The expansion includes markets across Europe, Asia, and South America, specifically targeting Austria, Belgium, Colombia, Denmark, Indonesia, Ireland, the Netherlands, New Zealand, Norway, Peru, the Philippines, Poland, Sweden, Switzerland, and Thailand. The move is designed to provide consumers with lower-priced entry points while offering advertisers increased access to the platform’s growing audience.

Speaking at the company’s fourth Upfront presentation, Amy Reinhard, Netflix’s President of Advertising, stated, “If the last couple of years were about proving we’re a durable player, this year is about establishing ourselves as a formidable one.”

The streaming giant reported that its ad-supported tier now reaches more than 250 million monthly active viewers globally. Internal data also suggests high engagement levels, with over 80% of ad-tier members reportedly watching content on a weekly basis.

The company attributed this growth to a strong content slate, noting that in 2025, Netflix held nearly five times more Nielsen Top 10 original titles than its closest competitor.

“We’ve got cutting-edge technology, we’ve got great entertainment across shows, movies, podcasts, and live events, and we’ve got the most engaged and attentive audience. We’ve proven we’re effective, and now we’re expanding ads to more places, and we’re ready to compete with anyone,” added Reinhard.

To support this expansion, Netflix is increasing its reliance on artificial intelligence and machine learning to streamline the advertising process. New AI-driven tools are being introduced to help brands develop media plans and manage ad purchases.

The platform is also diversifying its inventory. Video podcasts and vertical video formats for mobile were introduced earlier this year, with ad placements for these formats expected to be available globally by 2027. Additionally, the company is testing AI-generated “pause ads” and dynamic ad insertion for live events, which are scheduled to roll out in the US and Canada this summer before a wider international release.

The company also highlighted the launch of the “Netflix Ads Suite,” a proprietary technology stack intended to improve campaign measurement and programmatic buying.

Nicolle Pangis, Vice President of Advertising at Netflix, said,  “Netflix is the only place that can leverage the best tech with the best shows and movies in the world. That’s why we built the Netflix Ads Suite — it’s the easiest and fastest way to deliver better capabilities, better measurement, and more creative formats.”

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The remit, led by Ogilvy China in coordination with local market teams, covers Europe, Latin America, the Middle East & Africa, and Asia-Pacific. It will focus on centralising and coordinating Changan Automobile’s global digital communications across markets.

The appointment comes as Changan advances its “Vast Ocean Plan 2.0″, which targets doubling overseas sales to 1.5 million units by 2030 as the automaker continues to scale its international footprint.

Under the partnership, Ogilvy will be responsible for managing and aligning the brand’s global social media presence and website operations, drawing on its international network and local market expertise to support multi-market execution.

The agency will implement its “One Team, One Platform, One Process” operating model to streamline coordination across strategy, content production, localisation, and digital publishing.

The model will also integrate data and AI-enabled tools across planning, creative development, and content workflows, aimed at improving consistency and efficiency across Changan Automobile’s global digital channels.

The partnership reflects Changan Automobile’s efforts to strengthen the structure and coordination of its international digital communications as it expands outside China.

Chris Reitermann, CEO of WPP Greater China and CEO of Ogilvy APAC and Greater China, said, “Ogilvy is honoured to partner with Changan Automobile on its global brand ambitions. Building a successful international brand comes down to three things: a clear and consistent core identity, localisation that truly resonates in each market, and continuous optimisation driven by data and technology. Backed by WPP’s and Ogilvy’s worldwide networks and AI capabilities, we will help Changan Automobile build a brand that is globally consistent, locally relevant, and built to grow.”

Jack Yin, President of Ogilvy One China, added, “We are grateful for Changan Automobile’s trust and excited to support its next phase of global growth. Our end-to-end approach connects research, creative, content, and performance optimisation through a single AI-powered operating model, ensuring every market receives consistent, high-quality brand communication. That’s how we deliver measurable business growth at scale.”

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The collaboration forms part of a wider activation that will see Rodrigo’s logo first appear on the women’s team kit during their Liga F match against Levante UD on 6 May, before being worn by the men’s team in one of football’s most high-profile fixtures.

 

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As part of the wider campaign, Spotify will host a private performance in Barcelona on 8 May at a transformed city venue, exclusively for invited fans selected through their listening activity on the platform.

