In an effort to accelerate his vision of a “reactive advertising” marketplace in which ads become a form of entertainment content that consumers proactively engage with, think about and then compete to win prizes based on how well they remember it, serial entrepreneur Frank Maggio is putting his patents for it on the block today. The portfolio, which includes one U.S. patent, two foreign patents, and various applications covering reactive advertising, will be sold in a “sealed bid” auction in San Francisco today by patent broker ICAP. As part of the offering, Maggio will retain a non-exclusive license on the portfolio, which covers reactive advertising applications across a dozen media, including TV, online, mobile, cinema and even print. He will also retain an exclusive license on one key application, the development of a national TV and online game show where commercials are the primary form of content, and viewers at home will compete to win millions of dollars in prizes based on how well they watch them. Maggio, who has gotten Madison Avenue’s attention several times -- first when as a former Procter & Gamble executive he figured out a way to game a sweepstakes by rival Beatrice that personally netted him millions of dollars in prize money that he parlayed to become a multimillionaire investor, and a second time when he invested in the development of now defunct Nielsen TV ratings rival erinMedia -- is hoping to do it again by enticing some big multimedia company to acquire and develop the reactive advertising marketplace. After years of development and testing that showed promising results, Maggio said he simply doesn’t have the resources and clout to develop a marketplace around the reactive advertising marketplace following his loss of millions of dollars in Florida’s Gold Coast real estate market crash, where he had much of his personal fortune tied up. Maggio did receive an undisclosed financial settlement from Nielsen as part of the resolution of a federal antitrust suit he filed against the TV ratings giant, and he sold off erinMedia’s technology patents in a similar sealed auction earlier this year for an undisclosed amount. He said the buyer of the erinMedia patents will remain undisclosed until the buyer makes it public, but he added that it would ultimately “raise eyebrows” in the industry when it does become known. Meanwhile, his focus is on accelerating the reactive advertising marketplace, and developing his advertising-based game show as part of what he hopes will be an industry shift around the concept. “When I left P&G 25 years ago, I knew the solution to the advertising problem was to find a way of getting people to pay attention to ads and then measuring how well they paid attention,” he told MediaDailyNews on the eve of the patent auction -- adding that to do that, you also had to educate consumers that the ads they were watching had a reactive component to them. He believes a nationally televised game show is just the way to do that, but it also requires incessant promotion and reinforcement of the concept, which he says he lacked the resources to do. In tests he conducted of his so-called ReacTV two-hour game show, he says the average view time was one hour and four minutes daily, and that 97% of ads were “watched to completion.” “Reactive ads work better and there is a stunning halo effect for the advertiser who uses it because it’s a rewarding technology,” Maggio asserts, adding that the key is “consumer education” -- and that a game show that effectively turns home viewers into “Who Wants To Be A Millionaire” contestants, competing for millions of dollars of prize money based on how well they recalled the ads, is just the way to do that. “My vision is that nobody is skipping the ads, because the ads are content,” he says.
Commercial retention of TV has changed little in 2012 versus 2011 -- although some cable networks have seen declines. The average commercial retention is around an 85 index for the four networks, according to the Discovery Communications Ad Sales unit. These numbers compare commercial ratings (C3) to program ratings (P3). CBS and Fox were at an 86 index -- CBS was up from 85 a year ago, Fox down from a 87. NBC was next at 85, down from 86 a year ago. ABC has been at an 83 number, down from a 84. The study concludes that this is remarkable "even as time-shifted viewing for these networks grew five points to an all-time high of 30% in 2012." Much of this good news comes from new video-on-demand metrics, which are now included by Nielsen in the C3 ratings -- commercial ratings plus three days of DVR playback -- for the first time this year. VOD programming by the broadcast networks is being made available immediately after airing and with full commercial loads. Since fast-forwarding is being disabled by the distributors, broadcast gains additional time-shifted viewing without losing commercial audience. Many of the cable networks are also in the mid-80s index when it comes to commercial retention -- although the report notes that some cable entertainment networks have slipped year-to-year. AMC has been at an 83 index in 2012 -- five points lower than the 88 number of a year ago. TNT is at an 89 index this year, down from its 93 level a year ago. CNN is at an 81 index, down from a 88 number in 2011. Looking at other cable networks: Discovery is at 82 (down from an 85); ABC Family, 86 (down from an 89); and Lifetime, 83 (down from an 86).
