Sharb Farjami, CEO of WPP Media North America, is leaving the company, according to a staff memo obtained by ADWEEK.

Brian Lesser, CEO of WPP Media globally, will take on direct leadership of the North America region while the company searches for Farjami’s successor. WPP Media’s regional executive committee will report directly to Lesser during the transition, with Farjami supporting the handover.

Farjami has led WPP’s media operations in North America since January 2024, after running media agency Wavemaker in the region. Based in New York, he sat at the helm as the group went through a period of transition, including a rebranding and restructure in May.

In a note to staff announcing his departure, Lesser credited Farjami with helping WPP Media win clients including Adobe, Audible, and Johnson & Johnson and “guiding the rollout of our new operating model and brand in the region.”

“Sharb’s leadership laid the foundation for our success and was instrumental in our transformation,” Lesser wrote in the note. “He has been a tireless advocate for our clients and our business. As a former CEO of North America, I know firsthand the scale of his contributions and the legacy he leaves. He will be missed. ”

“The past four years at WPP Media have been an extraordinary journey marked by meaningful milestones with a remarkable team,” Farjami wrote in a statement. “I’m deeply proud of what we’ve achieved and grateful to everyone who’s been part of it. I’ll always be cheering on WPP Media in its next chapter.”

The leadership shift comes during a pivotal period for WPP Media. In May, the media network rebranded from GroupM and restructured to more closely integrate its agencies on the back-end. The news came after a string of major account losses, including Coca-Cola and Mars.

In August, the network had a big win when it unseated Carat to win Mastercard’s $180 million global media account, ending a decade-long relationship.

The leadership shift at WPP Media comes amid broader change at parent WPP. Cindy Rose took the helm of the holding company on Sept. 1, succeeding Mark Read. In her first address to staff, Rose acknowledged “a lot of hard work ahead” but said she felt “super excited to co-create the new WPP together.”

In its latest earnings report, WPP announced a strategic review as its revenue dropped by 5.8%.

Below is the full text of Lesser’s internal note to staff.

Team,

I’m writing you today to share that Sharb Farjami is leaving WPP to pursue an opportunity outside of a media agency. I’m deeply grateful for the impact he’s had over the past two years as CEO of WPP Media North America and, previously, as CEO of Wavemaker US. Effective immediately, I will oversee North America as we begin the search for our next North America CEO, with the regional executive committee reporting directly to me. Sharb will support me during our period of transition. 

Sharb’s leadership laid the foundation for our success and was instrumental in our transformation. From bringing in clients like Adobe, Audible, and Johnson & Johnson, to guiding the rollout of our new operating model and brand in the region, he has been a tireless advocate for our clients and our business. As a former CEO of North America, I know firsthand the scale of his contributions and the legacy he leaves. He will be missed. 

I believe the future holds even greater opportunities for us, thanks to the work that has already been done, and I’m excited for what we will accomplish together. I look forward to working even more closely with our US and Canada leadership teams as we build on the momentum Sharb helped create.

Please join me in wishing Sharb continued success in his next chapter.

Brian

Outgoing chief marketing officer (CMO) Tammy Henault has put her stamp on the National Basketball Association (NBA).

Through celebrity cameos and cinematic storytelling, the marketer has helped cement the NBA’s place in culture while courting a global fan base since joining in 2022. During her tenure, Henault helped the NBA break attendance records, reaching its second-highest numbers for the 2024-2025 season following an already record-breaking season prior.

Now, after three years in the role, she’s preparing to step down. Marketing will be led by “the group’s current leadership team on an interim basis,” per an NBA spokesperson, while the league searches for a new CMO.

“What an extraordinary privilege it has been to help grow and evolve one of the most iconic brands in the world—expanding our global audience, deepening fan engagement, driving digital innovation, and strengthening the NBA’s cultural impact,” Henault wrote in a goodbye message on LinkedIn.

Here are four of the buzziest campaigns that helped Henault and her team flip the script for basketball and make history.

1. ‘We’re All in the Finals’ (2023)

Henault’s first star-studded campaign for the league landed on social, linear TV, and the NBA app in May 2023.

Produced by Brooklyn agency Translation, the hero spot captured the global excitement surrounding the NBA Finals and the whirlwind of emotions that fans and players experience during every game.

