• Rankin Carroll emphasizes the enduring value of entertainment in marketing strategies today.
• Mars shifts focus to personalized, engaging content to better connect with consumers.
• Snickers' UEFA Euro 2024 campaign showcases Mars' innovative approach to consumer engagement.

After more than two decades at Mars, overseeing iconic brands like M&M's, Skittles, and Twix, the company's chief brand officer, Rankin Carroll, says one of the biggest mistakes marketers make today is forgetting a simple idea: entertainment still matters.

As marketers race to embrace AI, data, personalization, influencers, and new measurement tools, Carroll told Business Insider in an interview for its "CMO Insider" podcast that the industry sometimes loses sight of what consumers are actually looking for.

"I think what's critical to cut through is it's still a game of compelling stories," Carroll said. "People are still looking for content that captures their attention."

Carroll's comments come as Mars undergoes a major transformation in how it markets its brands, shifting toward more personalized advertising powered by data and technology.

Yet Carroll says all of those tools matter only if they help brands create entertainment that consumers actually want to spend time with.

Consumers don't want brands talking at them

Carroll says one of the biggest changes in marketing is the growing expectation that consumers participate in brand experiences rather than simply receive messages.

"We can get caught up in the data, we can get caught up in all the technology side of this, but at the end of the day, it's compelling stories well told in engaging ways that they can participate in," he said.

For Carroll, that is where entertainment comes in. Instead of interrupting consumers with ads, Mars increasingly wants to give them experiences they choose to engage with.

That philosophy has shaped several recent Mars campaigns.

Carroll pointed to a Snickers activation built around the UEFA Euro 2024 soccer tournament.

The campaign partnered with Meta and WhatsApp to let consumers send personalized messages to friends using an AI-powered José Mourinho character. Users entered prompts about mistakes their friends had made, and the system generated custom responses in Mourinho's voice.

Rather than simply promoting Snickers, Mars built the campaign to tap into behavior that it already understood about soccer fandom.

"We know the behavior around the Euros around football is banter," Carroll said. "You want to banter with your mates."

The result was an entertaining experience that consumers could actively participate in and share. "It just exploded," Carroll said.

Mars says personalization works best when it's entertaining

Carroll believes personalization has become an expectation, particularly among younger consumers.

"What we know is that consumers now, especially younger consumers, expect personalization from brands," he said.

But he does not view personalization as simply delivering more targeted advertisements. Instead, Mars is trying to build experiences that allow consumers to participate in the creation of content itself.

The Snickers campaign was one example. Another was the "Twix Harmonizer," a tool that allowed users to send voice notes to friends that would soften bad news through AI-generated audio.

Again, Carroll says the appeal was not the technology itself but rather giving people something entertaining to do.

"You cut through by creating an experience that they can actually participate in," he said.

Why Mars thinks many marketers are overcomplicating things

Carroll says that digital platforms have made it harder for brands to break through. Social media feeds are crowded, algorithms constantly change, and consumers have more content choices than ever.

Still, he says marketers sometimes focus too heavily on data, technology, and optimization while overlooking the importance of creating something people genuinely enjoy.

"I think that's the word that we've slightly forgotten about. Entertainment," Carroll said.

That thinking also influences how Mars approaches culture.

Whether it's Skittles creating unusual campaigns, Snickers building interactive experiences, or M&M's responding to controversy through humor, Carroll says brands need to find ways to participate in culture without losing their identities.

"We can bring something to you," he says of consumers.

For Carroll, that remains the foundation of effective marketing regardless of how technology evolves.

"At the end of the day," he said, "it's compelling stories well told in engaging ways that they can participate in."

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Modern CMOs are getting the promotion they've long wanted: job titles like CGO that reflect their revenue and growth responsibilities. The catch? They're not getting more power.

That's a sharp tension at the heart of a new study shared exclusively with CMO Insider by the brand consultancy Lippincott. The study analyzed a survey of 541 global CMOs or equivalents.

"There is more responsibility but less of that autonomy in terms of getting a strong sense of alignment across the organization," Michael D'Esopo, Lippincott CEO, told me.

