Exclusive Telco Research Identifies a Clear Switching Process and Social Media Recommendations (Socialyse (Havas) & Twitter)

Paris – Exclusive research from Socialyse (Havas Group’s social media solution) shows that 63% of “switchers”i will change their mobile device, and 23% will change their device and carrier. The study identifies a clear switching process including four key phases –Information Gathering, Active Research, Decision Making and Deal Hunting. It also demonstrates the important role of social media: 25% will turn to Twitter to inform their decision, and Twitter ranks among the Top 5 point of contacts for research.

Socialyse Global Managing Director Séverin Naudet comments: “The mobile phone industry is extremely dynamic. With total worldwide mobile phone shipments of just under 2 billion units, the mobile phone industry will grow by over 10% this yearii. We’ve been working closely with global telco companies, and this study really demonstrates not only how social is a powerful business solution, but how Twitter, in particular, can influence and impact the purchase decision. Social brings ROI to advertisers.”

Telco Infographic_07112016

Key Consumer Insights about Switching

The research provides keen insights into consumer attitudes and behaviors regarding switching their mobile devices and carriers:

  •   There are 3 key consumer motivations for a switch: improving current equipment, ie device and/or price; urgent needs like breakage or theft; and rewarding customer outreach at contract end-date. There were some differences by region: a higher level of motivation related to contracts in Europe and a higher level of motivation to change devices, plans or carriers in Latin America.
  •   For devices, the Top 5 criteria for a switch were (in order): Price, Technical Characteristics, Operating System, Camera Quality and Brand.
  •   For carriers, the Top 5 criteria for a switch were (in order): Network Coverage, Network Quality, Price, Internet Speed and Included Services.
  •   Despite being confused at first, most people feel positively about the change.
  •   Twitter users stay informed with news and deals available on the market, are more likely to be both experts and influencers for others seeking new devices or carriers, and are more at ease with switching.
  •   78% make their decision to switch in 1 month or less.Bruce Daisley, VP of Europe at Twitter, says: “Twitter plays a daily role in the lives of our users, and this research highlights how useful it can be in helping people across Europe make informed decisions about the telecom brands they turn to and the mobile products they buy. There are important lessons here for these brands and the industry. We found similarities in how people  approach switching from London, to Berlin, Madrid and Paris. And what’s fascinating is that Twitter can help make the process more positive. That says a lot about the platform.”

    Using Twitter to Influence Switching

    In addition to the consumer insights, the study also delivers clear recommendations on how to activate Twitter for telcos:

    •   With 25% of all respondents turning to Twitter to inform their choice of smartphone or carrier, use an everyday Twitter strategy and targeted messaging to reach users at the right time and right place.
    •   As a key touchpoint at each phase, tailor Twitter targeting to reach consumers at each distinct step in the Telco switching process: Information Gathering, Active Research, Decision Making and Deal Hunting.
    •   Consider influencer partnerships with Niche to combine the benefits of impartiality and trust with the existing power of utility and information that brands’ tweets have to drive purchase.
    •   Twitter is most impactful in the stages leading to a final decision in the switching journey. Combine an everyday strategy with TVxTwitter to drive campaign success.
    •   Twitter users tend to be more influential among their peer groups as layman experts in the telco field; Connect with and cultivate brand advocates on Twitter to grow a valuable base of earned brand coverage through outreach & advocacy.
    •   Seed promotions one month prior to the launch of a new device/plan to align with the average consumer switching cycle of 30 days.


      Research institute CSA contacted smartphone users aged 18-50 who have or will change their mobile device and/or plan in the past/next 3 months, across the UK, France, Germany, Spain, Brazil and Mexico. The study included two phases: 1) a qualitative analysis including focus groups and one-on- one interviews, and 2) an in-depth qualitative online survey.