Sharpie knows it has a following of enthusiasts who think of it as more than a mere marker. In recent years, the brand has capitalized on its following to launch marketing programs that celebrate a creativity among its fans, such as last year’s takeover of YouTube’s home page with an ad full of user-generated art. And this year is no different. For 2012, the brand is encouraging followers to use their Sharpie markers to create artwork that will go into a music video featured as a commercial during the MTV Video Music Awards in September. For two weeks (until Aug. 6), fans will be encouraged to submit artwork designed with Sharpie markers via the brand’s Facebook page or Web site. That artwork will eventually be worked into a music video for California Wives, a Chicago-based indie-pop band that will be making its video debut with the ad. “What we’re really about is putting fans at the center of our story,” Ryan Rouse, global director of marketing for Sharpie, tells Marketing Daily. “It’s not about ambushing an audience with an ad; it’s about taking the passion within our community and amplifying that.” After the ad’s television debut, the brand is encouraging people to create their own cut of a music video featuring their own Sharpie artwork to share with friends and others. “We want to inspire self-expression.” Rouse says. “We’re viewing [the customizable video] as an opportunity for fans to express themselves with what they’ve started with Sharpie, and it will be shared with links back to Sharpie and Facebook, encouraging others to create their own.” In the run-up to the video’s debut, Sharpie will showcase the work of two fans -- Emmy Star Brown and Enrico Miguel Thomas -- in advertising, social media and public relations efforts. Television ads (and longer-form videos available online), from Draftfcb Chicago showcase the artists’ work using Sharpie products on salvaged glass (Brown) and maps (Thomas). “Our hope is that their stories of inspiration inspire all of us to create our own art,” Rouse says. “The thought process is to tell the story of members of our community that are starting something amazing and inspirational, and that will inspire people to use the product."
In a corporate-sibling partnership that could help FremantleMedia build a scripted programming business in the U.S., the production company has inked a first-look deal with Random House to co-develop shows based on book titles. Fremantle, which is behind “American Idol” and “The X Factor,” has done well with unscripted series stateside, but failed to make much headway in the drama and comedy arenas versus its overseas performance.The deal between two entities controlled by Bertelsmann will have Fremantle working with a new Random House Television division, along with editors, publishers and agents, to find potential scripted content opportunities for both domestic and global audiences. Peter Gethers, an accomplished author and former writer for “Kate & Allie,” heads the broader Random House Studio unit.Jeffrey Levine, formerly of Spring Creek Productions, has been tapped as the head of Random House Television, overseen by Gethers, and based at the Fremantle Los Angeles office. Levine helped work on the film “Blood Diamond” and was an executive producer on HBO’s “Too Big To Fail.”Continuing Fremantle’s unscripted success in the U.S., the Syfy network recently renewed its new “Total Blackout” series for a second season. The company also recently announced a new head of North American programming, with Trish Kinane moving over from a global role with the company.
Many people may use big-name video service Netflix, but one study says other streaming video companies are getting higher marks.ConsumerReports.org says 81% of its subscribers who used a streaming service in a recent month tapped Netflix, but more under-the-radar services, such as Vudu, Apple iTunes, and Amazon Instant Video, all scored higher for overall satisfaction in Consumer Reports' first comprehensive ratings of video services.Because of a better selection of titles available, pay-per-view streaming services, such as Amazon Instant Video, iTunes and Vudu received high marks from more than 60% of users.It wasn't just Netflix, ConsumerReports says this is a common problem with other all-you-can-watch streaming services, that includes Amazon Prime and Hulu Plus.Right now, ConsumerReports says 52% of its 15,277 subscribers used a streaming service compared with 47% who saw a movie at a theater. It says 43% rented a DVD or Blu-ray disc, and 32% used their cable provider's video-on-demand service.While its streaming video service isn't that well regarded, Netflix's disc-by-mail service and independent video stores were judged to have a more satisfying selection of titles, including current ones, than even the best streaming services."Our survey revealed that a healthy selection of titles is one of the biggest factors in overall satisfaction with video services, which is why disc rental services and pay-per-view streaming services scored the highest in our Ratings," stated Jim Willcox, senior electronics editor, Consumer Reports.