Set to “Hometown Glory,” by British artist Adele, and narrated by actor John Malkovich, the 60 second ad showed NBA legends, sports icons, and celebrities watching the finals with bated breath. Cameos included rapper and NBA ambassador SUGA and skateboarding icon Tony Hawk. TV host and comedian Jimmy Kimmel and NFL champions Peyton Manning and Eli Manning also featured.

The spot closes with NBA icons Larry Bird and Magic Johnson marveling at their combined championship rings.

In the run-up to the finals, the league relaunched its Larry O’Brien Trophy tour, sending the hardware to rub shoulders with famous folks like Tom Brady, Mariah Carey, Fat Joe, Bad Bunny, and UFC champions.

The 2023 tour was a hit on social, garnering more than 200 million video views and attracting nearly 100,000 followers across Facebook, Instagram, TikTok, and X. 

Following this success, Henault continued to send the trophy to high-traffic destinations and glitterati meetups each season.

2. ‘Playoff Mode. It’s a Thing,’ (2024)

“Playoff Mode. It’s a Thing.” narrated by comedian Chris Rock landed in April 2024 to promote the NBA Playoffs.

The hero spot showed NBA players try to play it cool about going to the playoffs—even though they are a huge deal. All-stars such as Anthony Edwards, Shai Gilgeous-Alexander, Jalen Brunson, Jayson Tatum, Damian Lillard, Donovan Mitchell, and Nikola Jokic featured in the campaign.

The creative played on the idea that the “playoffs unlock an elevated version of all of us, from passionate fans to the unrivaled competitors across the league,” Henault said at the time.

The work, again from Translation, launched alongside the NBA’s first sonic brand identity, which mashed up snippets of balls bouncing on courts, sneakers squeaking on hardwood, roaring crowds, and swishing nets.

This campaign was swiftly followed a few weeks later by “The Toast,” which featured former pro basketballer Dwyane Wade as the master of ceremonies in a glamorous, mood-lit speakeasy, raising a glass of bubbly to “the season that was and the champion to be.”

Queen Latifah also took a starring role, alongside NBA legends Johnson, Isiah Thomas, and Ray Allen; ESPN commentator Mike Breen; and Women’s National Basketball Association stars Kamilla Cardoso and Angel Reese of the Chicago Sky. Kimmel featured once more, with debuts from fellow comedian and actor Ken Jeong and legend Magic Johnson.

3. ‘The Heist and The Heist II’ (2023 and 2024)

In 2023, to hype its inaugural In-Season Tournament, Translation and the NBA premiered “Heist,” a stylized homage to Ocean’s Eleven with basketball superstars playing key roles in a swagger-filled crime-lite caper.

Acting as “the mastermind,” Michael Imperioli, best known for roles in Goodfellas and The Sopranos, led viewers through the fast-paced short film designed for social and online where the decorated athletes stalk their prize—the NBA Cup.

After the original racked up over 500 million views, a sequel dropped in Oct. 2024. “The Heist II” announced the upcoming 2024 Emirates NBA Cup.

Actor-producer Rosario Dawson joined the cast in her first ad for the NBA, with Imperioli and Los Angeles Lakers veteran Anthony Davis reprising their roles.

“We wanted to keep the narrative and the storytelling vehicle consistent,” Henault told ADWEEK at the time. “We’re continuing to build awareness and to educate people about this tournament, and we’re trying to speak to a broad base—casual fans, women, multicultural audiences, Gen Z.”

4. Unforgettable Awaits (2025)

Henault’s farewell campaign for the 2025 NBA Finals signed off with a blend of hoops, music, and nostalgia.

Set to “Unforgettable” by Nat King Cole, the Translation-created spot launched in May 2025 as an ode to the legendary moments that have defined NBA finals history, from LeBron James’ chase-down block in Game 7 of the 2016 finals, to the 2000 embrace between Kobe Bryant and Shaquille O’Neal.

Interwoven with these historic highlights are reels of everyday NBA fans recreating the moments in their own lives, showcasing just how “unforgettable” the big event can be. Actors Kevin Costner and Mindy Kaling even get a cameo.

As well as linear and digital buys, a corresponding print, digital, audio, and out-of-home campaign extended “Unforgettable Awaits” globally.