Nearly 80% said bureaucracy commonly got in the way of decision-making, while 84% said it was at least "somewhat difficult" to align their management team, senior peers, and other stakeholders around a marketing vision. Fewer than half (44%) said marketing operated with high autonomy.

One unnamed CMO quoted in the report put it this way: "What often happens is that a strong, well-founded idea gets gradually diluted. Someone senior, like a CFO or CCO, adds input that doesn't align with the evidence, and people hesitate to challenge it."

Part of the issue is that many CEOs aren't confident in marketing's ability to demonstrate a financial impact.

"There is a huge trust problem for marketing in the C-suite," former Mastercard CMO Raja Rajamannar told me in a recent interview.

Plenty of studies over the years have suggested marketing has a credibility problem in the corner office. A report released in April from the communications firm Boathouse, for example, found only 13% of CEOs were confident in marketing's ability to demonstrate a financial impact.

Those long-held tensions are being exacerbated by technological shifts, D'Esopo said.

The abundance of AI-powered dashboards and analytics tools has made marketing performance more visible across organizations, D'Esopo said. That can help CMOs appeal to finance leaders by showcasing short-term wins, but it can also reinforce a focus on immediate results at the expense of long-term brand building.

These new tools have also boosted marketing leaders who are steeped in data. Lippincott said 35% of marketing chiefs come from performance- or growth-marketing backgrounds. Around 20% of the senior-most marketing decision-makers don't even have "marketing" in their job title, reflecting the rise of chief growth, chief revenue, and chief commercial officers, per Lippincott.

That can have both good and bad effects.

The rise of performance-minded leaders may bring more analytical rigor to balance out softer marketing metrics. However, Rajamannar said they can use a brute-force approach, likening it to "running constantly on the treadmill." It can lead to chasing the next click, lead, or conversion rather than building the underlying consumer demand.

Short-termism is also creeping into new areas, such as AI search visibility. CMOs surveyed said their companies are spending more on AI while cutting investment in websites and content — the very assets AI systems use to understand and surface brands.

So if that's the diagnosis, what's the antidote?

Lippincott said in the report that CMOs need to use the language of business growth without losing the fundamentals of long-term brand building, which may require translating marketing's impact differently for each separate stakeholder, whether that's the CEO, CFO, or the board. And organizational alignment should be treated as a growth strategy in its own right.

PepsiCo's Jane Wakely, who has possibly the longest job title in the marketing profession — executive vice president, chief consumer and marketing officer, and chief growth officer for international foods — said CMOs should stay focused on the marketing principles that don't change. New technologies such as AI and diverse data sources just give marketers more ways to achieve their goals, she added.

"If I'm reaching a billion people every day, to grow I've got to reach more than a billion — it's quite simple," Wakely said. "That is not going to change."

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Bose wants a bigger chunk of the music business.

The audio-equipment maker has created Bose Studios, an in-house content studio designed to help it shift from campaign-driven marketing, the company exclusively told CMO Insider.

One key differentiator is the launch of a new record label, Bose Records. Bose CMO Jim Mollica said in an interview that the plan isn't to go toe-to-toe with the "Big Three" label conglomerates, but rather to help break underappreciated or new artists and — crucially — not have to pay for music rights when they feature in Bose commercials. (Mollica said Bose wouldn't look to own the artists' masters, the company wouldn't take a share of their record sales or streams, and that they would be free to sign with other labels.)

Other big projects include commissioning original TV series and films "attached to some legendary Hollywood names," Mollica said. Bose is also planning a YouTube series, podcasts, and live music events — and could perhaps even buy a music media company. Some of those properties will generate their own ad revenue.

The launch of Bose Studios reflects a reality most CMOs face. Ad prices are higher, even though audiences are more fragmented and, in the case of TV, smaller. Consumers are actively avoiding advertising. Social media algorithms and the rise of AI search are disrupting the old ways that brands were discovered. Brands need to entertain to cut through.

