Manchester City digital companion: Live video channels, stats, second scree, vine and more

On en a maintenant l’habitude, Manchester City est un des clubs les plus actifs en terme de dispositifs digitaux. Et leur nouvelle application en témoigne encore une fois.

Le club Mancunien est le premier à lancer une application second screen pour suivre les matchs en direct. L’application propose des stats en temps réel, des vidéos ainsi que du contenu sur les coulisses des matches.

Comme l’indique le club, l’application Match day commence des le réveil, le match dure 90 minutes mais un jour de match, c’est bien plus que ces 90 minutes.

Ainsi avec cette appli, le club propose a ses fans de passer la journée entière à préparer le match du soir. Les spectateurs qui utiliseront l’app dans l’enceinte du stade se verront également privilégiés car ils pourront accéder a du contenu vidéo additionnel non accessible de chez soi.

Enfin, l’appli permettra de favoriser les échanges entre fans puisqu’elle donnera la possibilité à tous de partager photos, tweets ou autres vines…

Japanese is the second most tweeted language (30% of the internet users): Discover local social TV strategies !

Japanese TV Execs Share Social Media Strategies at Tokyo Content Market.

Japan has long been called one of the world’s most Twitter-savvy nations. After all, Japanese is the second most tweeted language behind English, and some 30 percent of the country’s Internet users are said to be on Twitter.

On day two of the Tokyo International Film Festival’s content market, TIFFCOM, TV executives gathered for a panel discussion to share strategies and case studies on how local networks are leveraging the platform to reach, engage and retain audiences.

Kicking off the presentation, entitled “The Audience Strikes Back: How to Engage Television Audiences Through Mobile and Social Media,” Masaki Hamura, managing director of digital creative agency AKQA, made the basic case for why TV producers need to be more aggressive about integrating social media into their content.

Read more Tokyo Content Market Opens With Record Attendance

“Social interaction always affects one’s primary experience,” he said. “For example, if you see a beautiful sunset, that’s probably pretty memorable. But if you see the same sunset with your daughter, it’s going to be more significant because you’ve shared it.”

Hamura, who recently served as head of brand strategy for Twitter in Japan, said that TV viewing has always been a social activity best enjoyed with family or friends, but social media has made this possible across distances and with larger groups. “I often turn on my TV because I see all my friends talking about some show on Twitter,” he added.

Mikiko Nishiyama, a senior director at Nippon TV, Japan’s oldest and highest-rated commercial broadcaster, then took the podium to share some of the innovative ways in which Japanese networks are utilizing Twitter and mobile apps.

The broadcaster’s drama Piece Vote, which launched in 2011 and airs at midnight, has begun featuring an on-screen overlay of live tweets from viewers. “While watching the program, you can also watch the response from other viewers,” Nishiyama said. “Often the response is as entertaining as the action. Our producers choose the tweets. It’s a highly interactive way of watching TV.”

The network’s recent dating show Tweet Love – with the tagline “her love life is in your hands” – goes a step further. Co-developed by Sony Pictures U.K., the format features a young single woman and three male suitors. Much like conventional dating shows, the bachelors are profiled in their daily lives and each gives performances and engages in various competitions in an effort to impress and win the interest of the woman. The key difference: she is unable to see the bachelors themselves. Instead, viewers tweet their reactions and impressions and select tweets are presented to her on three floating screens. It’s not until she makes a choice that she sees the various contestants and interacts with them directly – with still more action later determined by viewer tweets. Rather than merely supplementing the viewing experience, viewers’ tweets dictate every aspect of the action.

Read more International Business Themes Dominate Tokyo Market Seminars

Nippon has also developed an app to interact with its various programming. Named “Furi Furi TV,” which translates to “shake shake TV,” the app makes shows into interactive games that viewers play by shaking their smart phones at key moments during broadcast.

For example, during Nippon TV’s recent airing of The Amazing Spider-Man, if viewers shook their phone anytime Spider-Man shot a spider web, they could win points and prizes provided by advertisers. The app also has social network integration so viewers can compete against their friends while watching. During music programming, audiences can win points by shaking and dancing with their phones in synch with the music.