A lawsuit filed in federal court Thursday accuses Horizon Media, the largest privately owned media agency in the world, of racial and gender discrimination, perpetuating a hostile work environment, and retaliation.

Charisma Deberry, who currently serves as vice president of strategic communications and engagement at Horizon, and Latraviette Smith-Wilson, who was previously chief marketing and equity officer, claim executives at the agency discriminated against them and retaliated when they opposed or reported unfair treatment. Both executives are Black, and Smith-Wilson was the company’s highest-ranking Black woman before her termination in April.

“Horizon’s most senior executives—including Founder & CEO Bill Koenigsberg, President Bob Lord, and EVP of HR Nancy Galanty—engaged in a sustained, escalating campaign of race- and gender-based discrimination constituting a hostile work environment and retaliation,” reads the complaint, filed in the Southern District of New York.

Deberry and Smith-Wilson are seeking monetary damages for the harms they allege, as well as punitive damages and non-monetary remedies that would force Horizon to change some of its practices.

“This case is about holding executives responsible for retaliation, discrimination, and fostering a hostile workplace,” said Anne Clark, a partner at Vladeck, Raskin & Clark, P.C., who is representing Deberry and Smith-Wilson.

The company responded to the lawsuit in a statement shared with ADWEEK, writing: “Horizon is proud of our 35-year history of fostering an inclusive and award-winning culture. While we do not comment on pending litigation, we categorically reject these allegations and are prepared to vigorously defend them. We maintain the highest standards and stand firmly in our values and our people. We are focused on serving our clients and continuing to be one of the best places to work in the industry.”

Horizon is among the most reputable independent agencies in adland. It works with blue-chip brands including SharkNinja, Spectrum, and Warby Parker and, according to its website, employs some 2,500 staffers globally. The firm touts a motto of “business is personal” and has promoted the value of diversity, equity, and inclusion in the ad industry in years past.

Despite a company motto of “DEI is our DNA,” Deberry and Smith-Wilson allege that Koenigsberg and other leaders at the company frequently exhibited biased and targeted behavior toward them, including calling Deberry not “articulate” and demeaning Smith-Wilson as “defensive” and “incompetent,” while ignoring formal complaints. They also claim to have been excluded from key meetings, even when the meetings directly involved their responsibilities, the lawsuit alleges. 

Smith-Wilson also alleges that leadership denied her team staff and budget while giving more resources to White male executives who had narrower scopes of work.

In one instance in 2023, Koenigsberg allegedly told Deberry, who leads communications at Horizon, that it was her responsibility to “seduce” reporters—a directive that she believes sexualized and demeaned her professional role, according to the lawsuit.

In another meeting in September 2024, Koenigsberg told Smith-Wilson, then a C-suite executive at the company, that her role was to “serve” other Horizon leaders, the lawsuit alleges. Another executive also told her to “report to the board,” even though Smith-Wilson was herself a member of the company’s executive board; Smith-Wilson was not aware of any other executives that had been “told to serve or report to their peers,” the lawsuit claims.

A former employee at Horizon, a white woman, cited the mistreatment of Black women at Horizon when she resigned, according to the lawsuit. When Deberry attempted to corroborate the claims, the company’s HR leader Nancy Galanty broke confidentiality by telling leadership, and proceeded to label Deberry as “angry,” the lawsuit alleges.

The plaintiffs also assert that Koenigsberg actively tried to undermine and discredit the findings of a Horizon diversity and culture survey in 2023, challenging the benchmark baseline and rates of participation. When the results of a subsequent annual survey suggested employees took issue with inclusion at the company, Koenigsberg and Horizon president Bob Lord criticized the methodology and demanded that the survey company’s cofounder defend its credibility in a meeting with Horizon leaders, according to the complaint.

Smith-Wilson, who joined Horizon in 2022, was terminated from the company in April of this year, with Horizon leaders citing a “restructuring,” the lawsuit alleges. Less than a month later, a new enterprise-level CMO was appointed to take over Smith-Wilson’s role. The shakeup was not a restructuring, the lawsuit claims, but “a pretext manufactured to conceal discriminatory and retaliatory motives.”

“Companies don’t earn immunity by pointing to diverse hires or past awards; the law demands equal standards, equal opportunities, and equal respect,” Clark, the plaintiffs’ lawyer, said. “My clients never wanted to take this course of action. They achieved results despite resistance, and they’re stepping forward because mistreatment cannot be excused or normalized.” 

