<?xml version="1.0" encoding="utf-8"?> <rss version="2.0"> <channel> <title>Marketing Remote Jobs | Find Remote Marketing Positions</title> <link>https://www.marketingremotejobs.app</link> <description>Discover top remote marketing jobs worldwide. Find remote positions in digital marketing, content, SEO, social media, and more. Apply to work-from-home marketing roles today.</description> <lastBuildDate>Tue, 30 Jun 2026 15:59:35 GMT</lastBuildDate> <docs>https://validator.w3.org/feed/docs/rss2.html</docs> <generator>https://github.com/jpmonette/feed</generator> <language>en</language> <image> <title>Marketing Remote Jobs | Find Remote Marketing Positions</title> <url>https://www.marketingremotejobs.app/images/logo-512.png</url> <link>https://www.marketingremotejobs.app</link> </image> <copyright>All rights reserved 2024, MarketingRemoteJobs.app</copyright> <category>Bitcoin News</category> <item> <title><![CDATA[Amazon Faces $1.3 Billion Penalty Threat for Prime Video Ads]]></title> <link>https://www.marketingremotejobs.app/article/amazon-faces-13-billion-penalty-threat-for-prime-video-ads</link> <guid>amazon-faces-13-billion-penalty-threat-for-prime-video-ads</guid> <pubDate>Tue, 30 Jun 2026 08:01:04 GMT</pubDate> <description><![CDATA[The Australian Competition and Consumer Commission (ACCC) is taking Amazon to court over its introduction of **ads on Prime Video** for customers who had already paid to avoid them. ACCC chairwoman Gina Cass-Gottlieb is seeking a **“significant penalty”** that could reach up to **$1.3 billion**, based on Amazon's Australian revenue. > “We will look for a penalty that is significant in the context of Amazon’s business in Australia, so it’s not simply a cost of doing business in Australia, it is a true deterrent,” Cass-Gottlieb said. ### The Case - Amazon introduced ads on Prime Video in Australia in **July 2024**, requiring subscribers to pay an extra **$2.99 per month** to remove them. - The ACCC argues this is an **unfair contract term**, as customers who paid upfront for an ad-free experience were later forced to pay more or endure ads. - This is the **second** action under the ACCC's new powers to investigate unfair contract terms, and the most significant to date. ### Potential Penalty The ACCC is suing Amazon Commercial Services, which posted **$3.8 billion in revenue** in the 2024 calendar year. A penalty of up to **one-third of gross revenue** could mean a fine as high as **$1.3 billion**. The regulator is also seeking declarations, consumer redress, and legal costs. ### Amazon's Response A spokesman for Amazon Australia said the company is reviewing the case and has cooperated with the ACCC throughout its investigation. They remain focused on providing the best experience for Australian customers. ### Background - Prime Video launched in Australia in **2018** and now has over **5 million subscribers**, making it the second-largest streaming platform behind Netflix. - Major streaming platforms like Disney+ have also introduced cheaper, ad-supported tiers as subscriber growth slows. - Amazon updated its contract terms multiple times during the ACCC's investigation, but the regulator deemed the changes insufficient. ### What's Next? The case covers the period from **November 1, 2023, to August 18, 2025**, as Amazon made a final change to guarantee pro rata refunds on August 19, 2025. The outcome could set a **precedent for how global tech companies operate in Australia**.]]></description> <author>contact@marketingremotejobs.app (MarketingRemoteJobs.app)</author> <category>accc</category> <category>amazon</category> <category>primevideo</category> <category>consumerprotection</category> <category>streaming</category> <enclosure url="https://static.ffx.io/images/$zoom_0.4749%2C$multiply_2%2C$ratio_1.777778%2C$width_1059%2C$x_244%2C$y_0/t_crop_custom/c_scale%2Cw_800%2Cq_88%2Cf_jpg/t_afr_no_label_no_age_social_wm/8ae0c17149dcad1dbf5ef01973ddbc7665364056" length="0" type="image/777778%2C$width_1059%2C$x_244%2C$y_0/t_crop_custom/c_scale%2Cw_800%2Cq_88%2Cf_jpg/t_afr_no_label_no_age_social_wm/8ae0c17149dcad1dbf5ef01973ddbc7665364056"/> </item> <item> <title><![CDATA[Gen Z Didn't Kill Cinema, Beer, or Soda—Lazy Marketing Did]]></title> <link>https://www.marketingremotejobs.app/article/gen-z-didnt-kill-cinema-beer-or-sodalazy-marketing-did</link> <guid>gen-z-didnt-kill-cinema-beer-or-sodalazy-marketing-did</guid> <pubDate>Mon, 29 Jun 2026 16:00:44 GMT</pubDate> <description><![CDATA[Mark Ritson argues that the soft launch of *Supergirl* and the breakout success of *Backrooms* point to a bigger marketing problem: legacy brands keep blaming young audiences for rejecting