The major thoroughbred horse race that caps the season, the Breeders’ Cup, is celebrating its 29th year with a new Web site and an ad campaign to boost awareness. The campaign, unveiled this week, uses as a soundtrack a major staple of Sinatra-like croondom, “The Best Is Yet to Come.” In the spot, the song is performed by jazzer Kurt Elling. The Breeders' Cup is also planning to have the song performed live at the event, but the performer has yet to be named. It also introduces a new logo, and a multiplatform media strategy comprising digital, out-of-home, event marketing, print, television and radio. Pete Rotondo, VP of media and entertainment for the New York-based Breeders Cup, tells Marketing Daily that this year "is very different; we went all in on a multi-platform branding campaign." He said the last change was in 2007. "But it was not this kind of full-blown, integrated campaign. We are using it over so many outlets." He adds that advertising for the 15-race, two-day series had been focused on horses along the stretch and at the finish. But that new campaign is more about the race as an event. Also, he notes, the Breeders' Classic will be on prime time for the first time ever. "We are looking at it as the fourth major, after the Triple Crown." The campaign, via Conover Tuttle Pace, the Breeders' Cup AOR since 2006, is out of the gate with online and email advertising, with other elements -- including traditional media -- getting added to the mix in the Southern California market leading up to the event. The new www.BreedersCup.com has a new ticket purchase process where you can choose your seats based on photos from all seating areas. There is also an online customer service chat tool. The race, at the Santa Anita Park in Arcadia, Calif., marks the end of the thoroughbred-racing season, but it has a lot of influence over final honors for horse of the year. The two-day race, starting Nov. 2, will be carried by NBC and the NBC Sports Network. That coverage represents the first year of a multi-year media rights partnership for the network. The organizers say nine and a half hours of Breeders' Cup coverage includes the first-ever running of the $5 million Breeders’ Cup Classic in prime time on Nov. 3. NBC had, per a release, covered the race from its inception in 1984 through 2005. The 60-second TV spot shows snippets of horses, riders, the race itself and the racetrack high life, with actors, celebrities, and notables who are ebullient about the event. Testimonials by the likes of actor Kurt Russell are thrown in for good measure. Total purses for the event this year are more than $25 million, per the Breeders’ Cup.
DirecTV has made a major change regarding the crucial position of its top programming executive. Former AT&T and InDemand executive Dan York will take a new position as executive vice president of programming and chief content officer. He replaces Derek Chang, EVP of content strategy and development, who will leave at the end of the year. "We understand Derek's desire to take his career in a different direction, but I personally appreciate his advice and guidance," stated Mike White, president, CEO of DirectTV, "and his willingness to work with me on a thoughtful transition." Like other TV/video programming services, DirecTV has continually battled with TV/cable network and content owners over rising programming rates, a topic on which Chang has been vocal. York will take over his post in July. Chang had been with the satellite programming service since 2006. White credits York with being a key member in building AT&T’s U-verse video platform, where he was president of content and advertising for AT&T. York was involved in decisions including distribution, marketing, acquisition of linear programming deals, video-on-demand, pay-per-view and sports programming. AT&T’s U-verse grew to more than $9 billion in annualized revenue. York most recently was head of programming and development for In Demand Networks, the video-on-demand and pay-per view operator. He also worked at HBO, managing the distribution, marketing, sponsorship, and select content acquisitions and programming operations for HBO's Sports PPV business.
Longer Internet video viewing -- particularly that of full-length TV shows -- continues to climb at the expense of short-form video content. During the first quarter of this year, more long-form video content was consumed (longer than 10 minutes) on the Internet than shorter videos, which continue to decline. Research conducted by online video analytics company Ooyala says this is the first time this has occurred. A dramatic increase in viewers of Web-connected devices is partly responsible for the shift. Jay Fulcher, CEO for Ooyala, stated: “The spike in tablet and smartphone viewing during weekend nights and commutes shows how the living-room experience is fragmenting across devices.” Ooyala says on a typical weekday, a full third of tablet video plays occur in traditional prime-time viewing time periods -- between 7:00 p.m. and 11:00 p.m., while only about 17% of computer plays take place over that same period. Also, viewers on connected TVs watch nearly a third more video between 4:00 p.m. and 11:00 p.m. on Saturdays than on a typical weekday evening. Other mobile devices are seeing growth: Share of time watched on smartphones grew by 41% in the first quarter of 2012, while the share of time watched on tablets grew by 32%. Ooyala says that after the new iPad unit went on sale in March, the amount of video watched on tablets jumped 26%. Now iPads account for 95% of tablet video viewing.
