I was a kid there was one TV in our living room with no remote control, no DVR, and no EPG. There were 5 channels to choose from. You had to wait ages for a movie to come out in the cinema to go and watch it. If you wanted to rent a video you had to physically go to a shop and pick from their stock. ( and hope they put the right tape in the case ).
to watch whatever show they want whenever they want to watch it. They can pause and finish watching it later. They can watch Netflix on an iPad in the back of their car. Their tiny lives have been documented on Facebook. Some of them are on Facebook.
series, House of Cards. Netflix launched all 13 episodes of the first season at the same time worldwide. This is a first. There’s no ad breaks. No one needs to ‘tune in’ at a particular time every week to watch it. Viewers don’t have to set their DVR. They’re not going to miss it. Instead they can watch all 13 episodes in a row if they really want to. This is incredibly viewer centric. In addition, each episode can be as long as the story needs it to be. But how will anyone know if the show is a hit? How will success be measured, and rewarded? Netflix doesn’t need this show to be a hit in the traditional sense. They make their money directly from their 30 million subscribers worldwide, not through advertising. They also know to the individual, exactly who’s streaming their shows, and on what type of device. They are not competing with other primetime shows, because they’re disrupting primetime. So in the face of this very viewer centric change in how TV shows are produced and enjoyed, how does the broadcast industry keep linear TV alive?
to listen to a variety of radio shows. A radio audience was born, when families and friends gathered together to listen. And the audience assembled neatly at a time dictated by the broadcaster, who told them stories.
this. We’re multitasking with our mobiles, tablets, laptops. We’re catching up on email, texting, checking Facebook, tweeting. Sometimes we’re trying to find out more about what we’re watching on TV. But essentially we’re still gathered together listening to stories. News, sport, drama, reality. It’s all storytelling. At the very foundation of the broadcast industry there is a very simple concept. It’s about telling stories.
for years. But their audience has started to shift around, show up at different times of the day, and multitask. How do broadcasters leverage their expertise in telling stories to keep their audience tuning in? There are two main things that are happening with mobile in the broadcast industry to keep linear TV relevant. The first is Social TV.
when we’re talking about Social TV is that TV has always been social. If we take a look at our 1950s family. They are obviously glued to whatever it is they’re watching, but no doubt they are talking about it too. They might even make a cup of tea during the commercial breaks. And maybe tomorrow they’ll go to work and talk to a colleague about the show that they both watched. TV is a conversation starter based on a shared viewing experience.
of TV shows started to change to bring the audience into the story. In 1961, the BBC launched a show called Points of View. The focus of this show was letters sent by the viewing public, either praising or critiquing TV Shows from the previous weeks. These letters put the audience at the centre of the show, gave them a voice and a certain influence over how TV shows were produced.
social interaction up a notch with a show format that was based completely around viewer interaction. The Swap Shop was completely live, sometimes up to 3 hours long, and it used the phone-in format extensively for the first time on TV. Kids could phone in to the live show and swap their belongings with other kids. Sometimes celebrity guests would even answer the phone. As well as being live in studio, the show was simultaneously broadcast live from different locations around the UK. So now the audience could take part in the story.
widen the reach of this TV conversation. The Social Networks were born. Now the audience had a means to chat about TV shows to other audience members and the broadcasters too, at the same time as they were watching TV.
Source @TwitterUK Sometimes the level of this public conversation is loud enough to actually make someone go home and switch on their TV, so that they can join in the conversation, about an event that’s happening right now.
match made in heaven. Social TV is being part of the crowd of spectators at an event without leaving your living room. If you live alone, or you can’t leave your living room, you can still share your viewing experience and be instantly connected to likeminded people. It’s Freedom. For broadcasters, Social TV is a good reason for an audience to discover, watch and participate in live TV. Over the last 2 years, we’ve seen a period of experimentation in the second screen and various social media elements in live shows. Because of the instant connected nature of the second screen audience, TV content creators have had to reengineer their production process to support it. Hashtags are incorporated on screen at the start of a show to encourage audience participation. Broadcasters are using social networks to build an audience before a new show goes to air.
