How UTA is Helping Brands Craft the Narrative for the Next Act in Entertainment
In an era where culture, commerce, and storytelling are converging, Julian Jacobs of UTA sheds light on its implications for CMOs. Launching his career in UTA’s mailroom nearly two decades ago, Jacobs now stands at the forefront of brand innovation, guiding leading companies on how to embed themselves in the evolving cultural landscape.
The Power of Insight Over Product Placement
Gone are the days of mere product placements; today’s landscape demands insight and access. As the head of UTA’s entertainment marketing division—alongside co-head David Anderson—Jacobs leads an 80-member team across key cities like Los Angeles, New York, London, and Atlanta. He emphasizes that UTA’s unique vantage point allows them to spot trends in **streaming**, **film**, **music**, and **social formats** from the earliest stages, transforming data insights into powerful strategies for brands. “We know what every streamer, financier, and studio is working on,” Jacobs notes. “This data helps brands see around corners.”
For instance, the collaboration between **General Motors** and **Netflix** exemplifies this strategic foresight. Rather than centering the partnership around a single title, it spanned the entire Netflix universe—leading to a remarkable integration of EVs in countless original series. The result? A notable **7% surge in GM’s stock price** following the announcement. This showcases how well-crafted narratives can significantly affect both brand perception and market value.
Culture as the New Currency
The shift in CMO mindsets is palpable: attention now thrives in **culture**, not merely amidst advertising slots. Jacobs elaborates, “If you want to do this properly, you’ve got to be in it for the long haul.”
A compelling example comes from UTA’s work with **Eli Lilly**. Their partnership with the **Annenberg Inclusion Initiative** underlined the misrepresentation of conditions like Alzheimer’s in media. This revelation opened the door to storytelling initiatives that aim to reshape audience perceptions by aligning Eli Lilly with influential production houses such as **Imagine Entertainment**. Such long-term narratives resonate more deeply than any traditional media buy could achieve, proving that **deep, meaningful engagement** creates lasting impact.
The TikTokification of Television
Julian Jacobs brings attention to a burgeoning trend: the rise of premium, long-form storytelling designed specifically for **social platforms**. He points out a “white space” where brands evolve their strategies, moving from simple “tag-and-post” advertising to creating fully fleshed-out shows, exemplifying the new wave of **social-first storytelling**. One of UTA’s ventures includes representing **Gymnasium**, a studio focusing on producing dedicated content for social media.
Jacobs believes this convergence represents the next frontier of influencer marketing. “Platforms like YouTube Red and TikTok’s creator fund have come and gone; now brands are stepping up to fund authentic stories.” And while UTA represents a diverse roster of brands, talents, and studios, they maintain a clear ethical framework. Jacobs assures that rigorous “**Chinese walls**” are established to ensure unbiased collaboration, even if a brand seeks a partnership involving non-represented talent.
Embracing Technology: AI and Virtual Cameos
As the landscape evolves, UTA is exploring opportunities that merge innovation with creativity. Jacobs highlights the rise of **virtual product placement**, an area gaining momentum. “We’ve collaborated with **TripleLift**, which uses AI to insert products into films during post-production,” he explains, marking a transformative shift in how brands can be integrated into existing content libraries.
This synthesis of creative vision and scalable solutions could be a **“holy grail”** for CMOs. “Some of this can be approached like a cost-per-thousand impressions model,” Jacobs notes, emphasizing that success still hinges on finding the right idea and executing it flawlessly.
While UTA doesn’t function merely as a holding company, it thrives as a pivotal connector in an increasingly intricate cultural ecosystem. It boasts multiple business components, including ownership of **MediaLink**, a marketing consulting firm, and the recent acquisition of **Gen Z agency**, spearheaded by Ziad Ahmed, dedicated to exploring youth culture.
As Jacobs succinctly puts it, “We don’t just know what’s trending; we know what’s coming.” This foresight enables brands—from **American Express** to **L’Oréal** and **Google** to **Delta**—to navigate the complexities of the cultural terrain expertly. UTA truly is the agency helping brands write the script for the next act in entertainment and marketing.
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