TV's upfront marketplace is underway -- but mum’s the word, at least according to one senior media executive. Speaking at the Sanford Bernstein Strategic Decisions Conference, Bob Iger, chairman and CEO of the Walt Disney Company, wouldn’t say much -- other than reiterating that for its two big networks, ABC and ESPN, “it’s been a pretty good scatter market.” Iger did not provide much detail on the upfront process. “It’s very difficult to predict the upfront,” he said. “We are just in negotiation now and it’s too early to tell.” In talking about the overall media environment –- including media fractionalization -– Iger says: “We believe high-quality branded entertainment is going to continue to be valuable for our shareholders.” Concerning changing digital platforms and shifting windows for programming and movie content at Disney, Iger says: “We don’t know how fast these new businesses will break down. We do know there will be new business models.” Speaking about the increasingly high cost of cable programming -– specifically, sports programming -- Iger wondered why cable operators in particular have been lackluster in selling sports networks to consumers, such as Disney’s ESPN. “It’s an odd business that the very distributors of this great product complain about the costs of the product,” says Iger. “They do that more than selling the value of the product to consumers.” Sports programming costs have been controversial for cable operators, as some have complained that sports TV fees –- and subsequent price hikes by the likes of ESPN -- have overwhelmed their operating costs. Cable operators have also complained that not all consumers want to watch sports programming. What about consumers who don’t watch news or kids' programming? he asks. Should those channels be eliminated from cable packages? In the end, he says, viewers want choice -- and they get a good deal. “We do not sense the typical basic subscriber is dissatisfied with their product,” he says. When talking about ESPN in particular, Iger has issues, especially in comparison to regional sports channels. “ESPN gets tarred a bit by the same brush as the RSNs, and that’s unfair.” Iger says this is especially true considering that regional sports channels can cost much more, and deliver much smaller ratings than what ESPN delivers. “We are not trying to kill the golden goose," he adds. "I don’t think we have been reckless about our rate increases.”
Using the ever-unflappable Michael Jordan as its spokesperson, Hanes is introducing tagless underwear for men with a new TV campaign. A spokesperson for the company, which eliminated tags in its undershirts way back in in 2002, says the ads are scheduled to run on high-profile entertainment and sports programming, including the NBA playoffs. It says it introduced the tagless undies when consumer research showed that men were hankering for tagless briefs, boxers and shorts, too, and that the labels tend to chafe and annoy them. So in the spots, the tags take on annoying personas. Jordan, who has been appearing in Hanes ads for 20 years, steps in to rescue men from these relentlessly irritating tags. In one, a mild-mannered cubicle dweller is trying to get some work done, constantly interrupted by the banter of his tag. Jordan yanks it out and runs it through the shredder. In another, the tag gives gratuitous (and insulting) grilling advice to its owner, before Jordan throws it into the flames. And in a third, a guy and his date are in a theater, trying to watch a horror movie. But the man's undershirt tag keeps yapping, giving away the plot. Jordan pulls the tag out, and shoots it into a cup of soda. Each spot ends with a tagline that simply states: "Tags are annoying. So we got rid of them." Each spot is set to air on high-profile sports programming, such as the Western Conference NBA Playoffs and the MLB (TNT, ESPN, MLB Network etc.), as well as entertainment networks such as TBS, Spike and SyFy," the spokesperson says. Hanes, which claims to be America's No. 1 Apparel Brand, competes with Fruit of the Loom, and is not the first to the tagless party. Fruit of the Loom released a hilarious spot, “You can't overlove your underwear” -- created by the Richards Group -- back in 2010. In it, the apple guy soulfully salutes the brand: “There’s no labels hanging anywhere.”
