Netflix, Disney+ and Hulu Ad-Tier Buying and Rate Work

Netflix's advertising tier is not sold in Turkey. It runs in twelve markets — the United States, Canada, the United Kingdom, France, Germany, Italy, Spain, Brazil, Mexico, Australia, Japan and Korea — so a Turkish advertiser reaches it only against a foreign entity or through our seat, and pays a rate a long way below the forty-five to fifty-five dollars asked at launch. Disney+ and Hulu are the same story with different plumbing. This engagement is the plumbing and the rate work. Three stacks, one plan: Disney sells through its own campaign manager and through its real-time exchange for programmatic guaranteed and private deals, and its frequency cap holds across Disney+, Hulu and the sports inventory because one ad stack sits underneath all three. Netflix moved serving in-house and sells through its own suite alongside a short list of demand-side platforms. Hulu is the only one of the three with an ad load and a self-serve history long enough to have benchmarks worth quoting. We treat them as three negotiations and one frequency budget, because the household does not distinguish between them. Rate work: Published rates on these tiers have moved a long way in two years and continue to move at quarter boundaries. We negotiate on three levers: the length of the commitment, the pod position you will accept, and whether you will take run of service rather than a content genre. Genre adjacency is the most oversold line in this market. Unless there is a product reason for the adjacency, taking run of service and putting the difference into frequency has been the better trade in most plans we have run. Measurement, and what we will not report: We do not credit view-through conversions. On a household screen with no click, a view-through window is a correlation with owning a television. We measure with a geographic holdout — designated market areas in the United States, provinces or cities elsewhere — held for at least six weeks, with the read date fixed before the flight opens. If the budget cannot support a holdout that leaves enough exposed geography to matter, we will say the campaign will be unmeasured and let you decide whether to run it anyway. What we refuse: Annual commitments for a brand with no baseline in the channel. Crypto and token creative on these three services, where policy prohibits it by market and the advertisement is pulled mid-flight with the money already committed. And completion rate reported as a performance metric: these placements are largely unskippable, so completion is a delivery check, not evidence. Turkey and the region: For Turkish brands the working plan is usually Disney+ where the tier sells, local streaming inventory alongside it, and Netflix only when the target market is abroad. Food and drink clients running a Ramadan campaign should know that the calendar and the inventory clear on different schedules, and the deal has to be struck earlier than the creative is usually ready. Who this is not for: Brands who want to be seen on Netflix. That is a legitimate internal objective and we are the wrong agency for it, because we will not build a measurement story around a placement bought for the logo. Also not for anyone who needs the buy live in a fortnight; direct deals on these services do not close that fast. What you receive: Negotiated deals on the services we recommended, the deal identifiers and terms in writing, a frequency plan spanning all three, a holdout design with the read date fixed in advance, and a post-flight note that separates what the test established from what it did not.