NBA chief marketing officer Tammy Henault is leaving after three years in the role. 

She will depart at the end of September.

Henault joined the NBA in 2022 to lead global marketing for the league and its affiliates. Her goal was to “further the organization’s mission to inspire and connect people everywhere through the power of basketball,” she said at the time. 

Over the past few years, Henault has helped expand the NBA’s global fan base, deepen engagement and cultural relevancy, and drive digital innovation through initiatives such as the Next Gen platform. 

She developed integrated strategies across data, community, experiential, and creator marketing. She also spearheaded the NBA’s new brand identity, rolled out experiences like the NBA House, helped with launches such as the new in-season tournament, and forged partnerships including a global collaboration with UnitedMasters’ stable of music artists.

Henault oversaw lauded campaigns such as “The Gift of Game” 2023 holiday ad; 2023’s “The Heist,” which garnered nearly 500 million views globally, plus its sequel; and “Unforgettable Awaits” for the 2025 Finals, starring Mindy Kaling and Kevin Costner. 

During her tenure, the NBA broke attendance records, hitting its second-highest numbers for the 2024-2025 season following the 2023-2024 season that broke records in every category. 

Henault confirmed her departure from the NBA in a LinkedIn post on Friday, saying that she’d be taking a “power pause” to explore new opportunities.

“What an extraordinary privilege it has been to help grow and evolve one of the most iconic brands in the world–expanding our global audience, deepening fan engagement, driving digital innovation, and strengthening the NBA’s cultural impact,” Henault wrote. 

Henault declined to comment beyond the LinkedIn post.

In a statement provided to ADWEEK, the NBA confirmed Henault’s departure and said marketing will be managed by “the group’s current leadership team on an interim basis.”

According to an internal memo to staff, written by NBA deputy commissioner Mark Tatum and obtained by ADWEEK, that leadership team includes Janine Dugre, svp of creative services, brand, and advertising; Andy Heatley, svp of media strategy; Claisian Phillips, svp of DTC and partnerships marketing; Jenny Whitlock, svp global head of fan marketing; Jonathan Hsu, head of marketing Operations, and Dana Tarricone, vp, head of international marketing.

“During her time with the league, Tammy oversaw a number of initiatives to build awareness and viewership of NBA tentpole events, drive fan engagement across traditional and digital media platforms, and deepen our relationship with fans globally,” Tatum wrote. “We thank Tammy for her many contributions and wish her well in her future endeavors.”

Prior to the NBA, Henault was senior vice president of marketing for Paramount+, where she oversaw brand marketing, partnerships, growth, and engagement for the streaming service. Before that, she worked at The New York Times and led customer acquisition and retention for its digital subscription business. 

Editor’s note: This story was updated with a statement from the NBA, as well as and information from a memo sent to staff about Henault’s departure.

Scope3 laid off a portion of its staff last week as part of a shift into so-called agentic advertising offerings, ADWEEK has learned.

A company spokesperson confirmed the cuts, but declined to provide the number of affected staff. The company had more than 100 staffers worldwide as of last December, according to a blog post by CEO and cofounder Brian O’Kelley. 

Most impacted by the restructuring is Scope3’s commercial team, responsible for generating revenue through product sales and partnerships with brands, agencies, and adtech providers. A spokesperson confirmed that members of that team were cut last Thursday, Aug. 28.

One affected staffer, speaking on condition of anonymity, told ADWEEK that there were also several people not affected by layoffs who were “leaving on their own accord following the announcement.”

Scope3 recently expanded beyond its flagship carbon emissions data product for the adtech ecosystem and into ad verification and AI offerings. The company spokesperson said the shakeup is part of this strategic shift to establish a deeper focus on agentic advertising. 

In March, the company launched a suite of AI agent-powered products, including its Agentic Media Platform, a kind of adaptable operating system that enables organizations on either the buy- or sell-side of the aisle to build, integrate, or deploy agents that execute decisions fully autonomously at the impression level. It also released its Brand Standards product, which lets users build custom agents to make brand safety and suitability decisions, and is designed to compete with ad verification incumbents like DoubleVerify and Integral Ad Science.