    About Socialyse

    Launched in 2013, Socialyse is the social media solution of Havas Group. Socialyse provides a unique integrated and synchronized social media offer, including strategy, content, media and analytics. Innovative tools include the Social Rating Point and the powerful Socialyse Newsroom. With specialized talent and best-in-class technology, Socialyse guarantees both performance and prices. With over 720 social media experts based in 38 local offices and operating in 80 countries, Socialyse combines the agility of a startup and the strength of a powerful global network.


    Robert Fridovich
    Tel +33 146933715
    Mob +33 632063816 robert.fridovich@havasmg.com

10 of the most important tweets in its history (TIME)

Twitter Looks Back on Its 9-Year History, in Tweets | TIME.

Social TV Year-in-Review: 4. There’s room for sponsors to participate (Source: Orange Room – Lost Remote)

Social TV Year-in-Review: ‘TODAY’ Orange Room Producer Adam Miller – Lost Remote.


The below post is part of our 2014 Social TV Year-in-Review guest post series and is written by TODAY Orange Room Producer Adam Miller. 

2014 was the year of…Orange. In September, we celebrated the one-year anniversary of TODAY’s groundbreaking social initiative, the Orange Room hosted by Carson Daly. With our digital studio and audience-driven content across platforms, we’ve become a model for success in social television.

Here are 9 things we learned about social TV in 2014:

1.       The audience is excited to be involved.

In the first year of the OR, #OrangeRoom trended 127 times. And that’s just the #OrangeRoom hashtag!

2.       Social really allows us to tear down the fourth wall.

We’ve been able to open direct lines of communication between our team and the audience. In just one example Matt Lauer joined Facebook in 2014, kicking off a series of successful weekly live Facebook chats with our viewers.

3.       You can’t plan some of the best moments.  

From Rokering to Rokerthon, being able to rapidly respond in real time is key, and that’s a big shift from the last six decades of morning news.

4.       There’s room for sponsors to participate in new ways.

#LoveYourSelfie and #RealDadMoment are great examples of programs where we’ve partnered with brands that are having similar conversations to our own editorial discussions.  As long as we’re transparent with the audience, we’re excited to include sponsors in new ways going forward.

5.       Every social platform is different.

Different content works on different platforms so we don’t try to force universal solutions. Hashtag battles work well on Twitter, while Facebook has been a great platform to continue thoughtful conversation during and after the broadcast.

6.       Content goes both ways.

Just as we’re listening to social conversations to build broadcast segments, we’re also using broadcast assets to create content specifically for the digital audience. TODAY’s Flashback, Versus, and Parental Guidance are just a few of our successful online original video franchises we launched in 2014. Much more to come on that front in the next year!

7.       Consumers want social currency to “share and tell”

The traditional water cooler talk has become a thing of the past, replaced with trending and buzzworthy stories that consumers strictly want to “share and tell” as they socially navigate through the day.

8.       Embrace the second screen conversations

It’s become more important than ever to watch live TV with a second screen open and active.  Not only are we active on social during our own show, we also bring the TODAY perspective to conversations that grab our collective national attention like the Super Bowl and the Oscars. These viewing experiences have truly become communal and the live social commentary is where the content we air in the Orange Room the following day originates. TV is just the tip of the iceberg.

9.       This is just the beginning

I believe the next frontier for social television is video, video, video! Expect to see a big push in this space as brands produce more and more original video solely for digital purposes, and this video makes its way onto the broadcast with more frequency. Also anticipate we’ll see television programs encouraging viewers to create and share their own video for TV purposes as well. UGC should grow beyond just photos and text in the new year as technology makes it easier to share and more people become proficient with creating their own video.

Carson Daly has seamlessly taken the reins of the Orange Room and given our audience a voice within the broadcast and beyond. Yes, hashtags and handles, filters and feeds, likes and links are all here to stay and I’m excited to see what happens next. In looking ahead to the new year, TODAY will absolutely continue to pave the digital path forward, setting the agenda on a daily basis and enhancing our viewers’ brand experience both on-air and online.  It’s truly a privilege to empower and engage our viewers through the Orange Room each and every morning. Here’s to #SeeingOrange in 2015…


Other source: Telescope CEO – Jason George
By Adam Flomenbaum on December 11, 2014 10:00 AM

Twitter et Socialyse mesurent l’amplification du réseau social sur la TV – Offremedia

Twitter et Socialyse mesurent l’amplification du réseau social sur la TV – Offremedia.