Apple, Inc. may be readying a new Internet-powered television product, according to reports coming out of China on Monday. On Tuesday, Apple CEO Tim Cook added fuel to the fire when he said technology for televisions was of “intense interest” to the company during an interview at a conference. WantChinaTimes picked up and translated a report from China Business News that cited “informed sources” who said that Foxconn, Apple’s China-based manufacturer, had received an order earlier this month to begin producing a trial line of the iPad maker’s long-rumored Smart TV. The report, which had no byline, said the new TVs would integrate the Internet and the cloud and would have their own displays and interfaces. According to Apple Insider, the location of the trial, Foxconn’s Shenzhen plant, indicates that a small number of prototypes would likely be produced and then put through Apple’s design test verification stages. In a research report released after the rumors surfaced, Topeka Capital Markets’ Brian White suggested that the company might formally announce the new Smart TV at its annual Worldwide Developers Conference in San Francisco on June 11. White also pointed out that Apple would need to give developers “a head-start” in building applications for the device just as it did prior to the launches of both the iPhone and iPad. Speaking at the annual D: All Things Digital conference in Silicon Valley on Tuesday, Apple’s Cook declined to comment directly on any new products the company might be developing, but in regard to its existing Apple TV product, he said: "This is an area of intense interest for us. We're going to keep pulling this string and see where it takes us." Cook stressed that Apple TV is not a hobby: “We’ve stayed in the Apple TV product business, and we’re not a hobby kind of company…. Our tendency is to do very few things, put all of our wood behind a few arrows, and if something creeps in and isn’t a big success we get it out of the way and move on.” He pointed out that Apple sold 2.8 million Apple TVs in 2011, and 2.7 million in the first six months of its 2012 fiscal year. “I think many people would say this is an area in their life that they’re not really pleased with, the whole TV experience,” Cook said. “So it’s an interesting area. We’ll have to see what we do. Right now, our contribution is Apple TV.”
Mark Powell has been named vice president of current programming & specials for truTV.
Alex Lang joined Play Creative TV as executive producer and creative director.
Technology changes everything, but not exactly in the ways we expect. This happens more so with consumer entertainment technology. Dish Network’s commercial-skipping AutoHop feature may be in this category. In the mid-1990s, Napster started as a service where one person shared music with others, evolving into what critics said was a place to get “free music.” Now, we have multiple ways of listening to “free music” of sorts – Pandora, YouTube and others. When video tape recorders were the rage in the ‘80s, many analysts believed we would be creating our own personal TV schedules. It didn’t happen then; it was too complicated. Some 30 years later, we may be doing a version of that with DVRs. Did we get true “free” music out of the remains of Napster? No. Many people now download music and pay for it via places like iTunes. But with lots of other streaming music apps and services, we have a lot less clarity. Dish’s AutoHop technology, included in its new Hopper DVR, allows consumers next-day access to commercial-free prime-time programming from the four major networks. Dish says it is essentially no different than the behavior consumers are already doing: fast-forwarding. The question is: What now? Does Dish abandon its effort? Will it end up disabling the AutoHop function? Perhaps there is a secret negotiation wish here. Dish’s press release announcing a countersuit against the networks for stifling its efforts throws in a nice grenade on the subject of retransmission revenue: “Dish’s monthly subscriber fees include significant ‘retransmission fees’ that Dish pays to the major networks. Although the broadcasters have made much of their content available for free using sites such as Hulu, they have continued to demand substantial increases in their retransmission fees.” So Dish’s decision to go with AutoHop comes as its consumers might be seeing a rise in monthly fees. The message: We are here to give you more value. The real effect for TV advertisers will be tiny. Dish has some 15 million subscribers out of some 115 million homes with TV. That’s 10%. Now factor in those people who want to watch shows live versus those who watch on a next-day basis. Some people say this only amounts to 20% or less. Now split this up among some 70 or more broadcast and cable ad-supported networks. Now split that up among viewers who want to see those network shows. Trouble is, when you give viewers a taste of new technology, they make their own value judgment. At its top, Napster had some 50 million users. Napster isn’t the scale of TV with AutoHop. But viewers might be thinking – where could this technology take me?