“The idea is to create engagement and viewer participation, while also creating a new channel for advertisers and sponsors, said Nishiyama. “The response was greater than we expected.”

Twitter users in Japan set a world record of 143,199 tweets per second in Aug. 2013 by tweeting “balus” during a television broadcast of Hayao Miyazaki‘s anime classic Castle in the Sky (Tenku no Shiro Rapyuta). A magic word in the Miyazaki universe, “balus” triggers a spell of destruction when said by characters at the beloved film’s climax. Germany’s soccer World Cup blowout of Brazil during the summer set a record of 580,000 tweets per minute, but Japan still owns the per-second title.

Le mobile, en progression de 76%, dépasse le display classique aux USA selon le rapport Iab PwC – Offremedia

Le mobile, en progression de 76%, dépasse le display classique aux USA selon le rapport Iab PwC – Offremedia.

Le 22/10/2014


Le marché publicitaire digital atteint un sommet historique aux USA pour le 1er semestre 2014 avec 23,1 milliards de dollars de recettes selon le rapport IAB élaboré avec PwC. Cela représente une hausse de +15% par rapport au premier semestre 2013. Le mobile progresse de +76%, pour atteindre 5,3 milliards de dollars. Il représente désormais 23% du total digital. La vidéo progresse de 13%.

Le social est estimé à 2,9Md$ avec une croissance moyenne de +54% depuis 2012.


58% of respondents reported that they use another device almost every or every time they watch TV (Tivo)

TiVo reports dramatic rise in multitasking when watching TV.

New research from Tivo indicates a dramatic increase in multitasking during TV viewing: over half of the 856 survey respondents reported multitasking every time or almost every time they watch TV (51%); compared to just over one third (36%) in last year’s survey.

The company just released its its Second Annual TiVo Multitasking and Social TV Survey. Though TV multitasking may be on the increase, viewers also report an increase in TV viewing as the primary focus: 47% of respondents’ total TV time is spent with their primary attention on the TV show while multitasking, versus last year’s 39%. 26% of their TV time is spent multitasking with their main focus on another task, similar to the 2013 study, and 27% of their TV time is spent only watching TV (not multitasking), down from 35% in 2013.

Despite the pronounced increase in TV multitasking, viewers continue to report that their alternate activities are only rarely related to the program being watched. Only 5% of respondents report TV-related multitasking every time or almost every time they watch TV, while 50% report never or almost never engaging in TV-related multitasking. Top TV-time activities include browsing the Internet (74%), reading or sending email (73%) and text messaging (71%).

“Even given the proliferation of multitasking, viewers remain primarily focused on the television shows they are watching,” said TiVo Chief Research Officer Jonathan Steuer. “To paraphrase the Bard, the program’s the thing!”

Online engagement with favorite programs has indeed become commonplace: 61 percent of respondents report searching the Internet for information about the programs they watch and 47 percent have “liked” a show’s official Facebook page. However, these activities do not usually occur while watching the program.

In the early 1950s there were reports of significant drops in water pressure during The Milton Berle Show’s commercial breaks. Apparently, even with the preponderance of PVRs, times have not changed that much, as 85% of respondents reported going to the bathroom during commercial breaks. Even 81% of those with a PVR reported trips to the loo during commercial breaks. Other popular activities include getting a drink or snack (78%), talking to people in the house (50%) and surfing the internet (44%).

63% have noticed Twitter hashtags displayed during television shows, but of this group, only 12% liked seeing hashtags while 53% disliked them. A similar trend occurs with onscreen polls; 37% have noticed them, and within this group, 20% liked and 45%disliked the polls.

Additional Key Findings: 94% of respondents reported that they have multitasked while watching TV. The smartphone (78%) and the laptop (72%) are the two most popular devices used while watching TV.

58%t of respondents reported that they use another device almost every or every time they watch TV. During commercial breaks, 56% of respondents report multitasking every time or almost every time.

25% of those surveyed said searching the Internet for information about a program is the top activity that increases their enjoyment of TV; reading episode recaps and reviews comes in second at 10%.