"Our category, music, has a bunch of rituals baked into it," Mollica said. "If we have the opportunity, not to sell products, but become part of that ritual, then ultimately Bose is not an audio-equipment business anymore. We're about deepening people's relationship with music."

Much of Bose's prior marketing already focused on forging partnerships with music artists. Last year, for example, it teamed up with Blackpink's LISA to create customized earbuds, which it launched at a pop-up store in Los Angeles. This past February, it collaborated with the Grammy-nominated Twitch streamer PlaqueBoyMax, who created music on the spot during a livestream that aired during the NBA's All-Star weekend.

The record label and film productions signal Bose's expanded ambitions. Other brands, including Red Bull and Starbucks, have launched music labels in the past, though they were eventually retired.

Alexandra Annable, founder of Holl'r Music, an artist management and booking agency, said competition is fiercer than ever for emerging artists. For Bose to succeed, it might want to consider aligning itself with a specific genre, she added, pointing to Wingstop, which created its UK Freestyle Series for emerging drill, rap, and hip-hop artists.

"I think the only way brands can effectively engage with music fans is to create unique, content-led experiences, but these must be really authentic and culturally relevant," Annable said.

Steve Ackerman, a board advisor and consultant to media and entertainment businesses, said Bose Studios needs to ensure the content comes before promoting its products.

"The graveyard of branded content is littered with brands that have gone down this route and not understood what it means to be a content creator," Ackerman said. "They often defaulted to advertising agencies that don't understand how to engage with audiences; they just understand how to create content that gets in the way of the thing that audiences want to engage with."

Mollica, who previously worked at Disney and Viacom, said he understands the assignment. He said Bose Studios is not working with ad agencies and is recruiting and partnering with talent across the film, TV, podcast, and publishing industries.

"This isn't product placement; this isn't a long, 30-minute commercial," Mollica said. "These things are truly about how we are taking this authentic love of music and elevating the content that's out there today for true music fans to experience more."

• Elon Musk has had a rocky relationship with advertisers since acquiring Twitter in 2022.
• Musk's X sued advertisers for allegedly violating antitrust law by boycotting the app.
• New SEC filings show that X's efforts to win back advertisers haven't led to a bonanza.

Elon Musk's attempts to win over advertisers have yet to spark a major recovery in ad revenue for X.

In 2025, ad revenue for X (formerly Twitter) reached $1.8 billion, up around 7% from 2024. That said, revenue was down 21% from 2023 and about 59% from 2021, the year before Musk took over Twitter and began alienating some brands with looser content moderation.

Here were the stats:

X's ad revenue figures were revealed in an S-1 filing by SpaceX, X's parent company.

Since buying Twitter, Musk's relationship with advertisers has been rocky.

In 2023, he told marketers who were skipping out on X ads that they could "go fuck yourself."

Musk hired an ad industry veteran, Linda Yaccarino, in 2023 to help woo marketers. Yaccarino previously ran ad sales at NBCUniversal.

The drama with the ad industry didn't stop, though.

A year later, X sued an advertising trade group, The World Federation of Advertisers, and some members, including CVS, Unilever, and Mars, alleging they violated antitrust law by collectively withholding ad spend. A judge later tossed out the suit, citing a lack of jurisdiction and X's failure to state a claim under the antitrust laws.

Yaccarino left the company in July 2025.

Last year, there was industry chatter that Musk's entry into politics may have helped X's ad prospects. As Musk took on a high-profile role in the US government, some advertisers began spending on X again. Ad industry insiders previously told Business Insider that they felt buying ads on the app had become a cost of doing business to appease Musk and his allies in President Donald Trump's White House. Musk left his role, and his relationship with the Trump administration has since become more muddled.

Advertising's centrality as a revenue source for X diminished in March 2025 after Musk decided to merge the app into his artificial intelligence company, xAI. The company's AI revenue is growing much faster than its advertising revenue, reaching around $1.35 billion in 2025, a 52% increase from the previous year.

With the decision to merge xAI into SpaceX earlier this year, advertising now accounts for just a fraction of the combined company's $18.7 billion in 2025 revenue.

That doesn't mean X has stopped trying to improve its ad products.