Twitter France a présenté hier, avec Socialyse, l’entité social media du groupe Havas, les résultats de l’étude «TVxTwitter», menée en octobre dernier, qui décrypte la place du réseau social dans les nouvelles formes de consommation télévisuelle.
A cette occasion, ont été présentés les résultats d’une étude réalisée sur 3 annonceurs de 3 secteurs différents (énergie, entertainment audiovisuel, banque-assurance). Ils montrent l’amplification de l’impact de la communication auprès des personnes exposées à la TV + Twitter versus à la TV seulement, sur les critères d’émotion, de proximité, de considération d’achat et de recommandation, ainsi que sur les valeurs de la marque : innovante (x2,3), fun (x2,6), enthousiasmante (x3,5), audacieuse (x2,8), tendance (x2,2), à l’écoute (x2,8), de confiance (x1,8).



Ainsi, lors du dispositif TV/Twitter d’EDF mis en place par Havas Media pour le match de football France-Espagne le 4 septembre (voir archive), 69% des personnes exposées à Twitter+TV ont trouvé la marque innovante, vs 38% des exposés TV seulement, et 60% se sont senties proches de la marque, vs 37% des exposés TV seulement.
A partir d’une étude réalisée auprès de 1 007 utilisateurs (30 derniers jours) de Twitter, âgés de 18 ans et plus, quatre profils de comportements ont été dégagés : les @adict (10%) qui ne peuvent pas se passer de Twitter devant la TV ; les @core (24%) gros consommateurs de la TV et de Twitter ; les @casual (39%) qui ont besoin de valeur ajoutée pour utiliser le réseau devant la TV ; et les @distant (27%) qui n’utilisent pas le réseau social devant leur poste.


Parmi les personnes utilisant Twitter devant la TV, 72% déclarent chercher du contenu additionnel en lien avec le programme qu’ils regardent et 66% vont chercher des contenus exclusifs. Pour 2 personnes sur 3, Twitter permet de voir s’il y a un programme «dont tout le monde parle» et 1 sur 3 choisit de regarder un programme s’il est très discuté sur Twitter.
Une personne sur deux retweete des marques parce qu’elle aime le contenu, deux sur cinq pour participer à des jeux concours et une sur trois pour bénéficier d’offres exclusives.
Autre résultat de l’étude, à prendre en compte pour les marques qui veulent engager leur audience : les deux éléments qui apportent le plus de valeur dans un tweet sont, pour les personnes sondées, l’humour et le fait d’apprendre quelque chose de nouveau.



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…

How to Maximize Twitter Engagement with your TV Audience

How to Maximize Twitter Engagement with your TV Audience.

Source: http://www.expion.com/four-tips-twitter-tv-engagement/

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.


Over 10% of UK Digital Ad Revenues to Come from Social Networks – eMarketer

Over 10% of UK Digital Ad Revenues to Come from Social Networks – eMarketer.

Social network ad spending in the UK is still on a strong upward trajectory, with eMarketer expecting 50.0% growth this year. By the end of 2014, social networks will be home to 10.5% of all digital ad spending in the UK, and we expect this share to rise by 4.2 percentage points in the next two years.


Overall UK digital ad expenditures, which include spending on all formats served to internet-connected devices, will total £7.25 billion ($11.33 billion) in 2014—up 15.0% from 2013. Mobile and video ad outlays will continue to grow dramatically, pushing digital’s share of UK total paid media ad spend to 47.9%.

The vast majority of social network ad spending goes to Facebook, the UK’s largest social network. This year, Facebook will see 7.5% of all digital ad spending in the country—nearly three-quarters of the 10.5% going to social networks overall. By 2016, nearly one-tenth of all UK digital ad outlays will go toward the social networking giant—along with more than one-quarter of all digital display ad spending.

