Is breaking this news and then it kind of became a thing and I think moments like that really had me thinking differently about journalism and I think immediately, especially because I felt like I had so many eyeballs that were paying attention to that tweet or any tweets that I was sending from being on the ground there. It made me think about the responsibility of being a journalist in a different way than I thought about before, because you know, as a newspaper journalist, you have to wait until the next day for the paper to come out. It's not happening in real time in the moment. And I was literally on that ground getting phone calls from news outlets, TV outlets, asking to get me on the phone to provide any kind of context and it was overwhelming, but also dare I say it gave me a bit of an adrenaline rush. And I liked being the person responsible for telling big impactful stories like that in the arts entertainment space. And of course, as these things go, I was laid off after a year at USA Today after running away from the Chicago Tribune. Because I didn't want to be laid off. I was laid off literally after a year at USA Today and I didn't even have a time to think about what I wanted to do next. Thankfully, because at that point, the news of the Emmy win, and had been written about and it was out there. And honestly, the conversation as it was relate to me from different editors or even producers and other outlets. They were like, why would they lay off a woman who has this kind of a vision, you know, who can do this kind of a thing? And honestly, I think it was just the numbers game. They were probably laying out people who had the least amount of seniority because you have to think about severance pay and all of those things, but because those stories were out and because someone Richard prince who covers journalism and journalists wrote about the woman who won the Emmy, the newspaper reporter who won the Emmy was laid off. So I started getting phone calls immediately. And the first phone call I got was from a network. And it was ESPN. And they had the site it's been dot com, but they had a site page two specifically at the time that focused on things off the court off the field, like entertainment doing doings. But page two. You page two, page two, and what was so great about page two in my page to freelance experience is they didn't want me to just write. They wanted me to do video too at times. And I did, in some cases, I traveled the world doing pieces for them. I went to tequila, Mexico with Oscar De La Hoya. I went to Scotland with Jeremy shockey, you know? And I was finding stories at an intersection of sports and entertainment, and I wasn't always writing. I was doing video, which I had not professionally prepared to do. So I was really learning on the job. We're going to take a quick break to hear from our sponsor and we'll be right back. I'm Christina ko associate editor at custom. Digiday medias in-house agency. In this podcast interstitial story sponsored by mountain, we speak with Ali Hari, the company's vice president of marketing, about the creative production side of connected TV and how commercials are ripe for change. Which stands out to me the most is advertising that capitalizes on a cultural moment. That may be something that's happening in the news, something that's happening in pop culture. Whenever you see an advertisement that acknowledges it, it's just inherently more noticeable to reviewer. TV by nature has a slower production cycle. Because of this, many advertisers have begun to explore platforms that allow them to be self sufficient and manage their own production cycles. In order to better respond to cultural moments and hopefully create more effective TV commercials. TV advertising is one of those channels that's not really the quickest to market when it comes to creativity. The production of the creative is certainly going to take a lot of time effort and money. And we've been kind of blown away at the creativity that it's unlocked. A lot of advertisers found themselves being self sufficient with TV advertising the same way that they are with social media. That means quicker speed to market, and then there's measurement with performance a huge focus for CTV advertisers. Ali told us how brand marketers are finding ways to integrate metrics into their creative processes without completely disrupting those processes. The interesting thing about ETV is that despite the fact that it's so performance driven. You know, it's programmatic advertising. You can measure it very similar to all the other performance marketing channels that you have. It shouldn't really change the role of the brand marketer or their creative process. We're not asking brand marketers to completely change the way that they think creatively about TV advertising. We still want really clever ads. But what we think is particularly fascinating as an opportunity for brand marketers is the fact that on the back end of campaigns, you're now empowered with so much more information that you can act on in the way of measurability. Being able to precisely know how many people visited a website, how many people bought a product, which networks showed an ad. These sorts of things are just, they're not metrics that brand marketers are used to. And using this granular data into the creative process shouldn't really, again, unlock some really interesting ideas. With so many channels moving toward personalization, it's no surprise that CTV is falling suit as well. With a difference in production cycles for CTV, it's key that advertisers make the most out of their production shoots, and find ways to strategically personalize their creatives. With personalization, what's great now is that advertisers, they're kind of freed up in a way. You don't need to put all your eggs in that one basket of that one who created running in that one placement. We've seen some advertisers shoot largely the same creative, but leave about 5% of it to be sort of altered based off of the different audiences that they're targeted. It's things like that that really drive great performance. You've been listening to ally Hariri. Vice president of marketing at mountain, our.