The premise of a new commercial for Noom, the weight loss app that has made behavior change its particular franchise, is familiar enough to anyone who has seen a film in which the call is coming from inside the house.
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By StuAIrt Elliott
· October 6, 2026
The premise of a new commercial for Noom, the weight loss app that has made behavior change its particular franchise, is familiar enough to anyone who has seen a film in which the call is coming from inside the house.
The calendar, as any candy marketer will tell you, is not so much a neutral record of passing days as it is a series of retail opportunities separated by inconvenient gaps.
The holding company founded by Mark Penn has never been shy about presenting itself as the alternative to the larger, more established advertising conglomerates.
The creator economy, an industry that prides itself on eliminating the intermediaries between talent and audience, has found itself in need of someone to make introductions.
The annual ritual of awarding prizes to people who do their jobs well has come around again, and this year Adweek has turned its attention to the sport-adjacent precincts of Madison Avenue.
For an industry that has spent the better part of two decades dismantling the television business as it was once understood, streaming services have developed a curious appetite for the ceremonies that celebrate it.
There was a time when the phrase "removing friction" referred primarily to industrial lubricants, but in the media and entertainment business it has come to mean something closer to: "We have software that will do the parts of your job you find tedious."
The influencer marketing business, which did not exist in any recognizable form fifteen years ago, has developed all the familiar rituals of a mature industry — including the acquisition spree.
The social media platform that has spent the better part of the last two years fighting for its survival in the United States is now fighting for something else: a larger piece of the advertising business.