Jarring, sad, painful, “The Other Woman” was the best episode of the season by far, but also the most sickening. It deftly called into question the whole idea of ownership, and whether, like a curvy car, a sexy female employee is merely a commodity to be bought and sold for the right price. Never mind the Brylcreem and sharp suits; “Mad Men” is really about the shifting identities of women. It’s been a real eye-opener to see how rigid and limiting gender roles were in mid-century America. The phrase “hostile workplace” did not exist then, but for women, the daily harassment was just part of the deal. Life was one big casting couch, and the women were all auditioning. In the second season, Don’s then-other woman, Bobbie, gives Peggy some advice. ”You can’t be a man,” she says. ”Be a woman. It’s powerful business when done correctly.” But there were no blueprints for how to do it at all, never mind correctly. And this episode, about women and money, focused on the career moves of Joan and Peggy (and Megan, to a lesser degree) and lobbed some real shockeroos. There was no crying in advertising in this episode, only whisky, potpie, and various degrees of whoredom. Then again, we got echoes of the same sad theme that haunts almost every “Mad Men” episode: references to Don’s prostitute mama who died in childbirth. She was the mother of all “other women.” Her death was the ultimate innocent act of abandonment and betrayal. To this day, her absence shades all of Don’s behavior towards women, and he will always be one angry, conflicted whore child. But back to our story: Pete the procurer is desperate to get the Jaguar account, not only to make his mark on the agency, but also because he thinks it will allow him to get a bachelor pad in the city. We already know he’s despicable. So he lights up when he hears the Jaguar-dealer guy say he wants a shot at the “dynamite redhead built like a B-52,” who is, he hopes, a “free spirit, open to new ideas.” In fact, the client is asking for the oldest thing in the book, and Joan, while a “red-hot numbah” is a resigned spirit, hardly free. A decade or so older than Peggy, she’s in a tougher spot. For whatever reason, she’s turned down Roger’s offer of child support. So for baby care, she is tethered to her mother, an attention-starved alcoholic who “trained” her to be “admired.” In essence, her mother is her madam. (And now Joan’s fridge is on the fritz and her house stinks.) She complied with her mother’s training, making use of her headlight/tailfin body, despite the fact that she’s smart and super-capable at every thing she does. She was Roger’s “other woman” for many years, and he treated her terribly. (The baby is a result of their sidewalk tryst.) She’s just getting out of marriage to a doctor (what could be more socially acceptable?) who raped her and neglected her emotionally. So Pete goes back to the office and pulls every weaselly, guilt-inducing, manipulative, passive-aggressive card in the pack to get Joan to consider the proposition. (Basically, he reduces his pitch to “we’re going to lose Jaguar unless you fuck Herb.”) When Joan confronts him with the word “prostitution,” he comes up with a with a weird Cleopatra analogy. (The Egyptian queen is believed to have consummated a liaison with Caesar to solidify her grip on the throne.) Pete counters that it’s not the p-word: it’s business at the highest level. Once he gets the lie in motion, the partners, with the exception of Don, fall into a sort of chain reaction of sleaze. Lane also responds out of self-interest. He has to keep his embezzlement covered up, and can’t go back to the bank for a loan, so he urges “Mrs. Harris” not to make the same mistake he did -- and, instead, to ask for 5% of the business and a full partnership. Joan, wearing a dress that has an animal print tail (catch a tiger) decides to go through with it, and demands papers by evening. Poor Cleopatra. Joan’s John, a character named Herb Rennet (love the Dickensian name-- reminds me of stinky cheese) might not be Caesar, but he is the closest figure to Tony Soprano that we’ve ever seen on “Mad Men.” He’s got the accent, the, hairy chest, pinky ring, fine silk robe, “Continental” manners, and all. Herb says he was too shy to ask Joan to dinner. Still, I was screaming at the screen in horror at the way she delivers herself to Herb’s hotel room for his delectation, rolled in like the platter of hot red lobsters from the Palm. In the real world, he would take her for drinks and dinner first, no? And he certainly isn’t shy about asking her to “let me see ‘em.” I thought she’d actually run at that moment, but instead she turns her back toward him and starts to unzip her dress. Christina Hendricks deserves an Emmy for her performance, her face a zoned-out mask, her blue eyes cold and lapidary. Herb mixes up two stories: Sheik of Araby and Helen of Troy. The fall of Troy came to represent a fall from an illustrious heroic age, but the story here is just plain ugly and vulgar, to use Megan’s word – also the word from Don when the male copywriters want to use “mistress” to refer to Jaguars. Thankfully, we are spared Herb’s sweat and passion. But through an inspired bit of intercutting, shots of the couple are juxtaposed, Godfather-like, with Don and his team going into battle for the pitch. Also wonderful was the Rashomon-like sequence that played with time, repeating the scene of Don going to Joan’s pink apartment to stop her from going through