old products. Kids aren’t going to the cinema anymore. That’s the general take on the post-Covid decline now afflicting the big screen. And the superficial data does support the depressive assessment. PwC counted 1.3bn US cinema admissions in 2019. By 2023, the figure had fallen to 777m. Per capita admissions peaked in 2002 at 5.1 per year. Pre-pandemic, they had drifted to 3.5. In 2024, they sat closer to 1.8. Frequent moviegoers, those buying six-plus tickets a year, fell from 39% of the audience in 2019 to 17% in 2025, per S&P Global. Streaming arrived. TikTok arrived. Gen Z stayed home. Studios have said as much on every earnings call between 2021 and 2024. Then reality did what reality usually does to bad marketing theory. It got in the way. **Four films shattered the narrative:** - **Marty Supreme** (A24, $70m budget): A low-budget biopic about a fictional 1950s ping-pong hustler, grossed $191m worldwide. - **Iron Lung** (self-financed by YouTuber Markiplier, $3m budget): A horror film grossed over $50m. - **Backrooms** (A24, $10m budget): Directed by 20-year-old Kane Parsons from YouTube, opened to $81m domestic, $118m globally, and passed $300m worldwide. 43% of its audience was 18-24. - **Obsession** (Focus Features, from YouTube director Curry Barker, 26): Grossed about $370m worldwide, becoming Focus Features' highest-grossing film domestically. Four films. Four directors who did not come up through the studio system. Four budgets between $3m and $70m. Four genre-resistant concepts. And an audience profile heavily skewed toward the demographic that supposedly stopped going to the cinema four years ago. Now consider what Hollywood spent the same period doing. The top 10 highest-grossing films of 2024 came entirely from existing IP, sequels, and prequels. The only two genuine originals in the top 20 were *IF* and *Longlegs*. Between half and two-thirds of the major studios’ 2025 slate was franchise extension, sequel, prequel, or reboot. **The blockbuster strategy**, popularized by Harvard professor Anita Elberse in her 2013 book *Blockbusters*, argued for placing disproportionately large bets on a small number of likely winners. It worked for a while. Before 2000, only seven film franchises had cumulatively grossed more than $1bn. Since 2000, more than a hundred have. But the trouble with a successful formula is that the idiots arrive later and think it will be eternally applicable. Sales soft? Bigger sequel. Bigger sequel underperforms? Multi-property crossover. Crossover flops? Reboot the original. Reboot struggles? Add a younger actor, a knowing joke, and a soundtrack from an artist your daughter once mentioned at breakfast. Consider **Supergirl**. Warner Bros. and DC Studios opened it on Friday. Production budget $170m, marketing around $125m on top. It is the sequel to last year’s *Superman*, which was itself a remake of *Man of Steel* with Henry Cavill, which was a remake of *Superman Returns*, which was a remake of *Superman I, II, III and IV* with Christopher Reeve. Supergirl opened to $38m domestic and $68m globally, below tracking. The worldwide break-even point is somewhere above $315m. It might not make it. It is a bit like your father forcing you to listen to Joy Division until you *get it*. The first song, you don’t like, so he puts on another single. You still don’t like Joy Division. So he plays you a third with the volume up. Then he turns to you, exasperated, and asks why you don’t like music. **This pattern extends beyond cinema.** The drinks industry has spent five years explaining that the young drink less alcohol. Health-conscious. Less social. Into other substances. All probably partly true. But the mainstream beer industry has spent a decade extending Bud Light, Coors, and Miller into different cans. The wine industry continues to sell Pinot Grigio and Sauvignon Blanc in the same bottles. Spirits brands launch line extensions of line extensions. But the more they dress up their existing portfolios with new colors, co-brands, and pop stars, the more the new generation of drinkers will drink elsewhere. Or not at all. The under-30s buy mezcal, hard seltzer, agave RTDs, premixed cocktails, Athletic non-alcoholic beer, hemp-derived drinks, and CBD seltzers. Their behavior is better understood as **boredom than abstinence**. Soda is the same. Coca-Cola and Pepsi domestic volumes have softened for years. The standard explanation: Gen Z health concerns. Then **Olipop** crossed $200m in annual sales and was last valued at $1.85bn. **Poppi** was acquired by PepsiCo for $1.95bn in May 2025. Gut-health soda dollar sales grew 301% in 2023. Coke and Pepsi have both now