The initiative continues a series of music-led shirt collaborations between Spotify and FC Barcelona, which have previously featured artists including Ed Sheeran, Travis Scott, Coldplay, Karol G, The Rolling Stones, Rosalía, and Drake.

Limited-edition match shirts and a lifestyle collection inspired by Rodrigo will also be released from 1 May via official club retail channels and selected partners. These include 1,899 match-quality shirts, alongside a highly limited set of 22 shirts signed by players from both fixtures and 11 signed by Rodrigo. 

Olivia Rodrigo, who has more than 50 million monthly listeners on Spotify and nine tracks in the platform’s Billions Club, becomes the youngest artist to feature on the FC Barcelona shirt under the long-running partnership. The activation comes ahead of her third studio album release, scheduled for 12 June.

The collaboration also extends into digital fan engagement, with a special edition of the Barça Matchday Playlist on Spotify curated by Rodrigo for supporters and players ahead of the match.

Manel del Río, Managing Director at FC Barcelona, said, “Clásico after Clásico, our agreement with Spotify allows us to strengthen an activation that has become a strategic asset for the club and a clear example of our commitment to generating value beyond competition. It’s an initiative that adds value, reinforces our global positioning, and builds a distinctive offering based on the connection between culture and sport.

Manel added, “At FC Barcelona, we believe the future lies in integrating disciplines and languages that allow us to connect with new audiences and amplify our impact. This partnership enables us to move in that direction, positioning the club as a global benchmark at the intersection of sport, culture, and entertainment.”

Moreover, Marc Hazan, Vice-President of Partnerships and Marketing at Spotify, shared, “Olivia Rodrigo has built one of the most passionate fan communities in the world, and so has FC Barcelona. Fandom doesn’t have borders and the most powerful thing Spotify can do is bring those worlds together. Putting her most dedicated fans in the room with her on the eve of El Clásico, that’s what this partnership was built for.”

Finally, Rodrigo also commented on the partnership, “Seeing OR on a Barcelona jersey for El Clásico, I don’t even know how to process that. It’s been so fun seeing the jersey come to life and creating a full collection with Spotify and Barca. On top of that, getting to perform for the fans who’ve been listening since day one, in a city like Barcelona, is going to be so special. That’s everything to me. I cannot wait to see them.”

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The website friendster.com, first registered on 22 March 2002, ceased operations in 2015, with the company formally shutting down in 2018. The domain remained inactive for several years before being acquired by entrepreneur Mike Carson in a private transaction after it appeared in an expired domain auction.

In a Medium post, Carson disclosed that the domain had been purchased by another buyer for US$7,456 and was later sold to him through a deal involving US$20,000 in Bitcoin and an additional domain generating advertising revenue. Carson subsequently secured the trademarks for Friendster on 13 May 2025, following a legal process.

In April 2026, the platform was relaunched under Friendster Labs Inc. with a revised concept aimed at addressing concerns around algorithm-driven social media environments.

The new iteration of Friendster introduces several features designed to prioritise offline interaction. Users must physically tap their phones together in order to add one another as friends on the iOS app, a mechanism intended to ensure connections are formed between individuals who have met in person.

The platform also incorporates a “relationship decay” feature, where digital connections weaken over time if users do not interact in real life. Additionally, the service currently operates without advertising or recommendation algorithms.

Carson said the redesign was influenced in part by feedback from online communities, including a suggestion that requiring in-person interaction could encourage more meaningful connections. He subsequently developed the mobile app to reflect this idea.

The app is now available on the Apple App Store following a review period of between one and two months.

Future features under consideration include allowing users to view friends-of-friends and request to message them, as well as further development of the “fading connections” concept. Carson indicated that while monetisation is not an immediate priority, a paid tier for premium features may be introduced at a later stage.

The relaunch reflects a broader attempt to reimagine social networking by encouraging offline engagement, positioning Friendster as an alternative to established platforms centred on algorithmic content distribution.

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According to Canva, the new system is powered by its proprietary Canva Design Model, which is designed to interpret design structure and generate fully editable outputs from a single prompt. The company stated that this enables users to move from an initial idea to completed creative work within a single platform.