Only 22% reported ever posting on social media sites about shows they watch; 5% of all respondents do this a few times a week or more. Of those who do post to social media about their TV faves, the majority (71%) selected Facebook as the site they most commonly post about TV; Twitter came in a distant second with 24%

Consommation vidéo multi-écrans et achat programmatique (Servicesmobile / Forrester)


Forrester_videoSelon une étude Forrester, 70% des annonceurs en Europe pensent que la publicité vidéo digitale va augmenter en efficacité et permettra aux régies médias d’augmenter leurs revenus au cours des trois prochaines années. C’est une étude réalisé pour le compte de Videology « Les plateformes publicitaires multi-écrans accélèrent la convergence TV-Digital », l’étude montre que la transformation de la consommation vidéo digitale sur PC et Mobile est perçue comme une opportunité par l’ensemble des responsables publicitaires en Europe.

Les 5 points à retenir de l’étude :

1. Atout n°1 de la publicité vidéo digitale pour les annonceurs : le ciblage
La capacité à cibler des intentionnistes précis est le bénéfice n°1 apporté par la vidéo (devant les audiences et contenus médias). Cependant, l’étude pointe quelques différences par pays en Europe.
– La France a classé les « vidéos interactives » à égalité avec le ciblage,
– L’Espagne voit dans la vidéo en-ligne sa capacité à toucher des consommateurs peu exposés à la télévision, à diffuser des messages adaptés à différents moments de la journée, et le contrôle de la couverture comme ses principaux avantages,
– Pour le Royaume-Uni, le bénéfice majeur est la possibilité de mieux mesurer et optimiser le ROI. C’est une particularité qui souligne la maturité du marché de la publicité vidéo dans ce pays.

2. Les agences comptent fusionner l’achat d’espace et le média planning
63% des agences ont prévu de fusionner l’achat d’espace TV et digital à l’avenir, mais 51% ont déclaré qu’elles continueraient d’opérer chaque plate-forme média séparément. On reste donc assez éloigné d’une adoption forte.

3. Les grands médias misent sur le streaming dans leurs stratégies de deuxième écran
72% des responsables médias qui ont répondu à Forrester pensent que l’engagement des consommateurs avec le contenu sur un deuxième écran va augmenter significativement au cours des trois prochaines années.

4. Le GRP restera le standard de mesure des campagnes publicitaires mais doit évoluer
Bien que la mesure reste un défi, Annonceurs et agences s’accordent sur le fait que le GRP (Gross Rating Point) est et restera le standard de la mesure de la publicité vidéo multi-écrans. 75% d’entre eux estiment que l’industrie devrait standardiser une norme GRP Vidéo pour en augmenter l’efficacité.

5. La technologie doit s’adapter au ciblage multi-écrans.
Plus d’un tiers (42%) des répondants ont exprimé leur besoin de disposer d’une plate-forme technologique unifiée qui leur permette de cibler les consommateurs de plusieurs façons. Les trois principales caractéristiques qu’ils recherchent dans cette plate-forme sont : cibler l’audience de plusieurs façons, de suivre les consommateurs à travers plusieurs écrans, et enfin diffuser des publicités sur mobiles.

L’analyste de Forrester Consulting souligne : «Les habitudes de consommation TV et vidéo sont en pleine mutation. Il est temps pour les médias, annonceurs et les agences d’adopter de nouvelles approches envers la vidéo. Comme il est admis que ces changement profiteront à la fois aux médias et aux annonceurs, tous les acteurs de cet écosystème devraient se concentrer sur leurs points d’accord et travailler ensemble pour résoudre les questions encore en suspens.»

L’essor de la consommation vidéo multi-écrans en parallèle à celui de l’achat programmatique va nécessairement entraîner un changement de leadership dans le secteur de la publicité et nul ne sait encore quels seront les leaders qui vont émerger de cette rupture.

