But even with a devoted fan base, Mad Men isn’t exactly a social mediaphenomenon like The Walking Dead or Pretty Little Liars. If Don Draper handled the show’s marketing campaign, it might be a different story.
Even so, Twitter TWTR -0.1% buzz about Mad Men has been escalating leading up to the April 5 season premiere. About a month ago, the show averaged around 2,000 tweets per day, and the number hit around 14,300 daily tweets on March 24th, when news broke that star Jon Hamm had checked out of rehab.
Search is the most predictive digital metric for audiences aged 35 and up, according to Tobi Bauckhage, CEO of Moviepilot, an online platform that empowers film fans to become content creators. Five days leading up to Sunday’s premiere, Mad Men’s search metric had approximately 88,000 searches, which was more than double the volume of fellow April debut Daredevil. Then again, Daredevilis a new show, and it doesn’t have a longtime fan base that is dying to know what becomes of Peggy, Joan, Roger, Pete, Betty, and, of course, Don.
Maybe it’s a nod to Don Draper’s old-school ways (he’s a savant-like ad exec who doesn’t rely on trends to shape his campaigns), but Mad Men has focused on traditional marketing tactics like outdoor ads and media buys on TV, instead of Vine videos and Snapchat gimmicks. Does anyone who watchesMad Men actually use Snapchat? It’s pretty unlikely. It’s not as if the show’s marketing team is clueless when it comes to social media – they use Instagramand Twitter like everyone else – but the majority of the show’s audience probably isn’t staring at Instagram as they watch.
So maybe Mad Men never became a Twitter phenomenon like Pretty Little Liars, but they’re two completely different shows. There could be some audience overlap there, since being well-rounded means you watch both intellectual period dramas and light, campy teen murder mysteries. In the end,Mad Men’s popularity never relied on retweets, and it’ll still go down in history as one of the most accomplished dramas on television, with or without astronomical search numbers.
The true fans will be tweeting their hearts out throughout this final season, and I’ll be on the edge of my seat wondering what in the world is going to become of Peggy. And Joan. And Betty. And Don.
Whatever the final numbers are, there’ll probably be at least a few tweets that read: I wish it didn’t have to end.
If you’ve been reading any kind of news (or your Twitter feed), you may have been wondering why everyone’s been talking about a small, furry mammal as of late. But the Meerkat in question isn’t a fuzzy animal native to Africa; it’s a livestreaming app that launched March 10th and gained traction thanks to buzz at SXSW.
How does it work? Meerkat connects your phone camera to your Twitter feed; once you’ve installed the app, you type in a status and hit the “stream” button—and just like that, a link goes out to your Twitter followers with live video from wherever it is you’re pointing the camera.
The hope behind the app is that it (and others like it) will expand the reach of citizen journalism. At the moment, when events happen in the world, they’re tweeted and hashtagged, and people can follow along on Facebook and Twitter. By also using an streaming app like Meerkat, broadcasters can share what they’re seeing as it unfolds. Things like riots and protests could be viewed in real-time without any form of private or governmental filters.
But why the fuss over Meerkat specifically, when there are others like it? That has to do with the relationship it has with Twitter. Originally, the app pulled information about your Twitter followers from Twitter itself, so that it could immediately connect you with those people on Meerkat. But Twitter—who recently acquired a similar app called Periscope—was none too happy with Meerkat and crippled the app’s reach. (A tweet still goes out via the app, but it no longer can access the “social” part of the social network.) Naturally, that drew a ton of attention to this brand-new app.
Now if you want to find other people and their streams, you’ll have to catch all of it via the Meerkat app directly. There already some famous people who’ve wholeheartedly embraced it, like Late Night host Jimmy Fallon. (Who, with his 23 million followers, may havetemporarily broken the service.) You can also catch novel bits of journalism, like Jimmy Kimmel being interviewed by USA Today as it happens.
Will the app take off beyond this initial burst of attention? It’s unclear. When Twitter first hit the scene, no one could imagine the usefulness of a service that limited you to 140 characters. Now its seen as a crucial part of any brand’s social media presence. Let’s Plays gave way to Twitch streaming and now people make a comfortable living doing commentary while they play through Minecraft or Destiny. If used effectively (not just for boring or creepy purposes), Meerkat could fuel the growth of a new way to keep people informed, complete with its own breakout stars.
But given that people need to be following you on Twitter to see what you’re doing on Meerkat, building a fanbase for one app through another app seems like a daunting task. To be Meerkat-famous, you’ll first need to be Twitter-famous. If Meerkat can shake off its association with Twitter (which Twitter would be happy with, no doubt), it could be the “next big thing.” Or it could be another high profile app that goes nowhere.
Marketing Land will be returning its brilliant #HashtagBowl starting February 1, 2015, this is where they will for the fourth consecutive year track all social media during the games.
Back in 2012 there was only 25 percent of all national commercials mentioned hashtags or social media accounts, in 2013 there were just over half of all TV ads having a hashtag or some social media mention.
2014 was interesting for the hashtag mentions during the Super Bowl TV ads, hashtags were mentioned in more than 57% of Super Bowl ads. Here are the overall stats for 2014 54 national ads reviewed: Hashtags: 31 total with 57% of ads overall, Facebook: 5 total with 9% of ads overall, Twitter: 4 total, 7%, YouTube: 3 total, 6%, Shazam: 2 total, 4% and URLs: 22 total, 41% of ads overall.
How will the hashtag fair this year during the Super Bowl 2015 commercials?
We will update this article when the time is right. In the meantime please do visit Marketing Land, as they will be announcing the winner and share its analysis of how well Super Bowl advertisers used social media and online marketing into their ads when the game is over.
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.
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…
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.
“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.
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.