeoning sector is keen to communicate the extraordinary things it is doing to wider, complementary audiences.

How do we solve population pressure and climate crisis in space? How has GPS allowed us to provide 12% more food globally? How did the UK become a global leader in small satellite manufacture after the British Government said, “there’s no future for the UK satellite industry”? How did Elon Musk turn reusable rockets from science fiction to science fact in less than 20 years? What else are “Elon and Jeff” going to allow us to do? And why is SpaceX still “the elephant in the room”?

Join Alice as she talks to Will Whitehorn, chair of giant space tech investor Seraphim and former president of Virgin Galactic, and they discuss the implications of “The Elon Musk show” and its legacy, “the beginnings of a competitive space industry of scale”.

Contributors:

Alice Bunn, President of UKspace 

Dr Alice Bunn OBE FIMechE FRAeS CEng | LinkedIn

UKspace: Overview | LinkedIn

Will Whitehorn OBE, Seraphim Space Investment Trust

Will Whitehorn OBE | LinkedIn

Key topics covered:

• UK satellite manufacture
• UK universities
• SpaceX valuation
• Reuseable rockets
• Agricultural management
• Population pressure
• Climate crisis
• Solar power
• Data centres in space
• Industrialising in space

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Campaign's annual School Reports scrutinise and assess 80 UK agencies from across the industry, giving them each a score between 1 and 9.

Released last week, agencies across creative, media, social, digital, CRM and experiences are evaluated based on their individual history. The top mark of 9 is awarded to an agency that has had an outstanding year; 8 for an excellent year; 7 for a good one; 6 is satisfactory; 5 is adequate; 4 stands for below average; 3 is poor; 2, a year to forget and 1 warns that the shop's survival is in question. 

For the last two years, no 9s were given, but this year, there were four awarded. 

In this episode, Campaign's journalists discuss what the data revealed about individual agency health, how agencies fared in this year’s reports against difficult conditions and what goes into achieving a top score of 9. Premium content editor Nicola Merrifield, editor Maisie McCabe and media editor Beau Jackson join the episode hosted by tech and multimedia editor Lucy Shelley.

Further reading:

School Reports 2026: Top holding companies

School Reports 2026 tables: Top 100 creative agencies

School Reports 2026 tables: Top 50 media agencies

School Reports 2026: Top regional agencies

School Reports 2026: Agency billings growth slows down amid industry challenges

School Reports 2026: The end of “performative window dressing” for diversity

School Reports 2026: Which agencies got the highest marks?

What is Group M?

Do holding company solutions undermine agency brands?

WPP launches new Elevate28 strategy with four core divisions and £500m savings

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Gaming has firmly entered the mainstream, with more than three billion players worldwide and engagement levels that now rival – and often exceed – social platforms. What was once seen as a niche channel is now a dominant cultural force, commanding time, attention and participation at scale.

These shifts, and what they mean for brands, were explored in depth at Campaign’s recent gaming summit, held in London.

In this sponsored episode of The Campaign Podcast, Dentsu’s global head of gaming, Brent Koning, builds on that conversation and goes further. He delves into gaming’s role as an immersive social space, and why it remains one of the most underutilised channels in the marketing mix.

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In a break from the usual listen, we're bringing you the first three episodes of The Karman Line, a new podcast about the UK space industry from Haymarket Media Group, the owner of Campaign. This burgeoning sector is keen to communicate the extraordinary things it is doing to wider, complementary audiences.

What did the Space-Comm Expo conference and exhibition tell us about connecting space and wider business? How does this manifest as tech connectivity in telecoms and why do farmers care about that? What did we learn about the benefits of extreme cold in manufacturing laboratories and why do pharmas care about that? How vulnerable are global logistics to the spoofing of navigation signals? And why is the UK government centralising space strategy in the Department for Science, Innovation and Technology?

Join Alice and Jonners as they reflect on the UK space sector’s largest trade event and the “energy, diversity and …sheer scope of what this industry has to offer”.

Contributors:

Alice Bunn, President of UKspace 

Dr Alice Bunn OBE FIMechE FRAeS CEng | LinkedIn

UKspace: Overview | LinkedIn

Jonathan Daves, The Karman Line

Jonathan Daves | LinkedIn

Subscribe to The Karman Line

Apple: https://podcasts.apple.com/ca/podcast/the-k%C3%A1rm%C3%A1n-line/id1876605462

Spotify: https://open.spotify.com/show/3qED4CgdRDxfKKzYNKZCIH?si=lZ-I4a19SPGLAJL-dHi4DQ

YouTube: https://www.youtube.com/@TheKármánLineUK

Key topics covered:

Space-Comm Expo, London, March 2026

Conference overview

Sector integration

Insurance

Customer utility

Government role

Future outlook

Technological advancements

· Telecoms

· Manufacturing

Defence and security

· Satellite capabilities

· Current threats

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If gaming is not to be considered a media channel, what is it? Campaign hosted the Gaming Summit this month, and many speakers at the event asserted that gaming should be considered more than just a channel to activate to make the most of its 3.5 billion global audience.