Face à cet essor du streaming, les analystes de Forrester recommandent aux annonceurs de commencer à tester dès aujourd’hui de nouvelles stratégies, notamment essayer les nouvelles possibilités de ciblage socio-démographiques possibles. De leur côté, les agences, situées entre les médias et les annonceurs doivent jouer un rôle de facilitateur dans cette transition vers le multi-écrans. Les médias doivent pour leur part aider les annonceurs à mettre en place des opérations multi-écrans, notamment en leur fournissant des données sur le comportement de leurs audiences, en imaginant de nouveaux modèles publicitaires. Enfin, les sociétés technologiques vont jouer un rôle bien plus important que par le passé dans cet écosystème publicitaire. Ces derniers devront développer des plateformes agnostiques pour cibler et diffuser la publicité quel que soit l’écran. Ils vont aussi devoir monter en compétence sur la collecte et gestion des données et algorithmes d’analyse comportementale.

Un accroissement du rôle de la technologie qu’Anne de Kerckhove, Directrice Générale Europe de Videology, souligne : « On observe aujourd’hui une forte demande pour une normalisation de la mesure et du ciblage d’audiences sur tous les écrans. Spécialiste de la vidéo programmatique et de la convergence TV-web, nous sommes dans une position unique pour atténuer les défis auxquels le marché fait face et être un accélérateur pour une adoption généralisée. Si les développeurs de technologies participent activement, nous pouvons fournir des solutions qui propulseront les revenus médias online et augmenteront l’efficacité dans la façon dont la publicité est achetée, vendue et diffusée. »

72% des responsables médias pensent que l’engagement des consommateurs avec le contenu sur un deuxième écran va augmenter au cours des trois prochaines années.

La pub et la convergence TV-Digital selon Videology.

La plateforme de ciblage d’audience publicitaire vidéo Videology vient de publier l’étude « Les plateformes publicitaires multi-écrans accélèrent la convergence TV-Digital» réalisée par Forrester auprès de 500 annonceurs, agences et groupes médias en Europe (France, Royaume-Uni, Allemagne, Espagne, Italie). En 5 points, on y apprend notamment que l’atout n°1 de la pub vidéo digitale pour les annonceurs européens est le ciblage. La France mettant pour sa part ex-aequo les vidéos interactives et le ciblage.

Par ailleurs, 63% des agences interrogées indiquent avoir prévu de fusionner l’achat d’espace TV et digital alors que 51% déclarent qu’elles continueraient d’opérer chaque plate-forme média séparément.

De même, 72% des responsables médias pensent que l’engagement des consommateurs avec le contenu sur un deuxième écran va augmenter « significativement » au cours des trois prochaines années.

Et pas d’inquiétude pour le GRP, selon l’étude. Il restera le standard de la mesure de la publicité vidéo multi-écrans. Et même 75% des annonceurs et agences estiment que l’industrie devrait standardiser une norme GRP Vidéo pour en augmenter l’efficacité.

Enfin, 42% des personnes interrogées expriment le besoin « de disposer d’une plate-forme technologique unifiée qui leur permette de cibler les consommateurs de plusieurs façons », souligne l’étude. Les trois principales caractéristiques qu’ils recherchent dans cette plate-forme sont : cibler l’audience de plusieurs façons, suivre les consommateurs à travers plusieurs écrans, et diffuser des publicités sur mobiles. 70% des professionnels interrogés déclarent qu’il sera «important» voire «très important» d’être en mesure d’acheter de l’audience de manière globale, sur tous les écrans, y compris TV et en ligne au cours des trois prochaines années. L’étude complète est téléchargeable ici.

Real-time eCommerce: 91 percent of consumers feel an “in the moment” offer might influence their purchase… only 32 percent of marketers have the tools to deliver upon this “real-time” (Kitewheel)

New Independent Study Reveals Major Disconnect Between Brands and Today’s Connected Consumers – Kitewheel.

Kitewheel-Sponsored Primary Research Shows Brands are Failing to Meet Customers’ Mounting Expectations around Experience

BOSTON, MA – October 8, 2014 – Kitewheel, the provider of the No. 1 real-time customer engagement hub for marketing agencies, today revealed findings of an independently commissioned study, “The State of the Customer Journey 2014,” that examines the current breakthroughs and breakdowns in engagement with today’s connected consumer. As new technologies and digital channels reshape the landscape of human interaction, the study reveals a significant disconnect between consumer expectation around experience and brand execution.