“Our mission at Canva has always been to empower the world to design. When we started out a decade ago, that meant bringing complex and fragmented software into one simple, easy-to-use platform where anyone could bring their ideas to life. Today, we’re incredibly proud to be empowering more than a quarter of a billion people every month, and now, we’re stepping into our next era,” the announcement read.

What is considered a central feature of Canva AI 2.0 is its conversational interface, which allows users to begin projects by describing ideas, briefs, or goals rather than selecting templates. The platform then generates structured, editable designs that can be refined through ongoing interaction.

The system also introduces what Canva refers to as “agentic” capabilities, allowing the AI to coordinate multiple tools within the platform to complete more complex creative tasks, such as building campaign assets or presentations across formats.

Canva AI 2.0 is built around four primary capabilities:

• Conversational design: Users can generate and refine designs through natural language prompts, with the system maintaining context throughout the process.
• Agentic orchestration: The AI selects and applies relevant tools to produce complete outputs based on user intent.
• Layered object intelligence: All generated elements remain individually editable, allowing targeted adjustments without affecting the entire design.
• Memory Library: A persistent system that learns user preferences and applies brand styles automatically over time.

The release also introduces six new workflows designed to extend the platform’s functionality across different stages of content creation:

• Connectors: Integration with external tools such as Slack, Gmail, Google Drive, Notion, Zoom, and HubSpot. These allow Canva AI to generate outputs based on existing communications and data, such as turning meeting transcripts into summaries or emails into marketing materials.
• Scheduling: Automation of recurring tasks, including generating regular content batches or preparing daily briefings, which run in the background without manual input.
• Web research: The ability to gather and structure information from online sources directly into design projects, supporting use cases such as market research or proposal development.
• Brand Intelligence: Automatic application of brand assets, including fonts, colours, and styles, as well as the ability to update existing designs to align with new brand guidelines.
• Canva Code 2.0: A feature that enables users to create interactive digital experiences from text prompts, including support for HTML imports and publishing across devices.
• Sheets AI: A tool that generates structured spreadsheets, such as budgets, timelines, or content calendars, populated with relevant data and formatted for immediate use.

Moreover, the new features position Canva AI 2.0 as a platform that supports a range of professional workflows, including marketing campaign development, internal communications, data organisation, and interactive content creation. By integrating design, automation, and data handling, the update aims to reduce reliance on multiple tools and streamline production processes within teams.

Canva said the system improves with continued use, as its memory functions adapt to user behaviour and organisational branding requirements.

More recently, Canva acquired MangoAI and Cavalry to expand its AI capabilities for marketing and creative platforms. Last November, the company also announced the launch of its ‘Creative Operating System’ that united all AI management tools, as well as the unveiling of free use of ‘Affinity’. 

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The new account types, Roblox Kids for users aged five to eight and Roblox Select for those aged nine to 15, are set to roll out in early June. These accounts are designed to tailor content access, communication settings, and parental controls according to a user’s age, while also introducing a structured selection process for games available to users under 16.

The update builds on earlier initiatives by the platform, including the introduction of facial age checks for chat access. According to Roblox, more than half of its global daily active users, and 65% in the United States, have completed an age verification process.

Under the new system, Roblox Kids accounts will be automatically assigned to users aged five to eight through the platform’s age-check technology or via parental verification. These accounts will also have access only to games labelled with Minimal or Mild content maturity ratings that have passed an additional selection process. Communication features will be disabled by default, and the interface will include visual indicators to distinguish the account type.

Meanwhile, Roblox Select accounts, intended for users aged nine to 15, will allow access to games rated up to Moderate. Default communication settings for this age group will remain unchanged, although the accounts will also feature distinct visual markers.

The platform will also automatically transition users between account types as they age, moving them from Roblox Kids to Roblox Select at age nine, and to standard accounts at age 16. Users who have not completed an age check will be restricted to games with Minimal or Mild ratings, with communication features disabled until verification is completed.

Moreover, Roblox said it will also implement a continuous evaluation process for games accessible to users under 16. In addition to existing moderation systems, which include AI-based asset scanning and user report reviews, the platform will introduce further checks such as developer verification, extended content evaluation, and restrictions on content deemed more suitable for older audiences.

