Internet Security

The case against behavioral advertising is stacking up

No one likes being stalked around the Internet by adverts. It’s the uneasy joke you can’t enjoy laughing at. Yet vast people-profiling ad businesses have made pots of money off of an unregulated Internet by putting surveillance at their core. But what if creepy ads don’t work as claimed? What if all the filthy lucre…


No one likes being stalked around the Internet by adverts. It’s the uneasy joke you can’t enjoy laughing at. Yet vast people-profiling ad businesses have made pots of money off of an unregulated Internet by putting surveillance at their core.

But what if creepy ads don’t work as claimed? What if all the filthy lucre that’s currently being sunk into the coffers of ad tech giants — and far less visible but no less privacy-trampling data brokers — is literally being sunk, and could both be more honestly and far better spent?

Case in point: This week Digiday reported thatthe New York Timesmanaged to grow its ad revenue after it cut off ad exchanges in Europe. The newspaper did this in order to comply with the region’s updated privacy framework, GDPR, which includes a regime of supersized maximum fines.

The newspaper business decided it simply didn’t want to take the risk, so first blocked all open-exchange ad buying on its European pages and then nixed behavioral targeting. The result? A significant uptick in ad revenue, according to Digiday’s report.

“NYT International focused on contextual and geographical targeting for programmatic guaranteed and private marketplace deals and has not seen ad revenues drop as a result, according to Jean-Christophe Demarta, SVP for global advertising at New York Times International,” it writes.

“Currently, all the ads running on European pages are direct-sold. Although the publisher doesn’t break out exact revenues for Europe, Demarta said that digital advertising revenue has increased significantly since last May and that has continued into early 2019.”

It also quotes Demarta summing up the learnings: “The desirability of a brand may be stronger than the targeting capabilities. We have not been impacted from a revenue standpoint, and, on the contrary, our digital advertising business continues to grow nicely.”

So while (of course) not every publisher is the NYT, publishers that have or can build brand cachet, and pull in a community of engaged readers, must and should pause for thought — and ask who is the real winner from the notion that digitally served ads must creep on consumers to work?

The NYT’s experience puts fresh taint on long-running efforts by tech giants like Facebook to press publishers to give up more control and ownership of their audiences by serving and even producing content directly for the third party platforms. (Pivot to video anyone?)

Such efforts benefit platforms because they get to make media businesses dance to their tune. But the self-serving nature of pulling publishers away from their own distribution channels (and content convictions) looks to have an even more bass string to its bow — as a cynical means of weakening the link between publishers and their audiences, thereby risking making them falsely reliant on adtech intermediaries squatting in the middle of the value chain.

There are other signs behavioural advertising might be a gigantically self-serving con too.

Look at non-tracking search engine DuckDuckGo,for instance, which has been making a profit by serving keyword-based ads and not profiling users since 2014, all the while continuing to grow usage — and doing so in a market that’s dominated by search giant Google.

DDG recently took in $10M in VC funding from a pension fund that believes there’s an inflection point in the online privacy story. These investors are also displaying strong conviction in the soundness of the underlying (non-creepy) ad business, again despite the overbearing presence of Google.

Meanwhile, Internet users continue to express wid

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Internet Security

Artists can express humanitarian concerns, but not undermine public order and security: Tan Kiat How

Advertisement Singapore Artistes can express humanitarian concerns, but not undermine public order and security: Tan Kiat How Senior Minister of State Tan Kiat How cited several performances dealing with social and humanitarian issues that had been allowed to proceed in Singapore. Robert Del Naja and Grant Marshall from Massive Attack stand with a Palestinian flag

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Artistes can express humanitarian concerns, but not undermine public order and security: Tan Kiat How

Senior Minister of State Tan Kiat How cited several performances dealing with social and humanitarian issues that had been allowed to proceed in Singapore.

Artistes can express humanitarian concerns, but not undermine public order and security: Tan Kiat How

Robert Del Naja and Grant Marshall from Massive Attack stand with a Palestinian flag onstage at the end of their performance in Singapore, July 29, 2026, in this screengrab from video obtained from social media. Simran Panaech/via REUTERS


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Justin Ong Guang-Xi

Justin Ong Guang-Xi

Justin Ong Guang-Xi

10 Sep 2026 01:42PM
(Updated: 10 Sep 2026 02:06PM)



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SINGAPORE: Artistes can express humanitarian concerns about international conflicts, but such expression should not undermine public order, security or stability in Singapore, Senior Minister of State for Digital Development and Information Tan Kiat How said on Thursday (Sep 10).

“Singapore should not be used by foreigners as a platform to further political causes, including those relating to conflicts or political issues overseas,” he said.

Artistes, whether Singaporean or foreign, are expected to abide by Singapore’s laws and the conditions of the arts entertainment licence when performing here, he added.

Mr Tan was responding in parliament to MP Hazlina Abdul Halim (PAP-East Coast), who asked how authorities distinguish prohibited political advocacy from expressions of humanitarian concern.

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She also asked how an artiste’s intent and the context of an expression are taken into account, and whether licensing conditions would be reviewed to exclude peaceful expressions of support for humanitarian causes.

Mr Tan said that besides an artiste’s intention, the Infocomm Media Development Authority (IMDA) considers the likely impact of a performance when assessing whether it meets licensing conditions.

Under IMDA’s Arts Entertainment Classification Code, content should not undermine public order, national security or stability.

The code, which sets out the framework for assessing and classifying live or public arts entertainment, also states that content should be “sensitive to the concerns of different racial or religious groups and the prevailing community expectations of what is necessary to safeguard racial harmony and religious harmony”.

In July, members of British band Massive Attack were issued stern warnings and barred from re-entering Singapore after flying a Palestinian flag during a concert, with one of the members shouting “Free Palestine”.


06:31 Min

The government recognises the humanitarian impact of international conflicts and that artistes may wish to express concern for those affected. Such expressions are not prohibited but should not undermine public order, national security or stability in Singapore. This condition is made clear in the Arts Entertainment Classification Code issued by the Infocomm Media Development Authority. Senior Minister of State for Digital Development and Information Tan Kiat How highlighted this approach in reply to an MP’s questions in parliament on Thursday (Sep 10). He stressed that Singapore should not be used by foreigners as a platform to further political causes, including those relating to conflicts or political issues overseas. 

Ms Hazlina asked Mr Tan for examples of performances involving social causes that had been allowed to take place.

He cited To The Unforgotten, an event held in May this year that featured a song, poem and multimedia artwork about the Israel-Gaza conflict. It was classified R18.

Another example was 6 Microlectures on Genocides. Also classified R18, the play comprised short works that explore themes of genocide, war crimes and contemporary conflicts, Mr Tan said.

He also pointed to the 2024 stand-up comedy show Namaste, which was classified Advisory 16 and included a segment in which comedians spoke about the Israel-Gaza conflict.

“So having material and content on causes itself is not prohibited, and the licensing framework is designed to, of course, protect young people from unwanted content, but also allow people to make decisions on what they can watch,” said Mr Tan.

“But at the same time, having some boundaries on the kind of content that may stir up public disorder or national security considerations.”

Mr Tan said assessments were “very contextual” and encouraged applicants for Arts Entertainment Licences to engage IMDA early.

“The earlier the applicants engage IMDA, the earlier conversations can start, and earlier we can give clarity and guidance on the kind of content that may be approved and

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Six Egyptian Men Arrested Following Abduction and Sexual Assault Video

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