In this episode, Campaign's journalists from the event discuss why media should not be considered as as media channel, some of the mistakes brands make when approaching gaming and how to capitalise on the audience's active engagement.

Tech and multimedia editor Lucy Shelley is joined by the event’s host media editor Beau Jackson and deputy media editor Shauna Lewis.

Further reading:

McDonald's taps into nostalgia with trading card promotion

Replacing the funnel: the three pillars of modern gaming marketing

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The quote “good artists copy, great artists steal” also applies to advertising. Some ads are paying homage while some simply rip others off when creatives spot a good idea.

In this episode, the Campaign team takes a look at some of the recent ads that look noticeably similar, including British Heart Foundation and Cancer Research, Crocs and the V&A, Experian and an Amazon ad from 2023, Primark and Levi's iconic denim ad and Apple Watch and Rebook's "Belly's going to get you" in 2000.

Some creatives argue that ads can get away with copying if it's "over five years old and 5000 miles away", while others suggest it is "lazy" and creatives should be "named and shamed".

Host tech and multimedia editor Lucy Shelley is joined by deputy creativity and culture editor Charlotte Rawlings, reporter Eszter Gurbicz and editor Maisie McCabe.

Further reading:

Is there such a thing as an original (OOH) idea?

Is pre-testing a ‘no-brainer’? With Martin Beverley

Coming up in the Campaign calendar:

Influencer360 on 28th April

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In a break from the usual listen, we're bringing you The Karman Line, which is a new podcast on the British space industry from Haymarket Media Group, the owner of Campaign.

The UK space industry is a significant and strategic driver of the UK economy contributing over £19 billion in direct revenues. And it needs brilliant communicators to help tell its story.

For most people, space is about rockets and astronauts. But it's actually about sustainability, infrastructure, observation, communication and increasingly, manufacturing. Not a lot of people know that. 

For the space industry to fully realise its potential it needs more of the right people to understand what’s happening and get involved. People like policy makers, investors, regulators, planners, lawyers and consultants.

In this first episode of The Karman Line, Dr Alice Bunn, the president of UK Space, and her panel of guests, Sam Alden co-CEO of Space Solar, Nick Shave managing director of Astroscale and Anushka Sharma founder of Naaut, discuss the surprising, awe inspiring business of space.

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WPP announced a new strategy and structure last week, on Thursday 26 February, as the company hopes to turn its fate around, while reporting its worst financial performance since the pandemic. 

Campaign's editor-in-chief Gideon Spanier interviewed WPP's chief executive officer Cindy Rose on the three-phrase plan "Elevate28" which includes £500m in cost savings and transitioning the business from a holding company structure to a single company with four core divisions – WPP Media, WPP Creative, WPP Production and WPP Enterprise Solutions. These will be led across four regions globally.

In this episode, the Campaign team breaks down the announcements and what it means for WPP’s agencies, look at how the company compares to its competitors and discuss if Rose's plan will work. Tech and multimedia editor Lucy Shelley hosts the episode which includes Spanier alongside editor Maisie McCabe and deputy media editor Shauna Lewis.

Further reading:

WPP Media and VML drive 8% UK decline for WPP

WPP Creative will 'not sunset' agency brands

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Campaign has released the A List – a compilation of over 200 industry leaders and their musings on the year gone and year ahead. In 2025, the advertising and marketing industry underwent some huge organisational shifts. With revenue declines and share price drops, job cuts, leadership changes and legacy agencies changing their names, 2026 marks a new era for the industry.

In this episode, the Campaign team discuss some of the A Listers' perspectives, including how to be innovative in uncertain times, and what outfits they wear to a pitch.

Hosted by tech and multimedia editor Lucy Shelley, this episode includes deputy editor Gemma Charles, editor-in-chief Gideon Spanier and deputy creativity and culture editor Charlotte Rawlings. 

Further reading:

The 2026 A List: 'Massive fuckin' traitors', 'Method Pitchers' and AI-induced boredom

Half of VCCP's current jobs didn't exist at launch, CEO says

The A List and it’s completely different but it’s also still the A List

Campaign A List 2026: How leaders are planning for success in surprising times

Can we talk about how you get into Campaign's 2027 A List?