Last month, X announced it had revamped its ads business to integrate more AI tools. This month, X rolled out a new tool that uses AI to connect brands with creators that might be a good fit for their campaigns.

• TikTok advertising executive Khartoon Weiss is leaving the company.
• Weiss, who spent almost six years at TikTok, oversaw its North America ads business for the past year.
• Weiss is one of several advertising and marketing execs to leave TikTok this year.

TikTok's advertising team is undergoing another big shake-up.

Khartoon Weiss, the lead exec for TikTok's North American ads business, is exiting the company, four people familiar with the matter told Business Insider.

Weiss, who pitched TikTok's suite of ad products to marketers onstage at its NewFronts event last month, joined the company almost six years ago from Spotify. She oversaw TikTok's global agency and accounts teams before being promoted to lead the North America division of the global business solutions team in March 2025, following the departure of advertising head Blake Chandlee.

Digiday first reported on Weiss' exit.

Weiss' exit is the latest in a string of advertising and marketing team departures at TikTok.

Zuber Mohammed, TikTok's global head of consumer marketing, left the company in March. Sofia Hernandez, the global head of business marketing and commercial partnerships, and Rema Vasan, who headed up business marketing in North America, left the company last quarter.

Other teams at TikTok have also seen leadership changes this year, including the company's content division, which lost its global head of creators, Kim Farrell, in January.

Some of the executive exits have shifted control of North America teams to leaders from Singapore or China. When Chandlee left last year, oversight of the sales team, known as global business solutions, moved to Singapore-based executive Will Liu, for example.

TikTok's US team restructured in January while forming a new joint venture to transfer certain work, like US user data management, to a separate group that includes Oracle and investment firms MGX and Silver Lake. Its advertising and marketing teams remain under the control of parent company ByteDance.

As part of the structural change, Adam Presser, a trust and safety executive, became CEO of the US joint venture. Presser appeared alongside Weiss at TikTok's March NewFronts presentation to assure advertisers that the company's ads experience would not be disrupted amid internal changes.

• A court dismissed a lawsuit by Elon Musk's X that had accused advertisers of illegally boycotting the platform.
• The Texas federal judge cited a lack of jurisdiction and X's failure to state a claim.
• The defendants included Mars, Lego, and Nestlé.

A court tossed out a lawsuit filed by Elon Musk's X that accused big advertisers like Mars, Lego, and Nestlé of illegally boycotting the platform.

A US District Court judge in Texas dismissed the case, citing a lack of jurisdiction and X's failure to state an antitrust claim.

X sued several major brands in August 2024, alleging their participation in an ad industry initiative called the Global Alliance for Responsible Media, GARM, was tantamount to a conspiracy to "collectively withhold billions of dollars in advertising" from X after Musk's takeover of the company, then known as Twitter. It later added other brands to the suit.

X claimed the alleged boycott made it less competitive than other platforms in winning advertisers and user engagement.

Other plaintiffs named in the suit were the World Federation of Advertisers, CVS Health, Ørsted, Twitch, Abbott Laboratories, Colgate-Palmolive, Pinterest, Tyson, and Shell.

WFA shut down GARM, its initiative, after the suit was filed, citing limited resources.

The suit was partly spurred by an investigation by the chairman of the House Judiciary Committee, Jim Jordan, into whether advertisers were illegally banding together to demonetize conservative platforms and voices in violation of antitrust law.

The plaintiffs fought back, calling the lawsuit "an attempt to use the courthouse to win back the business X lost in the free market when it disrupted its own business and alienated many of its customers."

X's relationship with advertisers has been fraught since Musk bought the platform in 2022. Advertisers left en masse as X loosened moderation and account-verification rules and reinstated the banned accounts of some provocative figures.

EMARKETER, Business Insider's sister company, estimated its revenue would reach $2.2 billion in 2026, below its pre-acquisition level of $4.5 billion.

X has tried to win back advertisers by underscoring its commitment to brand safety and promoting its use of block lists that let advertisers avoid showing up around certain topics.