Both Staples, Office Depot and Best Buy are introducing new efforts aimed at back-to-school shoppers, hoping to spark a little high-tech product lust in the midst of the summer doldrums. Office Depot, tempting parents with $329 laptops and kids with Monster headphones, has just kicked off the latest in its “Depot Time” campaign. It back-to-school campaign stars comedian Nick (“America’s Got Talent”) Cannon, and urges kids to “Be Ncredible” this school year. (Parents, doubtless, are grateful for spellcheck.) The two TV spots, created by Zimmerman Advertising, show Cannon interacting with Rachel, a helpful Office Depot associate. Spots are running on “America’s Got Talent,” and also promote Cannon’s branded Monster headphones. The Boca Raton, Fla.-based retailer is also flexing its charitable muscle, as the official sponsor of the 5th Annual Take Action Leadership Campaign, an event to help students in the Los Angeles Unified School District, with efforts aimed at reducing violence, bolstering attendance, improving grades and better preparing kids for work and college. Staples, touting $100 off many printers, is also stepping up its cause-related game, working with singer/actress Bella Thorne and DoSomething.org. Now in its fifth year, Staples is again stuffing backpacks for needy California students with $125,000 worth of school supplies, enlisting the likes of Harry Shum, Jr., Kendall and Kylie Jenner, JoJo, and Kat Graham to help. Since 2008, the Framingham, Mass.-based company says it has raised $2 million for hundreds of thousands of students, with such past celebrity supporters as Jordin Sparks, Ciara, Nikki Reed and the cast of Pretty Little Liars. And Best Buy, also making noise about its $329 laptops, recently unveiled its own back-to-school feel-good effort, a College Innovator Fund, designed to “find, mentor and advance the next big ideas in the areas of technology, sustainability, education or a related field. Entrants can submit a video via Facebook for a chance to win $100,000 in startup money.
NBC4 Southern California is jumping on the two-screen viewing bandwagon, but with a twist. The West Coast flagship of NBC’s local TV stations is rolling out a mobile technology dubbed myCode that lets viewers get special offers and discounts via a smartphone app while watching. But unlike other second-screen apps like Yahoo’s IntoNow, Shazam or Viggle, that require users to point their phones at the screen or otherwise interact with programming, the myCode app is built for true couch potatoes. After downloading the app to their iPhone or Android device, all users have to do is sit back and let the offers come in as they watch TV. Said Steve Carlston, president and general manager of NBC4: “You just have to have myCode on and automatically throughout the day, if within 50 or 75 feet of your TV, you’re going to offers, couponing, sweepstakes opportunities.” The myCode technology, developed by startup WinMore Inc., utilizes an inaudible code embedded in an audio source to send promotional offers through the app, rather than via on-air digital wartermarks or pre-offer notification. The deals don't even have to be tied to TV commercials or network shows. “We’re actually going to have a lot of nontraditional TV advertises come on board,” said Carlston. The focus, though, is on advertising related to the greater Los Angeles area, with 5.7 million television homes and over 17 million people. For the myCode app, which NBC4 is soft-launching today, the station has lined up local advertisers including Powell Electric, the California Science Center, Legoland, Six Flags and SeaWorld. Carlston said the technology is also attracting interest from national brands, such as McDonald’s and Carl’s Jr., for locally targeted campaigns. NBC4 has an ad revenue-sharing agreement with WinMore, which is handling sales efforts for national advertisers, while the TV station focuses on local market ad sales. Advertising via myCode is being sold on a performance basis, but Calrston said things like ad rates haven’t been standardized yet because its second-screen project is just getting underway. The station is boosting awareness of the app through a station host who regularly does promotional spots on-air, its morning show and news staff, and through its Web site. Carlston pointed out that NBC4 plans to extend myCode beyond the TV to other platforms, including the Internet, social media platforms like Facebook and Twitter. Even outdoor locations. Users can redeem myCode offers in a variety of ways, depending on the type of campaign, including email-to-print, a one-time-use mobile barcode, sharing with a friend, or calling a designated number. Through its partnership with WinMore, NBC4 has exclusive rights to the myCode system as a broadcaster for three years in the L.A. area. But WinMore President Dan Morris, who also serves as president of ad testing firm PreTesting Group, of which myCode is an offshoot, said the company is already in talks with other distribution partners to bring myCode to other parts of the country. PreTesting CEO Lee Weinblatt is the nventor of the myCode technology, which is rolling out the service outside the U.S., starting in Israel. Given the privacy concerns raised around apps, Morris emphasized the myCode app requires an opt-in and is only collecting anonymous data via an identification code assigned to each user. Registering requires a user to enter Zip code, year of birth and gender. People can also provide additional demographic information for more targeted offers. As it is, the sign-up page isn’t very clear on what information is optional and what isn’t. For NBC4, what matters is how myCode can help expand its overall audience. “If you can get more people to watch for longer periods, that’s the formula to build ratings,” said Carlston.