Twitter accounts for a much smaller share of the pie, at just 1.3% of digital ad spending in the UK this year, or 3.9% of UK digital display ad spending. But Twitter itself is somewhat more reliant on the UK as a revenue source, collecting an estimated 12.9% of its ad revenues there this year.

eMarketer has adjusted its estimates for Facebook’s and Twitter’s UK ad revenues upward since its earlier forecast, based on higher-than-expected earnings reported in Q2 2014.

On a per-user basis, UK social network advertisers will spend £23.24 ($36.31) trying to persuade social networkers to convert from prospects into customers, or simply building brand awareness. That’s up nearly as fast as social network ad spending overall, and eMarketer expects the figure to continue to rise at double-digit rates through at least 2016. That year, we estimate, UK advertisers will spend £36.49 ($57.02), on average, to reach each social network user via paid media on such sites. That will represent around a threefold increase since 2012.

eMarketer bases all of our forecasts on a multipronged approach that focuses on both worldwide and local trends in the economy, technology and population, along with company-, product-, country- and demographic-specific trends, and trends in specific consumer behaviors. We analyze quantitative and qualitative data from a variety of research firms, government agencies, media outlets and company reports, weighting each piece of information based on methodology and soundness.

In addition, every element of each eMarketer forecast fits within the larger matrix of all our forecasts, with the same assumptions and general framework used to project figures in a wide variety of areas. Regular re-evaluation of each forecast means those assumptions and framework are constantly updated to reflect new market developments and other trends.

– See more at: http://www.emarketer.com/Article/Over-10-of-UK-Digital-Ad-Revenues-Come-Social-Networks/1011214/2#sthash.wsruTceU.dpuf

Influencia – Twitter influence-t-il vraiment la consommation TV ? lmpact réciproque d’un trend Twitter sur l’audience d’un programme

Influencia – Twitter influence-t-il vraiment la consommation TV ?.

Résaux sociaux, acceptez-vous de prendre pour époux les programmes TV ici présents, pour le meilleur et sans le pire ? Faites sonner les cloches, voler le riz et chanter les glottes, vive les mariés ! Sans attendre neuf mois, l’union a accouché d’un phénomène en passe de modifier notre consommation télévisuelle à la racine. Depuis deux ans INfluencia analyse le phénomène, ses nouveaux outils et ses conséquences. En juin 2013, nous passions à la loupe les résultats d’une nouvelle étude de BI Intelligence, qui confirme l’avènement de la TV sociale. Mais une question restait sans réponse analytique : le tweet fait-il l’audience ou bien est-ce le programme qui fait le tweet ? Les deux, répond une nouvelle étude indépendante de Nielsen.

Pour la première fois, un rapport apporte des preuves statistiques sur l’impact réciproque d’un trend Twitter sur l’audience d’un programme. Les deux sont donc interdépendants. L’étude deNielsen est partie d’une ambition initiale : déterminer si l’activité sur le réseau de micro-blogging améliorait l’attractivité d’un contenu en cours ou si au contraire, c’est la popularité du programme qui suscite plus de conversations sur Twitter.

Pour dessiner des cadres de réponses statistiques, Nielsen a analysé minute par minute l’audience et le flux social générés par 221 programmes de primetime, grâce à sa plate-formeSocialGuide : sur 48% des émissions, l’audimat se révèle être d’une influence notable sur le nombre de tweets concernant le programme. Autre constat intéressant, le volume de tweets provoque des changements significatifs sur l’audimat pour 29% des contenus étudiés.