X did not immediately respond to a request for comment from Business Insider.

• "Clipping" marketing, a practice where creators get paid to repost video clips, is taking off.
• Top-tier clipping creators can now earn thousands of dollars a month, with guaranteed pay.
• Clipping has gained popularity among podcasters, Kick streamers, and YouTubers like MrBeast.

There's a new class of creators moving from side hustlers to in-demand pros.

Dubbed "clippers," these creators are paid to post snippets of podcasts, livestreams, movies, or songs on TikTok and other social apps, creating the impression that they're trendy.

Even if you haven't heard of "clipping," you've likely seen this emerging social-media strategy in the wild.

YouTubers, podcasters, and Kick streamers are early adopters of the tactic, which is performance-based and usually only pays out if a video gets significant views.

The clipping community is filled with side hustlers who are happy to earn $200 from a viral video. However, as the category has matured and attracted larger budgets, a new professional class of high-performing clippers has emerged. These clipping all-stars can still get performance-based pay, but they're also being offered guaranteed retainers of $500 to $1,500 a month to ensure they get to work, according to one "elite clipper" application viewed by Business Insider.

"An elite clipper is someone who runs hundreds of pages, and across those hundreds of pages, multiple have millions of followers or a minimum 100,000 followers," said Evan Stanfield, cofounder of the clip-marketing agency Clipping Culture. "If we're paying a monthly retainer, we can ask them to post 20 or 30 times a month, instead of whenever they feel like it."

These "top 1% of clippers" can earn five figures a month, Stanfield said.

Clipping is gaining popularity at a moment of flux in the world of social media marketing. As algorithmic feeds become more personalized, hiring influencers to post sponsored content doesn't necessarily translate into views (unless you're a superstar). Marketers who post clipping campaigns only pay when their content performs.

YouTuber MrBeast recently launched his own clipping platform, Vyro, which he uses to promote his channel, according to the company's website.

"The clippers that we're talking about are not like influencers," said Johnny Cloherty, CEO of the marketing-agency Genni. "You're getting people that are like you and me, or maybe some college kids that are just looking for some extra dough."

Clippers can sign up for campaigns in Discord servers, side-hustle sites like Whop, or marketing platforms like Genni. While they're often paid to clip footage, at other times the task is to add a brand's logo to a viral video clip or to embed a song beneath a post.

They're typically offered between $1 and $4 per 1,000 views, marketers told Business Insider, though some agencies offer higher rates when creators reach thresholds like 100,000 or 1 million views.

To promote the launch of Beast Land, MrBeast offered creators $2 for every 1,000 views on clips they posted about the pop-up theme park, for example. A Vyro promotion for a November boxing match between Conor Benn and Chris Eubank Jr. offered the same rate. One of Clipping Culture's recent briefs asked clippers to promote footage from Sabrina Carpenter and María Becerra's Lollapalooza Argentina appearance for around $1 per 1,000 views.

"It is a little bit of a roll of the dice for the clippers, but it's a super low lift for them," Cloherty said. "These clippers have become an ecosystem and a community out there that kind of know what they're doing, and know the pros and cons of it."

• Coca-Cola and Svedka are using AI to enhance holiday and Super Bowl ads, speeding up content creation.
• Companies like Mondelēz and Blue Chip use AI to test concepts, saving time and improving strategies.
• The tech can help CPG firms work faster, but risks include AI slop in campaigns.

Coca-Cola's holiday ad and Svedka's Super Bowl commercial share more in common than promoting a beverage — both were generated with the help of AI.

The technology is catching on at consumer goods companies, with marketing leaders adding AI to their processes on both the creative and strategic sides.

As a result, assets and campaigns are coming to fruition faster than they could without AI.

Before AI, it could take Mondelēz International up to 10 weeks — from concept to production — to spin up a six- to eight-second social media video for its Chips Ahoy! character "Chip," said Jennifer Mennes, VP and global head of digital marketing and strategy at Mondelēz International.

Now, the marketing team can prompt AI and create a video in less than five minutes. After various checks by human members of the team, the total process might take days.