comes a need to remain in control, and that’s a challenge for broadcasters. When Big Brother arrived on UK TV screens in July 2000 the live link up with the Big Brother House on eviction night was always prefaced by ‘You are live on Channel 4, please do not swear’. A social media audience won’t be told not to swear. There are simply too many voices, plenty of them swearing and joking. Any attempt by a broadcaster to control or censor these voices will fall flat of the real Social TV experience.
this... On the 3rd February 2013, the most prolific annual worldwide Social TV live event took place in New Orleans. The Superbowl recorded 24.1 million tweets during the show.
minute? It was this... There was a power outage for 30 minutes. This was the most tweeted about moment. Good old unpredictable live television. The clever creative people at Oreo didn’t miss a beat. They quickly reacted with a simple graphic with a clever power outage related tagline and set it free on Facebook and Twitter.
dark. Pretty damn clever. And money well spent on the minutes it took for one or two people to design the graphic and send the tweet. A clear win for Oreo. What’s important about this ad is that it would never have happened on the first screen. There would not have been enough time to create or schedule it. Because of the quick reactions needed in this type of scenario, this Oreo ad could only ever have happened on the second screen.
like the Wild West of Television. Because it’s new, it’s not subject to the same rigorous broadcasting regulations as the first screen, so there is room for a bit more irreverence and spontaneity. So what are the cool things that broadcasters can do in this second screen? The industry is still in a period of experimentation to see what works, and what makes money. Nobody has really hit the nail on the head yet, but there are 3 leading approaches to second screen apps.
all the things ! This is a throw the kitchen sink at it and see what sticks sort of approach, experimental in its nature. This approach is often adopted by a broadcaster agnostic app in an attempt to cast as wide a net as possible and support as many TV shows and genres as possible within the same basic framework. Ambitious indeed. There are many apps like this built around a TV Guide level programme information. Some examples are YapTV, Yahoo’s IntoNow and Zeebox. In casting such a wide net, there can be some confusion as to the key purpose of the app. Because they’re not specifically affiliated with the storytellers, there can be a bit of a disconnect between what’s happening on screen and what’s happening on the second screen in terms of additional content about a show. There is a huge amount of work, planning and finance required to produce quality additional content to a TV Show. Think of it like Special Features on a DVD. The most memorable special features happen when the content is produced with the same consideration and to the same high quality as the movie itself. If the extra content in the app hasn’t been produced with thought or consideration for the overall story of the TV show, then it doesn’t serve a purpose and has no real connection to the show.
Thing – These apps are focused and their purpose is clear. Some great examples include Get Glue, Shazam, and Sky +. There are also many stand alone TV Show apps that offer a play along synced game specific to that show. I use the Sky + app as a remote to navigate around the Sky Box interface while I’m on the couch and don’t want to interrupt first screen viewing.
all about doing what the viewer wants to do at that moment. Usually this is based around discovery or utility. IMDB is a great discovery experience. Their information is reliable, vast and current. I use the IMDB app to watch trailers to help me decide what to watch on Netflix. Netflix has a really great and seamless multi-screen experience, centred around the preferences of the viewer. With the Netflix app, the viewer can pause streaming a movie on the first screen, and continue watching it on a different device in another room, seamlessly.
and the Second Screen look like? Any app that allows remote control of whatever is being watched on the first screen, in addition to well-considered special features will be a killer app. We’re going to see a lot of broadcaster led apps this year to fill that gap in second screen storytelling, and more clever advertising like Oreo. We’ll see TV show formats created specifically for the second screen, that require audience participation in a similar way to Swap Shop in the 1980s. The gap will narrow between TV Shows and viewer generated content, and these will co- exist in new ways. With mobile, everyone is a broadcaster. Everyone is a photographer, and a cinematographer. In 1969 – millions worldwide watched humans land on the moon. In 1985 – an estimated global audience of 1.9 billion across 150 countries tuned in to watch the Live Aid concert In 1989 – The Berlin Wall came down, reuniting families – Live on TV. TV has a fascinating story, stay tuned to see what happens next.
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