launched their own prebiotic ranges, chasing a category they spent years insisting did not really exist because Gen Z had given up on fizzy drinks. Gen Z had not given up on fizzy drinks. They had given up on Coke and Pepsi. In each case, the legacy industry diagnosis is lifestyle. The actual cause looks more like **portfolio**: a 30-year-old product assumption with the labels lightly redesigned, and a generation that has decided it would rather not. It’s not them, the consumer. It’s us, the lazy marketers. Elberse’s blockbuster strategy is not wrong. It’s brilliant. Concentrating big bets on likely winners is still a defensible portfolio approach. But after two decades, what was meant to be a way of placing bets has become a way of avoiding them. You cannot find the next category-defining hit if all you fund is variations on the last one. At some point, it becomes old. It becomes derivative. And you see it first with a younger, disinterested consumer who was not made that way. That is their response to the crap of the past presented as new. *Marty Supreme, Backrooms* and *Obsession* should be read as **signals rather than blueprints**. The box office, the brewery, the bottler and a host of other companies still have access to the youth market. What they lack is the capability of the new. The new consumer is still there. She is just waiting for someone to bring her something she has not seen before. Something that speaks to her, rather than something that spoke to her grandparents and was resurrected a dozen times. **It’s not them. The problem has been sitting inside the marketing department all along.**]]></description> <author>contact@marketingremotejobs.app (MarketingRemoteJobs.app)</author> <category>marketingstrategy</category> <category>genz</category> <category>consumerbehavior</category> <category>innovation</category> <category>brandrevitalization</category> <enclosure url="https://thedrum-media.imgix.net/thedrum-user-assets-prod/s3/images/original/supergirl.png?w=1280&ar=default&fit=crop&crop=faces&auto=format" length="0" type="image/png"/> </item> <item> <title><![CDATA[Nike's Pixelated Genius: How a Guerilla Campaign Outsmarted Adidas and Built Hype for Germany's 2027 Kit]]></title> <link>https://www.marketingremotejobs.app/article/nikes-pixelated-genius-how-a-guerilla-campaign-outsmarted-adidas-and-built-hype-for-germanys-2027-kit</link> <guid>nikes-pixelated-genius-how-a-guerilla-campaign-outsmarted-adidas-and-built-hype-for-germanys-2027-kit</guid> <pubDate>Fri, 26 Jun 2026 16:00:57 GMT</pubDate> <description><]]></description> <author>contact@marketingremotejobs.app (MarketingRemoteJobs.app)</author> <category>nike</category> <category>germanykit</category> <category>guerillamarketing</category> <category>contractworkaround</category> <category>viralcampaign</category> <enclosure url="https://www.footyheadlines.com/static/img/post/2026/06/26/kUb8LzUeIhuFPVX/nike-actually-manufactured-a-pixelated-kit-for-germany-guerilla-campaign.jpg" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[Forbes 2026 Most Influential CMOs: The 50 Leaders Redefining Marketing in the Age of AI]]></title> <link>https://www.marketingremotejobs.app/article/forbes-2026-most-influential-cmos-the-50-leaders-redefining-marketing-in-the-age-of-ai</link> <guid>forbes-2026-most-influential-cmos-the-50-leaders-redefining-marketing-in-the-age-of-ai</guid> <pubDate>Thu, 25 Jun 2026 16:00:46 GMT</pubDate> <description><![CDATA[The 2026 Forbes World’s Most Influential CMOs list recognizes chief marketers whose approach to driving growth is charting new paths. These leaders are moving companies, categories, and cultures—not just attracting attention. Here's what sets them apart. ## The New CMO Mandate Today's CMOs must **drive enterprise growth**, introduce new products, revive stagnant sales, bolster confidence, and become talent magnets—all in an increasingly agentic world. **Influence is not visibility**; it's the ability to move things: companies, categories, consumer decisions, and cultures. **Artificial intelligence** is no longer an experiment. It is restructuring marketing functions globally, reshaping creative production, collapsing timelines, and personalizing at scale. The CMOs on this list determine what AI makes possible and what it should never replace. ## Key Sectors Represented **Sports** has arrived at a new scale of ambition. Marketing leaders from the NFL, Formula 1, FIFA, and the Premier League manage some of the world's most watched and emotionally charged brands. **Apparel** tells a story about identity. Brands like Nike, New Balance, Levi's, American Eagle, and Lululemon engage in something closer to anthropology than advertising. **Automotive** is living through one of its most disruptive periods. CMOs from BMW, Renault, Mercedes-Benz, Nissan, and Ford appear on the list—a sign that brand stewardship is a survival capability. ## The Top 10 CMOs 1. **Marian Lee** (Netflix) – Topping the list for the third year, she transformed Netflix into a fan-first storytelling engine, surpassing 300 million paid memberships and $39 billion in revenue. 