SEEiT, l’outil qui corrobore

« Nous avons constaté un lien de cause à effet significatif indiquant qu’une poussée d’audimat sur un programme TV peut sensiblement accroître le volume de tweets. Mais il est aussi intéressant de constater que l’inverse est également vrai, commente dans un communiqué publié sur le site de Nielsen son directeur de recherches Paul Donato. Cette approche rigoureuse d’une analyse statistique fournit à nos clients et aux médias une meilleure compréhension de l’interaction entre Twitter et l’audience TV. »

Pour pointer sa loupe analytique encore plus près du phénomène, l’étude s’est carrément attardée sur les impacts réciproques par style de programme. Nous apprenons donc que l’influence de la conversation dans le nid de l’oiseau bleu diffère en fonction du genre. Le champion de l’impact par tweet est la télé réalité (44%), devant la comédie (37%), le sport (28%) et le drame (18%). « Les groupes de médias et les annonceurs ont déjà investi dans la capacité d’audience des médias sociaux, qui leur permettent un engagement plus direct avec les consommateurs. Quantifier la relation entre la télévision et l’activité sociale est pour eux primordial », assure Paul Donato. C’est dans cet esprit que Comcast a lancé SEEiT il y a quelques mois. Cette plate-forme en cloud relie directement le buzz social àu programme TV qui le génère. Les premières données confirment les constats de Nielsen : plus de 50% des gens qui interagissent avec SEEiT via Twitter regardent ou enregistrent une émission dans la foulée.

Benjamin Adler / @BenjaminAdlerLA

SRP: Audience viewing Tweet is on average 50 x the number of authors tweeting | TNS – The News on Sunday

TV and the Tweetometre | TNS – The News on Sunday.

Remember the time when Humsafar aired and Twitter timelines turned to the love saga of Khirad and Asher every Friday, between 8 and 9pm? How can one forget? You could avoid watching the play on TV but once logged onto Twitter, the Humsafar invasion was inescapable. Followers of the show took to social media and let out their wit creating hilarious comics and memes; they obsessed over the characters, revelled in the romance and burst out in angst over the miseries that encountered their heroine. The same happened with Zindagi Gulzar Hai and more recently, Bashar Momin. These serials became a phenomenon on Pakistani social media.

So what is it that connects television with social media and what effect does Twitter, in particular, have in amplifying the success of a TV program?

It’s safe to say that most people reading this article have a Facebook account, which they regularly use. Media Bistro reports that 71% of all internet users use Facebook. Some readers may also have a Twitter handle, or Instagram or a blog. With its growing popularity, social media/networking has become much more than a way to stay connected with friends, family or the news. It is used as an advertising tool, a medium for business, and as a platform to get your voice out there.

Once logged on, one finds themselves reading articles shared by fellow networkers – things they wouldn’t read otherwise – or getting curious about the story behind a trending hashtag, or just generally re-sharing content that interests them. The point is that, in one way or another, social media sparks curiosity.

This aspect of the online world has opened new doors for television programming.  Viewers love to share how they feel about their favourite/least favourite TV shows online, pairing their opinions with relevant hashtags. Brands send out sponsored “promoted” tweets about their products, as do networks about their TV shows. If they pay for it, there must be something they’re getting out of it – more viewers.

These days it is impossible to scroll down one’s Twitter timelines without gathering a reference to a popular TV show – currently Orange Is The New Black and Game of Thrones. In 2013, social media was overflowing with talk of Breaking Bad. Twitter and Facebook being the top two social media websites are responsible for spreading most of the viewer-generated hype about TV shows and the phenomenon is getting stronger by the tweet.

It is rather common for fans to tweet about a show while watching it – which is the same kind of behaviour exhibited by sports fans while sporting events are happening. Real-time online discussion over what’s on TV has become a thing. Does it make a difference to the viewership?


Surveyors at Nielsen Media Research – an American firm that measures media audiences – have been studying TV show viewers and using a TV rating system in America since the 1950s. A 2013 research from Nielsen shows that Twitter alone can increase a TV programme’s viewership. Simply put, the constant bombardment of information about a programme will lead many non-followers to start watching the particular TV show.