The biggest opportunities aren't necessarily in "big flashy campaigns," like Super Bowl spots, Mennes said. Instead, AI is helping CPGs quickly produce a greater volume of text, headlines, social content, and lifestyle imagery. As firms pump out more content, they could risk putting out AI slop and turning off consumers with AI-generated material. But so far, the efficiency gains are proving worthwhile as companies and agencies save weeks of time, especially on high-volume work and strategy.

"It doesn't seem that exciting," Mennes said. "But it's actually driving impact."

Testing and learning with AI

AI can play a role in parts of the marketing process that are invisible to consumers, such as idea generation. Johnny Rohrbach, founder of global partnerships and operations at Silverside AI, said marketing teams and their partners can "come up with different directions until the cows come home." His AI lab works with several CPGs, including Coca-Cola, on its holiday campaigns.

Focus group testing is another AI use case. Sonja Evans, VP of business intelligence and strategy at Blue Chip Marketing Worldwide, said her agency partners with Waldo.fyi, an AI company, to create digital twins of a brand's target consumers, using detailed demographics and purchase history. The team then presents creative ideas to this synthetic audience.

"We can talk to them just like we would be talking to a consumer," Evans said. Based on the feedback, the agency whittles down the ideas before presenting them to real consumers. The feedback from digital and virtual consumers "is shockingly similar," she said.

Blue Chip — which has worked on campaigns for Bob's Red Mill, Emerald Nuts, and Panera Bread — also uses AI to create what's known as a boardomatic. This is essentially an animated version of a spot with voiceover, script, and motion, but without the time, costs, or hired talent needed for a shoot.

The agency can test multiple animated spots with consumers to gauge their reactions "before we even spend a dollar on production," Evans said. The agency then uses the feedback to decide which version goes into full production.

Avoiding the trap of AI slop

Today, consumers demand more content, creating a cycle in which brands must appear in their feeds more often to stay top of mind, Rohrbach said. Marketing budgets don't always expand to keep pace with consumer trends. He added that AI can help bridge the gap, allowing marketing teams to do more with the money they're allocated.

There's a fine line when it comes to volume, though.

"If the spots feel like garbage and if you're just pumping out content because you can, then you're going to turn off the consumer," Mennes said, adding that a human is always in the loop at Mondelēz. The CPG company sees AI as additive and enhancing how it already connects with consumers, not replacing workflows.

"Nothing goes into the market without rigorous approval," Mennes said.

For food brands, especially, imagery needs to look real and authentic, Evans said. "People are very quick to call out when something looks AI."

Consumers have blasted brands for AI slop, with many criticizing AI-generated Super Bowl ads as uninspired or low-quality. Rohrbach, whose AI lab partnered with Svedka parent company Sazerac to produce its AI Super Bowl spot, said brands need to ensure they're not putting out content that's irrelevant, poorly executed, or "a little bit tone deaf." His lab's Coca-Cola holiday ad was among the spots that drew criticism, but he said the ad performed "exceptionally well" according to internal and external testing.

The strong performance may have been partly driven by the attention it received for using AI, even though social media sentiment was largely negative. In fact, the spot was the most talked-about Christmas ad of 2025.

"I'm super proud of that ad," Rohrbach said. He added that Coca-Cola is "very much on the vanguard" of AI experimentation, and CPGs as a whole are embracing the technology due to the high demand for content.

In fact, a BCG study from February found that seven in 10 CPG marketing leaders expect GenAI to help them work faster — although only 13% said the tech is fully integrated into marketing workflows. The report said the figures point to a maturity gap. Evans said bigger brands may have larger budgets to experiment with AI, while midmarket companies are contending with tariff and inflation pressures, making them more focused on business goals than on AI experimentation.

Mennes said major CPGs are "well on their journey" and "rapidly embracing this space." Plus, she's noticed a change among her CPG peers. For the first time in her career, they're cross-sharing ideas, comparing challenges related to hallucinations, and gut-checking solutions with one another.

"It's actually refreshing," Mennes said. "If we can help each other out on that, it just accelerates our ability to transform our organizations."