2. **Emily Prazer** (Formula 1) – Oversaw record $3.87 billion revenue, launched the Las Vegas Grand Prix, and reshaped partnership strategy. 3. **Frank Cooper III** (Visa) – Leads global marketing in 200+ countries, focusing on commerce, culture, and technology. 4. **Tim Ellis** (NFL) – Modernized the league's brand, driving $23 billion revenue and 86 of the 100 most-watched TV broadcasts. 5. **Mark Weinstein** (Hilton) – Oversees 28 brands, 9,200 hotels, and the 250-million-member Hilton Honors program. 6. **Chris Davis** (New Balance) – Transformed the brand from product-led to brand-led, doubling sales to $9.2 billion. 7. **Jochen Goller** (BMW) – Guides customer strategy and brand management for BMW, Mini, and Rolls-Royce amid electrification. 8. **Marc Speichert** (Four Seasons) – Expands luxury beyond hospitality into yachts, wellness, and retail. 9. **Kate Rouch** (OpenAI) – Shaped the public narrative around AI, overseeing the first Super Bowl campaign for the technology. 10. **Romy Gai** (FIFA) – Modernized FIFA's commercial strategy ahead of the 2026 World Cup, driving $2.6 billion in revenue. ## Methodology The list was created in partnership with Sprinklr, assessing over 10 billion data points across 20 domains of marketing influence, including attention for marketing work, CMO attention and sentiment, and brand awareness. The starting pool exceeded 1,500 CMOs worldwide. ## The Future of Marketing As one CMO put it: "The future of marketing belongs to brands with conviction. AI will make creativity more accessible, but the brands that break through will pair technology with humanity."]]></description> <author>contact@marketingremotejobs.app (MarketingRemoteJobs.app)</author> <category>cmo</category> <category>forbes</category> <category>marketing</category> <category>leadership</category> <category>influence</category> <enclosure url="https://imageio.forbes.com/specials-images/imageserve/6a3add679a08fc5fac589144/0x0.jpg?format=jpg&height=900&width=1600&fit=bounds" length="0" type="image/jpg"/> </item> <item> <title><![CDATA[Consumers Are Over AI in Ads: New Research Reveals Widespread Fatigue]]></title> <link>https://www.marketingremotejobs.app/article/consumers-are-over-ai-in-ads-new-research-reveals-widespread-fatigue</link> <guid>consumers-are-over-ai-in-ads-new-research-reveals-widespread-fatigue</guid> <pubDate>Thu, 25 Jun 2026 08:00:46 GMT</pubDate> <description><![CDATA[Consumers around the world aren’t happy about AI use in advertising. According to new research from **The Harris Poll**, **4As**, and **Infillion**, more than two-thirds of global consumers view AI as largely a **“marketing ploy”**—one that could nonetheless make them think less of the companies loudly touting it. The new research, shared exclusively with Marketing Brew at the Cannes Lions Festival of Creativity, found that **78% of consumers believe AI makes ads “feel less authentic”**; the same amount said they find brands **“cringey”** when over-using AI. That sentiment carries into AI-generated advertising: Around two-thirds (**63%**) said they would be **“less likely to purchase from a brand that uses AI-generated ads”**, while **73%** said they would be **“less likely to trust an ad”** they suspected was made using AI. The results reflect **broad consumer fatigue about AI in general**. More than half (**54%**) agreed that they hear so much about AI that “it’s starting to annoy [them],” while around two-thirds (**65%**) of consumers said they would **“love if brands would never mention meaningless AI marketing again.”