Games included in younger users’ catalogues must meet additional criteria, including developer ID verification, two-step authentication, and active platform subscriptions. Roblox will also monitor how older users interact with new games and assess user feedback to determine suitability for younger audiences. Certain types of content, including those involving sensitive topics, social hangouts, or free-form drawing, will be excluded by default.

Larry Magid, CEO of ConnectSafely, said,  “By combining age assurance, stronger creator accountability, and parental controls, Roblox is helping set a higher standard for how platforms can better protect younger users while preserving positive online experiences.”

Matt Kaufman, Chief Safety Officer at Roblox, added,  “With the launch of Roblox Kids and Roblox Select, we are fundamentally shifting how games are discovered on our platform. Safety isn’t a static feature—it’s a journey that evolves as a child grows. While no system is perfect, these age-adaptive accounts are designed to help remove the guesswork for parents and help align users’ experiences with their age.”

In the same month, Roblox has also implemented the same ruling in Indonesia, after being identified as a high-risk platform by Indonesia’s Ministry of Communications and Digital Affairs, also known as Komdigi. 

Later this year, Roblox plans to transition to the International Age Rating Coalition (IARC) framework, which provides region-specific content ratings such as ESRB in the United States and PEGI in Europe and the United Kingdom.

The company is also expanding its parental control features. Parents will be able to block specific games, manage chat settings for users up to age 15, and approve access to games that fall outside the default settings of a child’s account. Existing tools for monitoring screen time, spending, and in-game activity will remain in place.

The updates form part of Roblox’s ongoing efforts to strengthen safety measures while maintaining its focus on user-generated content, creativity, and interactive play.

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The release forms part of Coca-Cola’s wider marketing efforts leading up to the tournament, for which it has been an official sponsor since 1978. The track follows previous World Cup campaigns associated with songs such as Wavin’ Flag by K’naan, The World Is Ours by David Correy, and Colors by Jason Derulo.

The track, a reimagined version of Van Halen’s 1980s hit ‘Jump’, features J Balvin and Amber Mark, alongside guitarist Steve Vai and drummer and producer Travis Barker. It was released through Coca-Cola’s music label, Real Thing Records, in partnership with Capitol Records.

“From the football stands to watching at home, everyone knows that moment when emotions are high and you’re jumping for greatness. Partnering with Coca-Cola on their anthem for FIFA World Cup 2026 felt natural—it’s about hype, energy, and creating something that feels real. This song is about celebrating life and living in the moment,” said J Balvin.

Amber Mark also commented, “Being able to honor the original while bringing a modern perspective was incredibly special. I’m excited to be part of a track that connects past and present in such an uplifting, powerful way, and I hope fans feel that energy for years to come.”

On the other hand, Joshua Burke, head of global music and culture marketing at The Coca-Cola Company, shared, “Being a football fan means feeling everything at full volume—the joy, the heartbreak, and the hope that keeps you coming back. ‘JUMP’ captures those shared highs and lows that unite fans everywhere.”

He added, “Coca-Cola and the FIFA World Cup have always brought people together, and we wanted this track to feel like that moment when millions of fans are singing the same feeling at once.”

Moreover, the updated version also incorporates contemporary production elements while retaining recognisable components of the original track. It was first previewed in Coca-Cola’s ‘Bubbling Up’ campaign, which launched in January 2026.

An accompanying music video, directed and designed by McFlyy, premiered on MTV Live, MTVU, and digital billboards in Times Square. The video features animated representations of the artists, as well as an appearance from Lamine Yamal.

The release coincides with the build-up to the FIFA World Cup 2026, and reflects Coca-Cola’s continued use of music collaborations as part of its global marketing strategy.

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Coca-Cola first partnered with the NBA in 1986, with Sprite playing a key role in connecting basketball with broader cultural elements such as music, fashion, and self-expression. The brand was also previously the title sponsor of the Slam Dunk Contest at NBA All-Star from 2003 to 2016.

Under the agreement, Sprite will activate across key NBA events and international games, including NBA Global Games. Planned initiatives include fan experiences, content series on NBA platforms, and promotional campaigns tied to the partnership.

The collaboration also follows recent co-branded efforts, including limited-edition Sprite cans featuring select NBA teams in participating markets, as part of broader marketing and retail programmes aimed at engaging fans globally.

