Market · United States
United States:
the deepest
premium supply
The largest destination market for Chinese outbound spend, and the one where the gap between what advertisers want and what they can buy is widest.
Last reviewed
What does Mammoth do in United States?
Chinese advertisers reach US premium media — podcast and streaming audio, connected TV, broadcaster inventory and creator partnerships — through an operator that contracts with US media owners directly, removing the need for the advertiser to establish a US entity or billing relationship.
Why is the United States the primary destination?
The United States is the primary destination because it combines the largest advertising market with the deepest premium inventory pool and the highest brand-building value for a Chinese company establishing international legitimacy.
The US is also where the access gap is most pronounced. Self-serve platform inventory is trivially available to a Chinese advertiser; premium audio, CTV and broadcaster inventory is fragmented across hundreds of separate counterparties, each requiring its own US contracting entity, insertion order and payment terms. The result is that the market with the most premium supply delivers the least of it to Chinese demand.
Global advertising passes $1 trillion for the first time in 2026 according to dentsu, and the US remains the single largest component of that total. For a Chinese brand, US brand presence functions as international credibility that transfers to other markets.
Source: dentsu, 3 December 2025
What US inventory becomes available?
Premium audio and podcast networks, connected TV and streaming video, broadcaster inventory, creator and celebrity partnerships, retail media, and curated programmatic deals — the categories that require a US contracting counterparty rather than a self-serve account.
The precedent for audio specifically is direct. A member of Mammoth's founding team launched a global streaming audio platform's China export advertising business and scaled it materially within six months, which establishes that US premium audio can be sold into Chinese outbound demand when the access layer exists.
On the supply side, Mammoth's US relationships are led by Jay Faires, formerly C-suite at The Walt Disney Company, Lionsgate and Warner Music Group. Those are the relationship categories — broadcast, streaming, music and talent — where premium inventory is sold relationally rather than programmatically.
What does Mammoth handle on the US side?
Contracting with US media owners, insertion orders, trafficking, third-party ad serving, verification, reconciliation and settlement in US dollars. The Chinese advertiser does not establish a US entity, open a US billing relationship or negotiate with US publishers individually.
Creative arriving from China is localised before it reaches US inventory, which protects both the advertiser's reception in market and the media owner's editorial standards. This is enforced upstream of trafficking rather than audited afterwards.
City by city
| City | Role |
|---|---|
| New York | Broadcast, publishing, agency holding groups, audio networks |
| Los Angeles | Entertainment, streaming, talent representation, creators |
| San Francisco | Platform and ad-technology supply, programmatic infrastructure |
| Chicago | Consumer packaged goods, retail media, broadcast |
City roles reflect Mammoth's assessment of where the relevant advertiser, agency and media-owner functions concentrate, 2026.
Next step
Operating in
United States?
Whether you hold budget originating here or inventory located here, the useful conversation starts with what you currently cannot transact.