with the deal. She greets him as the courtesan in the silk kimono, and says she was “just stepping in the shower” (to wash off the stain). The first time, we don’t know that under her robe is the Madame X-like velvet dress that she wore for the encounter that already happened. Joan’s assent to the deal is partly a Romeo and Juliet-like mixup: She felt thwarted, and particularly humiliated that Roger agreed (which he didn’t, really.) So she is genuinely touched that Don came to save her, if too late. “You’re a good one” she says, and gently touches his cheek, holding it a bit too long. I saw this as a parallel gesture to Don’s later kissing of Peggy’s hand. But the problem hardly ends here. Despite her pluck, what if Joan went through all of that, bargaining for a partnership that turns out to be worthless? What if Mr. Stinky Cheese plays the “droit de seigneur” card and insists on continuing? And even if she gets to be a “non-silent” partner, won’t that position always be tainted by the way she achieved it? The story will no doubt arouse gossip and snickers, both within the agency and in the industry. Aside from his own mother issues, Don wanted Joan to stay out of it so he’d know that he won the account only through the work -- which was, indeed, truly great. I think the writers overplayed the basic Dichter dictum in advertising: in the late 1930s, Ernest Dichter, a Viennese emigre trained in Freudian analysis, and the father of “motivational research,” worked with Chrysler to introduce the Plymouth. He famously came up with the idea that a sedan is your wife and a sports car is your mistress. I’m not sure what Ginsberg’s story with women is. He was the only one to turn away from the Richard Speck pictures, and he did the same with the performance on the conference room table, with Megan’s friend desperately clawing her way across on all fours to mimic being a Jaguar. Meanwhile, Ginsberg’s former colleague, Mrs. Draper, has whisked the big man away for a little impromptu sex in his office. And that’s when it hits him: She can come and go as she pleases. Don has no control over her. Which results in the winning tag line: “At last. something beautiful you can truly own.” And Don can take it and go all “Carousel” on the pitch, in a perfect return to the winning Don of old. Meantime, while the boys were eating lobster, Peggy was left with literally the shit: Secol Laxatives, and all the other lesser accounts, which she handled admirably. In fact, she saves the day, with her on-the-spot redux of a Chevalier Blanc commercial. It’s a reverse of the usual female paradigm, with a prince coming along on a white horse to save a fair damsel. Instead, Peggy changes the commercial for Valentine’s Day to use the same beginning but then introduces a Lady Godiva figure to scoop up the male hero and ride off. It’s genius in that it works on both sides, since the Lady, says Peggy, is as “naked as we can make her.” For at least the last year, Don has in turn neglected, barked at, and/or taken Peggy’s hard work for granted. But when the team comes to tell him about the Chevalier save pitch, and Peggy insists she should be the one to go to Paris, he blows up and throws money at her. This is over the top, and demeaning. It’s interesting that Peggy actually has a mentor: Freddy Rumsen is back, and he’s clear-eyed and sober. Yup, the guy who peed his pants and fell asleep, but also picked Peggy out of the secretaries to write, gives her great career advice. He tells her to take some meetings and leave. “ Let him know that you’re not some secretary from Brooklyn who’s dying to help out,” he says, and it stops her in her tracks. She’s over worrying about Don. When she hardheartedly tells Cosgrove “Save the fiction for your stories,” she’s really talking to herself. That leads to an offer from Dick Cheogh, he of the oddly spelled last name. As with the SCDP partners, he’s hardly being selfless: he wants to stick it to Don by hiring Peggy. And when she comes up with an emotion-free bargaining technique -- writing it out on a pad -- he asks, “Did Freddy tell you to do that?” Still, she gets a salary of $19,000, which is roughly $150,000, easily double what she was making. (Joan was earning $12, 500 after 13 years.) And Peggy gets to come in with a fresh slate as copy chief. She’s earned it. I was exhilarated by the ending. We all know Peggy’s beginning, as a dowdy little mouseburger (as Helen Gurley Brown would say) right out of secretarial school. She’s made a complete transformation. This is a triumph. As the agency celebrates the Jaguar win, she speaks to Don. He goes through all the stages of grief when he realizes that she is seriously leaving. And then he kisses her hand, for an uncomfortably long time, suggesting deference -- that she is his queen. The final scene (I could hardly breathe!) shows Peggy leaving her office. She takes her coat, her purse, her portfolio, her thermos, her hat, and her mug. (I was hoping she’d throw her hat up in the air like Mary Tyler Moore.) Joan is the only one who sees her leaving, and gives her a knowing look. She’s gonna make it after all. She stands at the elevator. (Oh, no, not the shaft!) Instead, there is light, and the great song from the Kinks: “Girl, you really got me now.” She smiles and steps in. It’s a heroic moment, an epic poem. The last thing she says to Don, after he kissed her hand, was “Don’t be a stranger.” But we know he is the ultimate stranger, and always the other.