Nearly 600 connected consumers and marketing decision makers were surveyed in Kitewheel’s “The State of the Customer Journey 2014 Report.” Five areas of disconnect were discovered including: mobile, social media, real-time e-commerce, omni-channel capability and brand loyalty. Some of the key findings include:

  • Real-time eCommerce presents a huge opportunity for brands, as 91 percent of consumers feel an “in the moment” offer might influence their purchase. Yet only 32 percent of marketers have the tools in place to deliver upon this “real-time” promise in practice, with most offers arriving too late to make an impact.
  • Three-quarters (76 percent) of consumers use mobile devices to compare prices and read reviews while shopping, yet 51 percent of marketers are not currently managing mobile apps as a consumer touch point. Additionally, 55 percent of consumers state frustrations in downloading an app that offers no functional difference from a business’ website.
  • Sixty-eight percent of consumer respondents expect a response to tweets directed at a brand, and one in three expect a response within 24 hours. Yet 45 percent of marketers state it is unlikely that their company can respond to every one of these social media opportunities.
  • Nearly three-quarters of consumers (73 percent) believe that loyalty programs should be a way for brands to show consumers how loyal they are to them as a customer; but two-thirds (66 percent) of marketers still see it the other way around.
  • New Independent Study Reveals Major Disconnect Between Brands and Today’s Connected Consumers - Kitewheel

“Brands face tremendous challenges – and opportunities – to adapt their strategies to better meet the demands of today’s connected consumer, while truly differentiating themselves,” said Mark Smith, President, Kitewheel. “Yet transformation across one category or touch point will not suffice in the long run – individual customer journeys that span all touch points, channels and strategies must lie at the heart of this evolution.”

To download the entire report and corresponding infographic, please visit

66% des consommateurs américains ont plus de probabilité d’acheter dans un magasin avec une App mobile utile et 81% des utilisateurs constatent que leur comportement d’achat en magasin a changé depuis qu’ils possèdent un smart phone. ( | Viuz

Les 5 tendances du marketing mobile par Andrew Buckman ( | Viuz.

Trends 5:

D’après Apigee (The Mobile Mandate for Retail), 66% des consommateurs américains ont plus de probabilité d’acheter dans un magasin avec une App mobile utile et 81% des utilisateurs constatent que leur comportement d’achat en magasin a changé depuis qu’ils possèdent un smart phone. Pour les marchands avec une présence physique, une stratégie mobile est primordiale car près d’un tiers des consommateurs annulent leur achat suite à une recherche sur le produit au sein du magasin (Source : Tradedoubler).

Une fluidité de paiement va certainement aider à convertir le consommateur mais il faut réfléchir murement à une stratégie multi-canal qui attire les personnes en boutique sans nuire à la politique de prix du réseau physique. Le couponing sur mobile commence à faire ses preuves avec des meilleures solutions de tracking et de geofencing mais l’interfaçage avec les systèmes de point de vente reste compliqué et onéreux pour le marchand.

Parallèlement, les iBeacons sont de plus en plus présents en magasin ; ces petits boitiers électroniques communiquent avec les smart phones par Bluetooth et permettent au commerçant de constater la présence de son client et de lui transmettre des promotions adaptées pour augmenter son panier moyen.

Il existe néanmoins plusieurs méthodes pour transformer un utilisateur mobile en consommateur physique : McDonald’s a par exemple incorporé un outil de recherche de restaurant ouvert après 23h00 – la campagne a généré un retour sur investissement de 200% ; Adidas a augmenté son ROI de 680% en ajoutant aussi un Store Locator et en mesurant plus efficacement la source des visiteurs en magasin . On pense également à Starbucks le précurseur du mobile to store aux US qui a placé son application au cœur de sa relation client y intégrant une stratégie de mobile to store basée sur les promotions avec un paiement sur place utilisant le smartphone du client sans besoin de l’interfacer aves ses solutions de point de vente.

Andrew Buckman est fondateur de – une société de conseil spécialisée dans la technologie publicitaire sur internet et mobile. Il aide notamment les sociétés étrangères à s’implanter en France et en Europe.

En savoir plus sur

How to Maximize Twitter Engagement with your TV Audience

How to Maximize Twitter Engagement with your TV Audience.