In Pictures: Campaign A List party 2026

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Media planners and buyers, like many in adland, have been tackling a period of immense change. AI, media fragmentation and budget restraints are all impacting the roles within media.

At the end of January Campaign hosted Media Week Live, a conference for media planners and buyers, discussing how their roles are changing and what the future of the media agency looks like. Leaders from X, Pinterest, Omnicom, WPP, Publicis and the National Theatre joined to share their perspectives from the top.

Campaign's media journalists hosted the event: media editor Beau Jackson and deputy media editor Shauna Lewis. The pair join tech and multimedia editor Lucy Shelley to discuss the future of the media planner and buyer, what part creativity plays in the media plan, how media planners work alongside AI and what challenges media agency leaders are facing this year.

Further reading:

What does it take to be a media agency chief investment officer?

'Frustrating' and 'disappointing': media buyers on Google's action against Kantar Media and Barb

The Lists 2025: Top 10 media buyers

‘The weather is changing’: How much should publishers fret about Google AI Overviews?

Will media buyers be the first victims of AI?

Media buying among 'first areas to go' with rise of AI, says MediaMonks co-founder

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Following the Super Bowl LX over the weekend, David Kolbusz, chief creative officer at Orchard Creative; Helen Rhodes, chief creative officer at Grey London; and Josh Green, chief creative officer of Elvis review a selection of the ads in this week's episode of The Campaign Podcast. 

Hosted by Campaign’s creativity and culture editor Gurjit Degun, the trio critique work from Instacart, Anthropic, Squarespace, E.l.f Cosmetics, Pringles, Dove and Bud Light. 

They also comment on whether this year’s ads are better than those of previous years. Kolbusz said: "The theme for me this year was that people are starting to figure out the Super Bowl again. I think the last five or so years have just been an absolute tragedy."

Further reading:

• Super Bowl 2026 round-up: watch the ads
• Pringles "Can hands" by Grey London 

Campaign calendar:

• Audio Advertising Awards: final entry deadline on 12th February, with multi-entry discounts

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The FIFA World Cup really is bigger this year, taking place in Summer across 39 days, taking place in 16 cities across the US, Mexico and Canada. While all the on-pitch fun is happening across the Atlantic, how can brands across the pond engage UK audiences effectively and authentically?

In this episode of The Campaign Podcast, Campaign welcomes guest Lizi Hamer, the global executive creative director at Octagon to discuss some of the biggest mistakes brands make when creating brand experiences around the World Cup, and why advertisers should be thinking community first, not country first.

Tech and multimedia editor Lucy Shelley hosts the episode with Campaign's deputy editor Gemma Charles and creativity and culture editor Charlotte Rawlings.

Further reading:

Beyond borders: why countries don’t define modern fandom

Fifa 2026’s longer tournament window presents a golden opportunity for fan activations

Identity launches global sports proposition

The Year Ahead 2026: Cultural trends

The Year Ahead 2026: Experiences

Campaign calendar:

Audio Advertising Awards: final entry deadline on 12th February, with multi-entry discounts

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Campaign's "agencies to watch" lists the top media, creative and new shops that are likely to have an impact in the next 12 months. This episode discusses the chosen agencies, how the lists have changed from 2025, and what makes an agency worth watching, or not.

While these lists are not an endorsement of each agency, they have been chosen because these shops went through big changes last year.

This episode of The Campaign Podcast is hosted by Lucy Shelley and features editor Maisie McCabe, creativity and culture editor Gurjit Degun and deputy media editor Shauna Lewis.

Further reading:

Eight new agencies to watch in 2026

Seven creative agencies to watch in 2026

Eight media agencies to watch in 2026

If 'agencies to watch' grow into 'top agencies' and other conundrums

LePub launches in London led by Gina Hood

‘The Grey-naissance’: Helen Rhodes plans ‘dollop of stupidity and naivety’ in Grey's return to creative glory

Ace of Hearts: dealing adland a new hand

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2025 saw an incredible amount of change and pressure for the industry and its agencies – steering the ship through heavy storms has become even tougher.

At Campaign's Year Ahead Breakfast Briefing in The National Gallery, editor Maisie McCabe led a discussion on leadership in a time of change, interviewing Dan Clays, CEO of Omnicom Media EMEA, Katie Mackay-Sinclair global chief brand officer at Mother, and Magnus Djaba, chief client officer and Publicis Groupe. 

This bonus episode of The Campaign Podcast features the entire panel which discusses the impact of AI, structural shifts within agencies and how people should care for each other during timed of change.

The Year Ahead Breakfast Briefing featured adland leaders talking about the trends and strategies for 2026, across creativity, technology, leadership, brands and media.