Last Sunday night, at a time when the grim and devastating news of the Colorado shootings was still emerging, the final, two-hour episode of “The Bachelorette” aired, and won the night’s ratings for ABC. (Emily chose Jef, the semi-Mormon, as her future “husband”-- wonder what that means for Mitt?) Given all that, it occurred to me that though the formats of these shows are getting really old and tired, reality TV will never die. We desperately need it in order to get away from reality. And then there’s all the buzz that goes along with reality TV. Earlier this week, the news that Mariah Carey was hired to be the new judge on the steadily sinking “American Idol” was greeted with a royal-wedding level of attention. The diva of all divas (she wore stilettos to work out on her Stairmaster during a famous tour of her apartment on “Cribs”) will reportedly be earning in the neighborhood of $18 million to join her manager, Randy Jackson, at the table. That will make her the highest paid judge on any competition show. As such, Carey steps into the role of the flashy-but-kind, sometimes weepy, sometimes sedated, nurturing female judge, as played by Paula Abdul and this year by Jennifer Lopez. As a newly divorced mother of twins, Lopez used the position to shore up her own career -- a strategy that worked like a charm. She shot from number 50 last year on the Forbes Celebrity 100 list to the tippy top, number one, ahead of Gaga. Now she’s off on a musical tour. In taking the post, Carey -- a larger-than-life kind of latter-day Mae West, also the mother of baby twins who had a public breakdown after the making of “Glitter” and apparently named one kid after her living room (in the aforementioned “Cribs” tour, she showed off her “Moroccan” room) -- no doubt has something similar in mind for her own singing career. After saying how excited she was to be part of the show in her statement, she still managed to promote “Triumphant,” the (modestly titled) single off her upcoming album. Still, it’s not like it’s a crazy hire. She does bring her legendary pipes and the wisdom from all of her years in the recording industry to the contestants. That’s in obvious contrast to Ellen DeGeneres’ short stint as a judge, when she was bland, tentative and clearly out of her element. Nor is hiring Carey a cruel stunt, like contracting Paul McCartney’s ex, Heather Mills, to fill the freaky slot on “Dancing With the Stars.” That was obviously in the hope that her leg would pop off during a fast Paso Doble. Still, it’s the unintentional train wreck element of Carey’s personality that will get attention. And though it makes for great copy, it really is no solution for the show. If the vibe from last year’s Jenny Craig commercials is any indication, “AI” is a sinking ship. The weight loss company obviously paid a fortune to get Mimi as an endorser, in a sadly misguided effort to appeal to a younger crowd. (Although she’s now 42.) The opening announcement showed Mariah in a Gaga-like sack, breaking out of a chrysalis like a butterfly (one of her themes), one really skinny limb at a time. The camera also panned over her taut midriff, and what looked like a surgically repositioned belly button. Now if there is anything that will turn a struggling dieter off, it’s the prospect of looking at someone’s tight as a drum, surgically aided, stomach. The next set of spots show Mariah in a casual white outfit and harem pants, gettin’ down with her fellow ladies, trying to look concerned. In what has become an overused trope to try to make commercials and show biz interviews seems “authentic,” the camera pulls back to show the lights and trappings of the overall shoot: you are behind the scenes, too! It seems that they’ve recreated Mimi’s aforementioned living room, complete with low sofas and pillows and Moroccan furnishings. Mariah sits open-legged on the rug in the conversation pit. The other women tell stories about their weight loss “journeys” and she nods gravely. Except it seems like it was too painful to sustain more than three seconds of any one interaction between Mariah and a mere mortal; the spot keeps cutting to scenes of the star standing and whipping her hair around during a super-glam film shoot, wearing a glittery mini dress. The campaign failed to attract a younger demo, and just pissed off all the actual and potential members. Her own diet “journey” was never mentioned, although it’s obvious that she was helped by cooks, nutritionists, trainers, and/or plastic surgeons. The cheese curls hardly made a difference. It was the latter-day equivalent of “Let them eat cake.” And to people who have to do it the hard way, it was infuriating. When viewers tune in next season, will Mimi be drinking Coca-Cola out of a bejeweled Louboutin slipper? It really doesn’t matter. There’s an explosion of similar shows, and the whole process of star selection on “Idol” is tired. No single judge, even a train wreck, will help that. But she’ll get her own singing career back on track. And so it goes.