Live-Tweeting lifts Twitter conversation 

  • Live-Tweeting from cast members during show premieres had 64% more Tweets that day compared to programs that did nothing.
  • Shows that live-Tweeted from the official handle also saw a 7% increase over those that did nothing.

Live-Tweeting lifts follower growth rate

  • When a program is on the air, and DOES NOT live-Tweet, there is a 6.5x lift in follow rate for the show’s official account
  • When a show DOES live-Tweet, that lift increases 15%, to 7.5x.
  • When a cast member live-Tweets, their follow rate increases 228% to 12.2x .

How to make it ?


1. Make Social Sharing Easy for Your Cast and Crew

According to Twitter, “the most direct way to make an impact through live-Tweeting is through the cast members. They’re your greatest asset.” Most notably, ABC’s Scandal flooded Twitter with conversations during broadcasts, using hashtags like #AskScandal to connect audiences to the star Kerry Washington, creator Shonda Rhimes and the rest of the show’s cast, writers, and even makeup artists in real time.

The problem is TV stars (and celebrities in general) are not always the easiest to motivate when it comes to getting them to tweet for themselves. That’s going to take some work, but the best way to solve this problem is to bring the digital team into the production process as early as possible. 

Set up a season strategy guide and kickoff meeting for cast members, directors and even crew. Tell the production team the story of their audience members online. The social team probably has a much better view into real conversations taking place, so provide those insights back to the cast and crew to take into account as they’re engaging.

In your strategy guide include a look into what the show’s branded accounts are doing, official hashtags (and fan hashtags) and let them know that the team is there to regularly provide them with assets to share on their accounts (even going so far as including pre-written, suggested tune-in tweets if you have to).

If you can, connect your cast accounts into your social relationship platform. Often times cast members (or their assistant/personal community manager) get to slacking on posting, or in many cases are just not good at creating and engaging in social. A social relationship platform enables a network to push content directly through the cast member’s Twitter and Facebook accounts in these cases, in addition to gaining access to the invaluable data around that particular cast member’s social channels.

Other ideas are simple, you could set up a live-tweeting schedule and assign different people to different episodes and work with them directly. Even more fun, if you can get your team together why not host cast/crew parties where everyone watches and and tweets together?

2. Anticipate Social Storylines

A tweet is both the new applause and the new boo. Why not anticipate (and prime) these emotions? Work with production teams to find potential “tweetworthy moments” ahead of time. Lay out the types of keywords people might say to anticipate those results. Listen for those moments and reactions to them using social listening tools.

Plan your live-tweeting and moderation around these moments, set up moderation streams inside of your moderation software to easily segment tweets about your show based on keywords that determine sentiment, intent, interest in a certain character, the possibilities are really endless.

Make a gameplan that actually schedules out those peak moments for the community team to prep for in advance. Write it down on paper if you have to, no different than production teams have shot sheets.

For example, If your show airs at 8pm and it’s an hour long, and you know that roughly around the 5, 10 and 40 minute mark (give or take for commercials) are these “tweetworthy moments” you might want to list those out so you can plan content and prep for a rush of conversation during those times.

There are a lot of ways you can execute on these “tweetworthy moments.” Aside from live-Tweeting staples like photos, videos and text-based tweets, a reality show might set up a social poll to tweet out to their followers at the height of an episode that speaks directly to a moment in the show.

3. Create winning moments by identifying high impact conversations

Influence is real, and some conversations are just flat-out more engaging than others, there’s no way around it. In fact, the entire Twitter report basically supports this argument by telling social TV marketers to get their stars involved.

This relationship goes both ways, not only do influential cast members hold weight, but so do celebrities and other influencers also talking about your show online.

Let’s be real, top TV shows generate a TON of tweets in the one hour a week that their show might air. It’s almost impossible to respond to each and every tweet in real time, and even tougher for a TV show’s community team to decide who to respond to and about what.

That’s why I believe that TV community managers should be looking to surface high-impact real-time conversations (scored by combining the amount of engagement and true reach) that can result in an instant social lift for a TV show, or what I call “Moments of Spontaneous Conversational Combustion.”

Put simply, the faster you can respond to high-impact discussions, the more opportunities you have to boost viral discussions around your TV show.