Case in point: recently HBO’s Game of Thrones broke The Sopranos’ record as the most popular show in the network’s history. GoT’s fourth season surpassed 18.4 million viewers. That’s 0.2 million more than The Sopranos, which aired over a decade ago. While the quality and addictiveness of both shows is indisputable, it cannot be ignored that during the airing of The Sopranos, the phenomenon of social media (mainly Facebook and Twitter) hadn’t blown up like it has now. Since March 1, 2014, over 1.69 million Game of Thrones-related tweets have been posted, reports Forbes.


E! Online reported that the most tweeted-about TV shows last season were Breaking Bad, The Walking Dead, Pretty Little Liars, The Bachelor, and Game of Thrones. Breaking Bad’s finale alone was viewed 9.1 million times and lead actor Bryan Cranston’s tweet about the finale was retweeted over 54,000 times, creating impressions on non-watchers even after the show was no longer airing.

The power of social media has pushed celebrities and TV show teams to create their social accounts and make official fan pages, which makes engagement with the average viewer easier. Pakistani actor Faysal Qureshi is often seen tweeting about his drama serial Bashar Momin and his morning show. Stars Instagram photos of themselves (which are sometimes show teasers) and tweet about their work. With social media, stars can reach their fans directly, a much more effective way of promoting their shows than paid advertisements.nielsen-2

These days, while the FIFA fever is on, the internet is flooded with event-related tweets by people who are tuned into the games. Twitter has in fact created a parallel bar for FIFA followers, which appears on phone screens and gives updates 24/7. You no longer have to Google scores or game updates when you have the largest, fastest and most entertaining newsroom of the online world at your disposal. The Ghana vs USA match topped with 3.1 million tweets, which were seen by a unique audience of 11 million. Beyond the millions of footie tweets, Pretty Little Liars is one show that bagged a unique audience of 3.9 million people! Forbes says that “the show isn’t just a social media darling – it is also a ratings juggernaut.”

We can conclude that without efficient social media representation, it is hard for a show to make an impact outside of its airing time on television. The fact that entertainment news websites and even printed newspapers now often feature fan/celeb tweets in their reports on shows, is witness to how legitimate Twitter’s impact has become. Love it or hate it, Twitter has become a brilliant modern social TV revolution tool that amps your entertainment experience up a notch, or several thousand!

183.000 tweets en une minute pour Robin Van Persie (SRP)

183.000 tweets en une minute pour Robin Van Persie – 7SUR7.be.

© afp.

Le premier des cinq buts des Pays-Bas vendredi soir face à l’Espagne (5-1) au Mondial, une tête plongeante de Robin Van Persie, a généré à lui seul un pic de plus de 183.000 tweets en une minute, a indiqué Twitter.

La lourde défaite de l’Espagne, championne du monde en titre, a suscité un total de plus de 8,3 millions de tweets dans le monde lors de la retransmission du match.

Le premier des deux buts de l’attaquant néerlandais, celui de l’égalisation à la 44e minute, a cristallisé 183.076 tweets en une minute. Celui de Stefan de Vrij (3-1 à la 64e minute) en a généré 181.726 et le second d’Arjen Robben, celui du 5-1 à la 80e, 125.800, toujours en l’espace de 60 secondes.

Les deux autres matches de la soirée, Mexique-Cameroun (1-0) et Australie-Chili (1-3), ont généré respectivement plus de 3,6 millions et plus de 2,2 millions de tweets sur le réseau social qui compte un total de 255 millions d’utilisateurs actifs dans le monde.

La veille, le match d’ouverture du Mondial opposant le Brésil à la Croatie (3-1) avait vu à lui seul quelque 12,2 millions de tweets échangés.

Parmi les tweets les plus partagés sur le réseau au cours de la soirée, celui du sélectionneur de l’équipe mexicaine Miguel Herrera après la victoire sur le Cameroun: “se la rifaron los chavos, dejaron el alma en la cancha. ahora a pensar en el siguiente partido” (“les gars ont tout donné, ils ont mis toute leur âme sur le terrain. Maintenant il faut penser au match suivant”), qui a été retweeté 6.070 fois.