The battle for control of the next generation living room is shaping up to be one of the titanic, messy contests of the next decade. Yeah -- decade. I don’t see how this one shakes out, if it ever does, very soon. The number of players trying to get a toehold on the smarter TV is amazing. Just to name a few: all the major TV manufacturers and their smart TV interfaces and apps, cable and satellite providers and their digital set-top boxes, Google TV, Apple TV, Roku, Boxee, Xbox, PS3, every connected Blu-ray player, and so many more. All of these devices are trying to merge the interactivity of Web and apps with traditional TV. And no one is even close to being there yet. I know whereof I speak, because my own years of coverage of this space have left my living room a clogged mess of connected devices. Let’s just review how I already depend on different ones for different things. I use Roku for the offbeat video suppliers like dedicated classic movie and old TV providers, because its selection is notably quirky and more open than most. My daughter uses the Xbox for collaborative Netflix movie viewing with friends, where they each watch the same movie in different locations and squeal and snork over headsets. I use the Google TV for the best Web browser of the bunch as well as for access to some of the YouTube channel partners that have crafted cross-platform video apps. I use the Comcast box for TV catch-ups, since my triple-play service gives me access to a wider range of HD films and TV series for free. The PlayStation 3 now has a pretty good iteration of the Amazon Instant Video interface, so I can access my free streaming media off of my Prime account there. But most of all, we still rely in my house on the Apple TV attachment, which is still the best interface for digital movie rentals and Netflix access as well as tapping into the photo streams my three-iPhone house can render. Yeah -- it gets complicated. But beyond content, one of the key determinants of which input to use is its interface and mobile extension. However kludgy Comcast may be on just about every level imaginable, its iPhone and iPad apps are very handy for TV navigation and locating on-demand materials. Xbox now has issued mobile apps that give us increasingly deep control of the interface, because using a game controller to manage video playback is a new definition of living-room hell. All of this is to say that I get behind a sentiment recently voiced by ABI Research Senior Analyst Michael Inouye in his analysis of the set-top battlefield. “The future of connected CE will ultimately work together with mobile devices and not against them,” he says in a new report. “Other connected devices like connected TVs and game consoles are already integrating mobile devices into the user experience, the same will likely prove true for smart set-top boxes as well.” For the mobile-to-TV wars that are looming, this means that Google could have a good position, especially outside of the U.S. where a number of markets are thick with Android phones and tend to prefer connected TV add-on devices through things like USB dongles and the like. The next generations of Android-based TV boxes could and should work even more tightly with mobile devices to create some interesting synergies. No doubt that including the social layer in mobile connections to the TV will be a critical component. Xbox’s Live app is doing some of this, but don’t take your eye off of Comcast in this regard. Their latest version of the Xfinity iPhone app integrates social messaging in ways that make the living room experience feel connected to other living rooms. All of the stuff going on in “second screening” and “social TV” applications ultimately will have to play a role here. We are already seeing how the mobile device will get beyond serving just as a cool remote control. It will be the piece of the TV experience that ties it to content discovery, remote viewing, interactions with the screen, and content discovery. And by the way, do not overlook Samsung in all of this. With one of the largest installed bases of both smartphones and smart TVs on the planet, the company is now developing both a cross-platform ad network and content creation. Months back they hired AOL content chief David Eun to lead media development. On paper at least, this is a company that has at least as many pieces of the mobile-to-TV ecosystem in place as Apple. Apple and Microsoft will not stand still for this, of course. The next iterations of Windows devices and Apple TV surely will expand the selection of on-screen TV apps and make the mobile devices richer second screens. The smartest TV in the room of the future may be the one ion your hand -- not on the wall.