So if Taylor Swift is talking about Sharknado, and SyFy responds to her, two massive overlapping audiences are seeing a public conversation play out in real time, increasing the likelihood of different audiences jumping into the conversation adding to the ripple effect.

And while Taylor Swift loving Sharknado is definitely awesome, any tweet from any user with any follower count can spark a high-impact discussion. A good social strategy (combined with Twitter’s improvements to the product through threaded comments, etc) encourages the audience to have their own discussions.

Social relationship tools like Expion can help analyze and filter these conversations to uncover these “Moments of Spontaneous Conversational Combustion.” Instead of flipping randomly through hashtag searches or chronological mentions, a community manager could set up customized streams in their moderation dashboard based on keyword, level of engagement, or other factors.

4. Build a Team of Passionate Players

Assign community managers (either internally or at your community agency) to shows they have interest in. Your community manager is spending all day and night immersed in story lines, so that constant mutual excitement helps build deeper bonds with the audience and also helps your community manager to avoid burnout because they’re actually having fun.

TV is highly polarizing. When you love a show you love it and can talk to anyone about it (people still talk about Lost and it ended like 5 years ago, I am one of those people). Execution is everything. You can’t expect to build a raving fanbase online about a TV show without having some great community minds behind your audience development who share that same passion. That’s why you need to hire amazing talent.


Children are ditching TV in favour of the iPad to watch shows | Daily Mail Online

Children are ditching TV in favour of the iPad to watch shows | Daily Mail Online.

  • Six in ten children use a tablet at home – a 50 per cent increase on 2013 
  • Meanwhile, televisions in their rooms have fallen by a third in five years
  • 11 per cent of children aged three and four now have their own tablet
  • Fewer children also have games consoles in rooms as tablets take over
  • Study on UK children was carried out by London-based regulator, Ofcom

Tablets are now more important to children than their TVs, with more than one-third of young people aged five to 15 owning their own device. Around 34 per cent of children in this category own their own tablet, which is up from 19 per cent last year, according to official figures.  And six in ten children use a tablet at home – a 50 per cent increase on 2013 – while the number of children with televisions in their rooms has fallen by a third in five years.

The rapid increase means that some preschoolers are using a tablet to surf the web, play games and watch video clips.

The report by UK regulator Ofcom found that 11 per cent of children aged three and four have their own tablet, up from three per cent last year.

The number of five to 15-year-olds who use a tablet to go online has doubled to 42 per cent since last year, while the proportion of children using the internet via a PC or laptop fell for the first time, by three per cent, to 88 per cent.

As well as replacing TVs, fewer children also have games consoles in their bedrooms as tablets take over the role.

The number who have radios in the bedroom has halved from 32 per cent in 2009.

Meanwhile, 20 per cent of children are watching TV on a tablet 33 per cent watch on-demand TV.

The report also revealed that girls prefer more ‘sociable’ media, sending more texts and making more mobile calls than boys, during a typical week

Almost half of older girls claim that a mobile phone is the device they would most miss, compared to 29 per cent of older boys.

But girls and boys aged 12 to 15 are equally active on social media, with 71 per cent having a profile.

That said, girls are more likely to use Instagram, Snapchat and Tumblr.

Just one social media site – YouTube – attracts more boys, who are nearly twice as likely as girls aged 12 to 15 to use it.

Ofcom said nine in 10 parents whose children go online were taking steps to help their children manage risks when using the internet.

The most popular methods included supervising their children online, talking to children about managing online risks and having rules in place about use of the internet.

Separate research earlier this week found that the iPad has now overtaken household names such as McDonalds and Disney to become the number one brand among American 6 and 12-year-olds.

The annual study, conducted by research firm Smarty Pants, ranks more than 250 brands each year.

‘iPad’s number one status among kids represents the culmination of the ‘tablet takeover’ – a movement from shared screens and TV network dominance to curated content on personal devices,’ said Wynne Tyree, president of Smarty Pants.

‘Kids increasingly turn to iPad for games, TV shows, videos, books, homework help and communicating with friends and family.’ 

Read more:
Follow us: @MailOnline on Twitter | DailyMail on Facebook