** ### Industry Adoption vs. Consumer Sentiment The findings come as AI is increasingly adopted throughout the advertising process. More than half (**56%**) of industry professionals reported using AI for **idea generation and concepting**, according to The Harris Poll, and just about half said they also used the technology for **visual asset creation**. Fewer—about 4 in 10 industry professionals—said they use AI for processes like **copywriting, audience targeting and personalization, and media planning and placement**. And references to AI are climbing in marketing materials. According to a recent report from Sensor Tower, there’s been a **double-digit surge in advertising containing AI-related terms** across categories, including in health and wellness, financial services, and media and entertainment; the phrase **“AI-powered”** is particularly popular in app descriptions. ### Brands Navigating the Backlash Some brands have loudly embraced AI in consumer-facing marketing materials, including **Coca-Cola**, whose AI-generated holiday ads have prompted controversy, and **Svedka**, which used AI to produce and animate the robots that appeared in its inaugural Super Bowl ad earlier this year. Others seem to have identified the consumer fatigue and are taking a different approach. **Apple** is among several brands to emphasize **handcrafted advertisements** through behind-the-scenes footage; others, including **Almond Breeze** and **Equinox**, have used AI slop **semi-ironically in their campaigns**, poking fun at the technology to emphasize the realness present in their offerings.]]></description> <author>contact@marketingremotejobs.app (MarketingRemoteJobs.app)</author> <category>aifatigue</category> <category>consumersentiment</category> <category>advertisingauthenticity</category> <category>marketingploy</category> <category>brandtrust</category> <enclosure url="https://morningbrew.com/cdn-cgi/image/width=1200,height=630,quality=70,format=auto/https://storage.morningbrew.com/image/2026-06-24/image-a520c369e50d64da902332d73dda85637f8f55ae-6720x4480-jpg/humanhandraisedrejectingrobotichandconceptsofhumanrejectingAI" length="0" type="image/com/image/2026-06-24/image-a520c369e50d64da902332d73dda85637f8f55ae-6720x4480-jpg/humanhandraisedrejectingrobotichandconceptsofhumanrejectingAI"/> </item> <item> <title><![CDATA[Dettol's 'Toxic Men' Ad Sparks Outrage in China: A Marketing Lesson in Cultural Sensitivity]]></title> <link>https://www.marketingremotejobs.app/article/dettols-toxic-men-ad-sparks-outrage-in-china-a-marketing-lesson-in-cultural-sensitivity</link> <guid>dettols-toxic-men-ad-sparks-outrage-in-china-a-marketing-lesson-in-cultural-sensitivity</guid> <pubDate>Wed, 24 Jun 2026 16:00:53 GMT</pubDate> <description><![CDATA[British hygiene brand **Dettol** has issued an apology after its latest advertisement in China sparked widespread backlash for being offensive to women. The ad, intended to criticize "toxic men," was instead condemned for promoting misogyny. ### The Controversial Ad The five-minute micro-drama, released in late May, features a man comparing his current girlfriend to his ex. He describes his ex as "secondhand" and declares he wants a "clean and untouched" woman as his future wife. The ad ends with the girlfriend discovering his comments, calling him out, and leaving him. A voiceover then says: "A toxic man is just like these germs – you need Dettol to eliminate them completely." ### Public Backlash Chinese social media users were quick to criticize the ad, with many calling for a boycott of Dettol, owned by British multinational **Reckitt**. The topic garnered over **80 million views** on Weibo. Users expressed outrage, with one stating, "I will never use Dettol again." ### Dettol's Response Dettol withdrew the ad on Sunday and issued an apology. The company stated that the promotion was intended to "challenge unequal gender attitudes and promote healthy, confident views on relationships," but acknowledged that edited clips circulating online distorted the original message. Dettol took responsibility for the oversight, noting the ad was produced by a third-party agency, and emphasized its commitment to safeguarding individual dignity and equal treatment. ### Key Takeaways for Marketers This incident highlights the importance of **cultural sensitivity** and **clear messaging** in advertising. What may be intended as a critique of sexism can easily be misinterpreted, especially when using sensitive themes. Brands must ensure their content aligns with audience values and avoid reinforcing stereotypes, even in an attempt to subvert them.]]></description> <author>contact@marketingremotejobs.app (MarketingRemoteJobs.app)</author> <category>dettol</category> <category>marketingfail</category> <category>culturalsensitivity</category> <category>china</category> <category>advertisingcontroversy</category> <enclosure url="https://i.guim.co.uk/img/media/9c294021920d9704a28025832e8ef7ff1d105492/142_0_5049_4040/master/5049.jpg?width=1200&height=630&quality=85&auto=format&fit=crop&precrop=40:21,offset-x50,offset-y0&overlay-align=bottom%2Cleft&overlay-width=100p&overlay-base64=L2ltZy9zdGF0aWMvb3ZlcmxheXMvdGctZGVmYXVsdC5wbmc&enable=upscale&s=6f69b8478bdfcd385b59cf5304e375ee" length="0" type="image/jpg"/> </item> </channel> </rss>