"Television will get swallowed up by this space," according to Bob Arnold, an associate director, global digital strategy, Kellogg Company, referring to programmatic buying. He spectualed this could be the logical outcome of the convergence of TV and online video.
Iteration means tolerating testing and failure before reaching success, said Tyrone Anderson, Senior Director, Strategic Services, BlueKai. Partners have begun to take digital analyses and use it for TV advertising.
Third party data for TV direct marketer and infomercial proponent Guthy-Renker isn't all that good -- some times 50% wrong. "Third party data is an interesting challenge," says Colette Dill-Lerner, vp of internet marketing of Guthy-Renker, speaking at the OMMA Data & Targeting event. "Discrepancy can beipretty dramatic... We look at data files where 50% of the gender is wrong. We used we use third party data to augment our buys." But Dill-Lerner is not all that convinced. "We are not 100% sure where we are going to use it." She adds:"Big data is not really big to us. It's how we move our company forward."
The recent release by Nielsen and Sony of the 20 most memorable TV moments generated an enormous amount of news coverage, and why not? If there are two things that people love, it would be: 1) television, and 2) lists. I don’t think the news media drew exactly the right conclusion from the study, though. According to Reuter, for example, the survey revealed “the most impactful TV moments of the past 50 years.” This is almost certainly not the case. It would be a very strange world where news reports on the death of Whitney Houston (#11) are more “impactful” than the coverage of JFK’s funeral (#20). What the survey actually highlights is the unreliability of memory, and why metrics based on recall are less trustworthy than ones based on observed behavior. Of course, you could argue that since a memory that remains with you is by definition impactful, surveying for the most “memorable” events is one case where you can actually rely on a respondent’s memory. But I can’t help wonder if people are dredging up memories they don’t really have. Consider the aforementioned death of Whitney Houston, which is probably on the list because it happened less than six months ago and is still fresh in everyone’s mind. If we wanted to measure the basic component of impact, we could check the ratings for that night and see how many people actually watched the coverage. My guess is that in terms of total audience, the number of TV viewers (mostly on cable on a Saturday night) was significantly lower than that of comparable events, such as Princess Diana’s funeral (#10). It’s entirely likely that many people who listed this as an impactful TV event actually learned about and followed the news via social media and saw only a limited amount of TV coverage. Or consider The Challenger space shuttle disaster (#4). I vividly remember where I was when I heard the shocking news: in the office. Like most people in 1986, I lacked access to a TV at work so I immediately turned on a radio and didn’t see any TV coverage until I got home and watched the evening news. Since then, however, I‘ve seen the launch and President Reagan’s subsequent address replayed dozens of time, so to the extent I do have a TV memory, it’s been retroactively implanted in my brain. The survey, fascinating as it is, also highlights that respondents frequently provide answers they THINK they should give rather than the ones they’d actually provide if they were being completely honest. All 20 of the most memorable TV moments were news-related, with nothing from sports or entertainment. Wanting to be a good citizen, the average American is more likely to say he remembers the death of Osama bin Laden (#5) than the Giants beating the Patriots in the most recent Super Bowl (which was, after all, the most watched television program in history). But saying so doesn’t make it true. After all, what is a memorable TV moment? It’s a viewing experience of such intensity that you not only remember where you were when it aired, but what the room looked like. These experiences are not always related to news. If I had been surveyed, I would have included at least five entertainment broadcasts (listed here in chronological order) that have stayed with me: 1. First viewing of “The Wizard of Oz.” I was six years old, watching in my grandparents’ living room. The witch and Flying Moneys scared me witless -- an experience from which I have never quite recovered. 2. Chuckles the Clown’s death on “The Mary Tyler Moore Show.” I was watching in my senior year college dorm, and I laughed so hard I literally fell to the floor. 3. Bobby Ewing’s shower scene in “Dallas.” Watching in my apartment in Washington, D.C., sitting in the same chair where I’d watched Bobby die exactly one year earlier. Never been so surprised by a soap opera before or since. 4. The Jacket episode of “Seinfeld.” Not the funniest episode, but it was the first time my wife and I watched the show, and I vividly recall where we were sitting in our Manhattan apartment, and how delighted we were that we’d discovered this original new show. 5. Episode 2 of “Breaking Bad.” My son convinced me that this was a great series, so I got the disc from NetFlix. Two episodes in, Jesse buys the wrong bathtub, and when he uses it to dissolve a dead body, the acid burns through the tub and everything crashes through the ceiling. I was watching by myself in our living room and almost had a heart attack. That was the last episode I’ve ever seen. [Pause] OK, here’s me eating a little crow myself. After writing my top five list, I checked with my wife, and she has an equally vivid and probably more accurate memory of watching “Seinfeld” before we moved into the apartment mentioned above. This is backed up by my diary, which is very clear we didn’t watch “The Jacket” episode when it originally aired. So now I’m not sure where or when we watched the episode or if it was even the first time we watched “Seinfeld.” Turns out I’m no more reliable than anyone else. So I guess the bottom line is that it’s fun to make lists from memory when nothing is at stake, but if you need a more concrete truth – one that you can do business on – stick to a metric you can double-check for accuracy. As President Reagan used to say, “trust but verify.”