Further reading:

Agencies need to be AI literate to keep up with clients, Gravity Road global ECD warns

Creativity will see a return to ‘raw human honesty’ in 2026, Kyle Harman-Turner says

'Isn't it boring spending in the same place?': the case for a diverse media diet

Global sentiment towards sustainability has 'fallen off a cliff', Trainline marketer says

The Year Ahead 2026: Ad agencies

The Year Ahead 2026: Creativity

The Year Ahead 2026: Social

The Year Ahead 2026: Cultural trends

The Year Ahead 2026: Media owners

The Year Ahead 2026: Brands

The Year Ahead 2026: Technology

The Year Ahead 2026: Media agencies

Coming up in the Campaign Calendar:

Brand Film Awards: deadline on 29 January

Audio Advertising Awards: second entry deadline on 29th January, with multi-entry discounts

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Adland leaders announced their optimism at last week's Year Ahead Breakfast Briefing in The National Gallery, talking about the trends and strategies across creativity, technology, leadership, brands and media for 2026.

Martin Beverley, co-founder and chief startegist at Ace of Hearts spoke about the importance of joy, while Netflix's head of advertising sales Ed Couchman said 2026 will be the year of fandom as consumers are wanting more from brands. Gravity Road's global executive creative director said agencies need to be AI literate to keep up with clients, while creativity will see a return to "raw human honesty" in 2026, said Kyle Harman-Turner, creative partner and executive creative director at FCB London.

In this episode, Campaign's journalists who were at the event and on the panels dig into what the industry’s leaders predict for 2026, and why. Tech and multimedia editor Lucy Shelley is joined by deputy editor Gemma Charles, premium content editor Nicola Merrifield and deputy creativity and culture editor Charlotte Rawlings.

Further reading:

'Isn't it boring spending in the same place?': the case for a diverse media diet

Global sentiment towards sustainability has 'fallen off a cliff', Trainline marketer says

The Year Ahead 2026: Ad agencies

The Year Ahead 2026: Creativity

The Year Ahead 2026: Social

The Year Ahead 2026: Cultural trends

The Year Ahead 2026: Media owners

The Year Ahead 2026: Brands

The Year Ahead 2026: Technology

The Year Ahead 2026: Media agencies

Can we talk about the ethics of AI-fuelled advertising?

Coming up in the Campaign calendar:

Brand Film Awards: deadline on 29 January

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Campaign LOVES a pitch story, and the tail end of last year was very busy with many pitches taking place or being won right up to the final week.

WPP won the £1.5bn government media pitch and the expanded review for Jaguar Land Rover, as well as media for Kenvue, while Publicis Groupe picked up the creative for the consumer healthcare company. Aviva's creative account went to Saatchi & Saatchi and the shortlist for IKEA was announced with Just Eat also yet to conclude.

In this episode, Campaign digs into the state of new business last year, and where the opportunities lie in 2026, examining which sectors and disciplines will likely see more pitches over the next 12 months.

Tech and multimedia editor Lucy Shelley hosts the episode featuring Campaign's editor-in-chief Gideon Spanier, data journalist for Campaign Red Jamie Rossouw and deputy news editor, Marianne Calnan-Holland.

Further reading:

The CMO Outlook 2026

UK new-business rankings: latest 2025

Two-thirds of CMOs 'definitely' pitching in next 12 months

Mars to switch $1.7bn media account out of WPP

NatWest picks IPG as it consolidates media and creative account

Santander appoints Publicis to global creative and media business

Starling banks on network media agency after three-way contest

Publicis agency swipes Monzo media account after BBH creative win

Asda confirms media and creative agency appointments

Publicis scoops Coca-Cola media in North America

Coming up in the Campaign calendar:

Brand Film Awards: deadline on 15 January

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As the "happy new years" ring out, what resolutions are those in adland setting for 2026?

Last year unleashed a relentless wave of change across the advertising and media industry, from agency mergers and closing shops to restructures, the growing prominence of social and tech platforms, and some great creative work. 

Now, in 2026, Campaign begins the year with a look at what adland’s new year resolutions should be, what the industry should give up and what is coming up in 2026. Over the next few weeks, Campaign is releasing essays on the year ahead and the top agencies to watch.

Editor-in-chief Gideon Spanier, deputy creativity and culture editor Charlotte Rawlings and deputy media editor Shauna Lewis join the episode, hosted by tech and multimedia editor Lucy Shelley.

Further reading:

The Year Ahead 2026: Media agencies

The Year Ahead 2026: Strategy

The Lists 2025: Top 20 film ads

The Lists 2024: Top 10 campaigns

Has 2025 been the year for independent agencies?

Traitor or faithful – what will adland remember about 2025?

Will the new Omnicom work?

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