“Sprite has always been a brand that celebrates individuality and self-expression, values that resonate deeply with basketball fans worldwide,” said Kerry Tatlock, EVP global marketing partnerships and media for the NBA. “We’re thrilled to welcome Sprite back to the NBA family and look forward to collaborating together on new ways for fans to experience the game.”

Manolo Arroyo, EVP and global chief marketing officer at The Coca-Cola Company, added, “Basketball is central to the DNA of Sprite. Reuniting with the NBA is about co-creating what’s next – experimenting with new fan experiences, exploring emerging formats and meeting the next generation where they are. Basketball is not just a game; it’s a global cultural engine, and Sprite, together with the NBA, will help to fuel the moments and memories that drive it.”

As part of its athlete partnerships, Sprite will continue working with Anthony Edwards of the Minnesota Timberwolves, who was named MVP of the 2026 NBA All-Star Game.

“I love that Sprite has always been a brand that pushes you to do things your way,” Edwards said. “Being a part of this legendary partnership between Sprite and the NBA is incredible. I’m excited to represent the brand and show the next generation the power of staying true to yourself.”

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The updated brand introduces simplified lesson layouts and IP-guided interactions designed to make learning more supportive, interactive, and personalised for children. For learners and parents, the refresh also brings a clearer visual identity and warmer, more intuitive product interfaces aimed at encouraging engagement.

According to 51Talk, the refreshed global visual system provides greater clarity, consistency, and cohesion across all brand touchpoints. The upgrade aligns visuals, product interfaces, and communications, creating a seamless experience for families worldwide.

Central to the refresh is ‘Toki’, 51Talk’s new learning companion. More than a mascot, Toki represents curiosity, confidence, and the courage to communicate.

Integrated across classrooms, product interfaces, and other brand touchpoints, Toki guides children through lessons while fostering participation and a sense of companionship in their English learning journey.

The introduction of Toki reflects 51Talk’s emphasis on combining structured one-on-one lessons with emotional connection, supporting children not only to learn English but also to use it confidently in real-world communication.

The brand refresh also signals 51Talk’s shift from rapid international expansion to long-term brand building. By strengthening recognition and consistency, the company aims to reinforce trust with families while laying the foundation for its next stage of global growth.

Since launching its international expansion strategy in 2021, 51Talk has grown across key markets in Southeast Asia, the Middle East, and East Asia. The 15-year milestone marks both sustained growth and a step toward a more unified, internationally recognisable education brand.

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The new changes are designed to help advertisers understand campaign performance more quickly using existing tools.

According to research done by the World Advertising Research Centre (WARC), social media advertising has overtaken search to become the world’s leading channel for ad spend. However, many current digital measurement systems were originally built for search advertising, which largely relies on link clicks.

On social platforms, by contrast, users can engage with ads in multiple ways, clicking a link, sharing with friends, saving for later, or reacting with a like. Historically, Meta has attributed all types of clicks to conversions, while many third-party platforms primarily track website link clicks. This discrepancy has often led to inconsistent reporting between Meta Ads Manager and other tools.

To address this, Meta is simplifying click measurement. With this, Click-through attribution for website and in-store conversions will now only include link clicks. The update is expected to reduce misalignment between Meta reporting and third-party analytics platforms such as Google Analytics.

The changes are being rolled out later this month for campaigns optimising for website or in-store conversions. Advertisers may notice updates in Ads Manager reporting at different times, though billing processes will remain unchanged.

In addition to the click measurement update, Meta is also shifting conversions from non-link interactions—such as shares, saves, or likes—into a new category called engage-through attribution (previously engaged-view attribution). The company said this will allow advertisers to better assess the value of social interactions that are unique to the platform.

Meta has also updated video ad measurement, reducing the threshold for an “engaged view” of video content from 10 seconds to 5 seconds. The company cited data showing that 46% of online purchase conversions from Reels occur within the first two seconds of attention.

To provide further clarity, Meta is partnering with third-party analytics providers, including Northbeam and Triple Whale, to incorporate both clicks and views into attribution models, simplifying measurement for advertisers.

Moreover, Meta said the combination of simplified click-through attribution and engagement-through attribution aims to give advertisers a more complete view of their campaigns. Click-through reporting will align more closely with third-party tools like Google Analytics, while engagement-through attribution will highlight the additional value of social interactions, helping advertisers understand the broader impact of their ads.

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