Have TV viewers now become so used to blackouts that they'll just shrug their shoulders? In the 1950s, if antenna problems caused "snow" on your black-and-white screen, you probably got frustrated. But you likely got somewhat used to it -- in an apathetic way. Nine days of a blackout of Viacom channels on DirecTV didn't harm the two companies as much as one might think. One survey pointed out that during those nine days, only 4% of DirecTV subscribers canceled their subscriptions. But where did they really go? To Dish, Comcast, Time Warner, or perhaps over-the-top services like Aereo? Forward-thinking consumers might ask, "Well, what do I do now? What if these other TV distributors wind up in the same boat as DirecTV? Do I want to hitch a ride elsewhere -- for the long term?" Some experts believe these type of blackouts, which are well-publicized by both TV programmers and TV distributors, actually train consumers to expect future TV disruptions. Kind of like the snow on your screen. SNL Kagan believes more blackouts are coming. The DirecTV-Viacom standoff was comparably long by some standards. Other blackouts are typically only a day or two in length, and might occur -- planned or by accident -- around big events like the Super Bowl, Academy Awards and college football bowl games. So what can consumers do? Go online? They may not have a smart TV; they may not have a tablet and an easy way to transfer video to a big-screen TV. Do they watch on their laptops or desktops? Consumers have hundreds of networks and thousands of programs to choose from. So their favorite show isn't on right now? Maybe it will be tomorrow. For now, there's another cooking competition show to watch -- or perhaps a drama. A plethora of program options can make entertainment consumers lazy when it comes to angry interaction with their media providers. Perhaps they don't need to see the next episode of "Teen Mom" on MTV. This is not good for networks. It could go a long way to discounting the value of important key network shows -- especially on cable, where one big franchise can drive an entire network's brand value. For TV distributors? Maybe consumers will buy more barebones monthly TV services. In any event, consumers will be trained to evolve -- whether distributors like it or not.
Is the CW darker, more seductive, and perhaps more adult? That's what a new brand campaign and image for the young-skewing broadcast network seems to be about. The campaign, called "TV Now," aims to bring more young people to the CW airwaves and other media destinations. Begining next month, the campaign offers a set of new TV-wise adjectives -- "seducTV," "suggesTV," "prescripTV" and "provocaTV." A one-minute, 20-second network brand trailer with some bopping music shows off a number of CW series characters in different states of action. "Vampire Diaries" is featured by showing different ways to screen episodes -- on a tablet, phone and computer. At the end of the spot, the words "CW" and "TV Now" are joined by the words "Facebook," "Twitter" and "iTunes." As the seemingly most digital-savvy broadcast network -- 7% of its TV viewers also watch its shows online -- CW's "TV Now" replaces its more cumbersome "TV To Talk/Text/Tweet About." The focus on TV is good. The campaign doesn't pretend to avoid the “other screen” issue -- it's assumed, since CW's viewers are already heavy multitaskers. The road for the CW hasn't been easy. It has not been profitable for its entire existence. But now, with a big programming deal in which its shows will be seen on Netflix after their initial airings, executives from co-owners CBS and Warner Bros say CW will be a profitable venture. The CW continues to seek the right programming levels and attention. Under traditional TV measurement, the network was down more than 20% in its key 18-34 viewing demographics during the past season. All of which leads to a big question: Should we care anymore about this metric when it comes to the CW? There is a sense that what has happened to the CW will happen to more general interest broadcast networks. Will they be loss leaders -- marketing vehicles for other ancillary parts of a more profitable television business?