Sean Knapp, Founder and CTO of Ooyala, started his career at Google as one of the original engineers. His experience at Google provided a strong foundation for the creation of Ooyala. Ooyala provides underlying technology and services for distribution and monetization of online video content. In my interview with him, Sean talks about his work at Google, the launching of Ooyala, some of the metrics he has developed, data fusion and his perspective on the future of television. The videos of the interview can be viewed here. Below is a short excerpt. CW: Tell us about Ooyala. SK: Ooyala powers online video for a large number of customers. Our premium customers are companies like Bloomberg or ESPN or Miramax. We help bring their content online, we help to distribute it to multiple platforms – whether it’s an iPad or Android tablet or the PC. And we ultimately help monetize that content better, whether it’s with… better ad server integration, more sophisticated paywalls. We provide monetization and value for the entire lifecycle of that content. Ooyala provides functionality in our product offering in three product categories. The first is management of content. We provide a large suite of services around the uploading, transcoding and management of video assets. Second, we provide a large suite of product offerings around the distribution of those assets. We help facilitate the distribution of content across multiple devices whether it’s your smart phone, your PC, or connected TVs. We handle the technology that is required to distribute to each one of those devices. Lastly, we provide a lot of product and technology around monetization of that content, which includes everything from deep analytics as to how many users are watching every second of your video content over time, to helping optimize paywall placement. Our most recent announcement is actually a discovery engine. We leverage our footprint in Big Data. All of the analytics we collect to provide automated content recommendation for publishers ultimately allows them to personalize that content experience for each and every consumer. CW: Let’s talk about the discovery engine. What data does it collect, and how is it used? SK: It is an automated way of engaging consumers and driving better user retention and overall better user consumption. What we are able to do is leverage all of the data our system collects, which is about 2 billion events on a daily basis and about 200 million unique users on a monthly basis. We collect all of this data from consumption patterns – everything from when the player was loaded up to how much of a video a user watched and we use that data to ultimately provide better recommendations for content that should be consumed or that the user would find interesting. CW: Are you able to fuse or match your data with, for example, Nielsen data to provide a more cross-platform view of media consumption SK:[Yes.]We are finding that this is becoming a more common approach, largely as online video grows. Three years ago when online video was 1% or 2% of all video consumption, most people really didn’t spend a lot of time looking at this 360-degree view. But based on more recent growth in the industry -- according to comScore, online video is nearly 10% of all video consumption in the United States -- this becomes a fairly significant piece of the overall viewing pie and it continues to grow quickly,. We are finding that many of Ooyala’s publishers are taking a more holistic approach in measurement in both ad sales and across their entire video strategy.
One size still doesn’t fit all in television. Here’s another opinion from our friends overseas. A U.K. study says so-called “over-the-top” TV services – Netflix, Hulu, Amazon, Google, XboxLive andApple, for example – are, for the moment, complementary to established TV/video services coming from cable, satellite or telcos. In this country, Netflix has 22-million plus monthly consumers, with Hulu and others reaching additional millions. More than 90% of the 115 million U TV households have access to cable, satellite or telco services. Complementary? Face it. Some people – even in this economy – have mighty fine disposable incomes. Based on the fact that TV and media usage is still growing, those consumers believe there isn’t enough entertainment. "While we expect OTT to become increasingly integral to the home video entertainment mix, there's little evidence yet of consumers dropping their pay-TV subscriptions in favor of purely operator-independent solutions," said a chief analyst of the report. Sure they are a few brave souls who try to go it alone by just having broadband access to access Netflix, Hulu Plus and others. Spending, say, $20 or so a month on Netflix and $50 for broadband access is less expensive than spending $100 or more on cable and $ on broadband. But if you are flush, what’s another $20 or even $30 a month for OTT services, anyway? No matter. Most of the country – even in the face of an iffy economy – would rather keep what they assume to still be “traditional” TV. Don’t worry about the cable companies. A growing piece of their business comes from broadband services –a hedge against mostly dwindling traditional video service revenues. If that isn’t enough, here’s another possible saving fact for those companies, according to the U.K. study: “Although OTT TV services now more closely resemble those of their network-based competitors, they have a long way to go before they can match the quality and breadth of content of traditional pay-TV offerings." So, it’s a complement, not a replacement. For now.