Monthly Archives: October 2013

This Week in #SocialTV: Google’s Trojan Horse and the Battle for Second Screen


While Twitter and Facebook argue over who has more Klout, Google sends in a Trojan horse packed with YouTube’s Music Awards to ambush the kingdom of Social TV.

“Twitter and Facebook raced to tell the news media about the throngs who shared their instant reactions to the show [Breaking Bad’s finale] on the social networks.”  “Neither Facebook nor Twitter has disclosed how much revenue it makes from advertising related to TV, and some industry experts doubt they are earning much.”  “There’s definitely a lot of hype, and maybe one day they’ll live up to it all,” he [Jason Kint, senior vice president for the CBS Corporation’s interactive division] said. “But I certainly don’t see it taking away ad share from television.”

“Facebook this week will begin sending weekly reports to primetime TV networks, sharing data about how many “actions” — likes, comments, shares — each of their TV shows receive.”  “Twitter, though smaller and less diverse (the site sees a disproportionate number of young female users CBS’s chief researcher officer told The WSJ), is for now ahead of Facebook in terms of making a business out of the social TV data it has on hand.”,2817,2425030,00.asp

Three reasons why Facebook can’t beat Twitter for Social TV

“Forget Facebook and Twitter for a minute, if you will. With the YouTube Music Awards, Google’s big social TV move could have some symbolic collateral damage, namely to the stalwarts of the entertainment industry.”  “If you’re Google, you’re sitting on a three ingredient formula for success: resources sufficient to craft your very own hyped-up award show, the online network to broadcast it over and, bettered by its recent splicing of Google+ DNA into YouTube comments, the social network to control the conversation.

That’s not just major brand buzz and a ton of traffic—it’s a data goldmine.”

“Twitter’s CEO Dick Costolo stated publicly that Twitter has the ability to extend the reach of television, with the number of tweets about specific shows multiplying as much as 100 times during first-run broadcasts.”  “Nielsen found that in 29% of episode instances, more tweets actually resulted in higher viewership, showing an actual causal relationship between social media usage and viewership. The findings are interesting because they push the notion that Twitter, Facebook and other social media sites can sell more advertising to major broadcast entities to push fan engagement.”  “In the end, a marketer’s ability to connect to consumers at the right time, on any device, across all channels will be the support that drives their business to either survive or die.”

“If you’ve never seen Modern Family, or heard of the hit show you might not even know it’s only a syndication launch with the network’s smart, social-TV savvy launch strategy.  Here are the details from [USA Network]:

  • An entire social community” for their newest fans called Mofy Nation
  • Modern Family Sync – every episode has a sync for fans to access as they watch.
  • Sunday night is the pièce de résistance for fans. From 9pm to 11pm, viewers can play Modern Family Live”

“Cinnabon heard it was part of the episode and joined the social TV conversation.”  “Within minutes, our team had found the twitter account to actor Mr. Bob Odenkirk who plays Saul, and proposed a tweet to the team: let us know when you’re ready to talk frosting #breakingbad”  “We want to be a part of a relevant relationship with the fans that make up our brand communities. It’s important that we’re relevant to them in other parts of their lives that aren’t directly brand focused.”  “Twitter doesn’t wait for tomorrow.”


This Week in #Journalism: Kick-Ass Journalism à la Carte


Hersh says be Breitbartier, Bezos says be Amazonian, Best says be Kick-Ass and Democrats and Republican finally agree on something.

“When a journalist as well known as Seymour Hersh blasts his colleagues and recommends, in essence, that journalism must become what Andrew Breitbart fought for in the field, the mainstream media have no choice but to at least hear him.”  As Hersh says in his interview, “…just do something different, do something that gets people mad at you, that’s what we’re supposed to be doing.”

Jeff Bezos’ customer-focused vision: “Does this mean give the customer what they want to read? Should editors choose stories that will be popular? It would mean giving up editorial control to the fickle themes of popular culture, and the loss of an editorial voice — the single most important feature that distinguishes and defines any newspaper.”  “Focusing on the customer is wonderful if you are a retailer because it’s easy to know what they want: low prices, speedy delivery, quick resolution of problems. The newspaper business is different.”

Filmmaker Charles Ferguson–director nonfiction film for CNN about Hillary Clinton: “After painful reflection, I decided that I couldn’t make a film of which I would be proud,” he wrote in the Huffington Post. “And so I’m canceling.”  “Neither political party wanted the film made,”  “the objection seems to be to journalism itself–and a sign that politicians believe that from here on out they will be able to run campaigns without bothering to deal at all with media that haven’t been paid for.”

Kathy Best, the new editor of The Seattle Times, “all of us in this room need to stay laser-focused on our mission: producing useful, meaningful, kick-ass journalism that readers can’t get anywhere else,” Jack Broom reports. Among her goals:  “Sunday newspapers that showcase elegant storytelling, along with watchdog and investigative stories” and “content that creates a strong sense of place, and connection to the community.”

“The conundrum in journalism today is that most people are not willing to pay anything for content. At the same time, there is a small pool of consumers that is willing to pay a large amount of money to see a story covered or content produced on a specific topic.”  “With crowdfunding, these same journalists can sell their journalism directly to readers without news organizations as mediators. Perhaps more importantly, it could be a model for true a la carte journalism consumption. Which is going to become more and more important as consumership gets atomized.” “That iTunes model of news all over again. It worked for music. We’re very close to finding out if it will work for journalism.”