Despite the recent layoffs, Scope3 is hiring in some departments, including product and engineering, areas that it believes will be critical in scaling these AI offerings. At the time of writing, the company has seven open job postings on LinkedIn across a variety of functions, including marketing, accounting, and engineering.

On the same day that it announced layoffs to employees, the firm publicly appointed a new commercial lead, Tim Collier. Collier told ADWEEK last week: “As we think about building and owning the agentic advertising category, it requires us to totally rethink how we set up the commercial structure of the business.”

One week on the job and CEO Cindy Rose is already making big moves at WPP.

On Friday (Sept. 5), the holding company announced that Ogilvy global CEO Devika Bulchandani will take on the role of chief operating officer (COO) at WPP, filling a position left vacant last week by longtime company veteran Andrew Scott.

Taking on Bulchandani’s role at Ogilvy is Laurent Ezekiel, who will also adopt the title of executive sponsor for WPP Open X, the holding company’s bespoke agency for The Coca-Cola Company. Ezekiel will be succeeded as CEO of Open X by Floriane Tripolino, global client lead at WPP overseeing the Nestlé account. 

The moves come one week into Rose’s tenure as CEO. The former Microsoft exec was appointed to the top job in July after Mark Read announced his departure in June. Her first day was Monday, Sept. 1. 

In a statement, she said the appointments “underscore WPP’s commitment to delivering unparalleled value and innovation.”

“Devika’s deep obsession with helping our clients grow and win will help us accelerate our growth across the entire WPP landscape. Laurent’s close, successful partnership with The Coca Cola Company and creation of WPP Open X gives him valuable insight and experience to help navigate the needs of our largest clients, many of which are housed in Ogilvy,” she continued. 

As COO, Bulchandani will oversee WPP’s country managers, growth teams, and client leaders to pull together bespoke solutions across the holding company for clients. 

“I truly believe that when we seamlessly bring together WPP’s world-class capabilities, we become an invincible force–one that unlocks unparalleled value for our clients,” she said in a statement.

Ezekiel will be responsible for Ogilvy’s global business across advertising, PR, social and influence, customer engagement, consulting, and health. That includes Grey, which moved from under AKQA to Ogilvy in May. 

“The future of Ogilvy is bright, and I’m thrilled to be a part of writing the next chapter of marketing history with our teams and clients,” he said in a press release.

A new era for WPP  

As Rose takes the helm, she’s under pressure to turn around WPP after a difficult few years. 

In its latest earnings report, WPP reported a revenue drop of 5.8% and announced a strategic review of the business.   

Part of that plan is ensuring ongoing strong leadership at Ogilvy, which laid off 5% of its global workforce, or roughly 700 employees, in June, as well as protecting and growing WPP’s relationship with Coca-Cola, after the holding company lost its North American media business to Publicis earlier this year. 

“These leaders embody the strategic vision and creative excellence that define WPP,” Rose said. “Their collective expertise will play a crucial part in helping me drive WPP to our next phase of growth and ensuring our clients continue to win in a rapidly evolving market.” 

Welcome back to Big Ideas, ADWEEK’s series in which we talk to the industry’s top creative minds.

This installment features John McKelvey, founder and chief creative officer of indie agency Mirimar. ADWEEK’s 2024 Breakthrough Agency of the Year is behind work including Rocket Companies’ 2025 Super Bowl ad and the global campaign for Beats Pill’s collaboration with Kim Kardashian. 

McKelvey breaks down how filmmaker Adam McKay’s approach to storytelling has inspired his work in advertising and why tonal range is a vital skill for creatives. He also opens up about what keeps him up at night about the industry. 

What’s a piece of culture outside of advertising that has inspired your work?

The Big Short directed by Adam McKay. It still holds up over a decade later.

What’s wild is that McKay is also behind Anchorman and Step Brothers, the pinnacle of silly. He made Vice and Don’t Look Up, and was the head writer on SNL for several years.

What I admire is his tonal range. He’s apparently one of the best at improv—smart, fast, quick-witted. He once said he was doing comedy improv but no one was doing dramatic improv, which opened up ways to access both sides of yourself and understand the timing for both storytelling vehicles. He’s shown how drama and comedy share so much.

I really admire someone who has a vast tonal range but is fully committed to the story they’re telling at that moment. That unlocks something in the people around him too—famously, Steve Carell.

At Mirimar, we strive for that. We don’t have a set style. We listen closely to what clients want, then come back with a solution that feels right for that moment. Tone comes later. That’s why we can move from fun, pop-silly things, like Beats’ buddy-film comedy, to the emotional Rocket Super Bowl spot about homeownership. Same team, 100% authentic in both genres. 

I admire creatives with range and encourage our teams to access all those parts of themselves. It’s about lowering the fear and letting people feel secure. When you feel secure and open, you’re not just reaching for what you’ve done before—you’re making something original and bespoke for the moment.

What’s your favorite piece of work you’ve made recently?

I’m very proud of Rocket’s “Own the Dream,” a genuinely integrated Super Bowl initiative. It was a 60-second spot about the importance of home, which led directly into a live stadium sing-along as the broadcast cut back.

What’s your favorite recent ad that someone else made?

Squarespace’s Super Bowl ad, directed by Steve Rogers and starring Barry Keoghan, was such a beautiful, restrained, funny piece. When you tap great film actors for the Super Bowl, they jump through the screen with their performance.

What keeps you up at night about your job?

This industry works better with more security in relationships. Brands get more from committed partners who can put all their energy into the work. When it’s a rotating door, it creates instability that hurts everyone.

What’s the most exciting thing about the industry right now?

I’ve always felt grateful for this job. Using imagination and creativity to make funny, beautiful, interesting things that help businesses succeed is rewarding and fun year after year.

Now we’re seeing more creatives with diverse skills and backgrounds entering the industry, especially younger talent who naturally do a range of things. That energy feels less siloed, and it’s exciting.

Steve Hayden, the visionary advertising executive behind some of the most influential campaigns of the modern era, died on Aug. 27 at the age of 78.

Hayden began his career as a copywriter at General Motors in Detroit. His career took off at Chiat/Day in the 1980s, where he partnered with Lee Clow and Brent Thomas to create Apple’s now-iconic “1984” Super Bowl ad. The cinematic spot, which launched the Macintosh computer, redefined how advertising and technology could tap into culture.

He later served as chairman and CEO of BBDO West, where he brought over and helped retain the Apple account for more than a decade, further solidifying his reputation as a creative force who could marry brand storytelling with business impact.

In 1994, Hayden became vice chairman and chief creative officer at Ogilvy, where he oversaw the consolidation of IBM’s global business, which at the time was the largest account shift in advertising history. Under his leadership, the agency launched IBM’s “e-business” campaign, a defining effort that helped reshape the brand and the category. He also guided award-winning work for American Express, Kodak, Motorola, and Dove, including the ongoing “Real Beauty” campaign.

At Ogilvy, Hayden is remembered not only as a strategist and creative visionary, but also as a mentor and collaborator. “Steve Hayden was my partner,” said Shelly Lazarus, chairman emeritus of Ogilvy. “Without him I would never have been able to do what I was able to do. Without him, Ogilvy would never have had the success that it had over so many years. Steve made it look easy. But there was brilliance behind every seemingly simple idea. And how much fun we all had together. I can’t quite believe that he’s gone. The world is a less good place. My gratitude for all that I got to share with Steve Hayden is endless. My love for him is forever.”

Colleagues across the industry echoed that sentiment. “The people that I look up to all looked up to Steve. That’s how big he was,” said Chris Beresford-Hill, global chief creative officer of BBDO. “The entire BBDO community sends condolences and love to his family.”

Bill Davaris, now co-CEO of MALKA, told ADWEEK that he spent 18 years at Ogilvy as an executive creative director under Hayden.

“Yesterday, we lost an industry giant, our dearest mentor, our biggest role model, the funniest boss, and the kindest leader,” he shared on LinkedIn. “Steve Hayden was a true legend in our work lives—someone who always made time to inspire, advocate and motivate. His contributions to the advertising world are immeasurable, some may say never repeatable. But what we’ll remember most is his generosity. May his memory be eternal—the gentle genius whose greatest love was to make us all better!”

Hayden’s influence stretched across generations of creatives. Beyond the campaigns that defined his career, his legacy endures in the people he mentored and inspired.

Born Stephen Edward Hayden on May 21, 1947, in St. Louis, Missouri, he was the son of an internist and an opera singer. He is survived by his longtime partner Kristy Allen, his family, and loved ones.