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Adweek : Television


Snapchat Is Now Selling Ads Against Nielsen's TV-Like Ratings System

Tue, 24 Jan 2017 21:32:52 +0000


Snapchat may or may not become mobile television for younger generations. But the app's parent, Snap Inc., which appears to be on the cusp of an IPO, wants TV advertisers to think about it that way and spend their money accordingly. 

Today, the Venice, Calif.-based company revealed a partnership with Nielsen's mobile Digital Ad Ratings (mDAR) unit, giving brands the ability to buy guaranteed Snapchat audiences by age group and gender. For the most part, it's the same kind of system—from ordering to measuring the results—that marketers are accustomed to with Nielsen's TV offerings.

The television-minded data endeavor meshes well with Snapchat's other recent announcements, such as striking an original content deal with Turner Broadcasting last month. Snapchat also has dedicated video agreements with TV brands like NBC and MTV. 

Tuesday's development expands the Snap-Nielsen relationship, which had been limited to ads measurement. And to be clear, the mDAR move simply gives brands another purchasing option, as the other methods of buying Snapchat campaigns via its ads API remain available. 

For the last two years, Snapchat execs have worked quickly on their advertising capabilities. For instance, they inked a deal with Oracle just last week to let brands use offline data to drive better campaigns on the app. 

In the end, it's all about mobile video with its Snap Ads, which are full-screen vertical spots that can be immersive, as Snap competes with the likes of Facebook, Twitter, Instagram and Pinterest and hopes to impress Wall Street investors.

Snap declined to comment for this story. 

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Bravo and BuzzFeed Are Creating Valentine's Day-Themed Content for New Con-Artist Series

Tue, 24 Jan 2017 15:00:01 +0000

NBCUniversal is continuing to make the most of its $400 million investment in BuzzFeed, as Bravo and BuzzFeed are creating a series of Valentine's Day-themed content to promote the launch of Bravo's new scripted series, Imposters. Bravo's third scripted series, about a female con artist (Inbar Lavi) who is being hunted by some of her former marks, "is a show that we feel is going to appeal to a broader audience, possibly a younger audience, and also a more gender-neutral audience. And when we look at who BuzzFeed is reaching, it aligns really well with their audience," said Maria Laino DeLuca, svp of consumer marketing for Bravo Media. The partnership includes a custom 360 video experience—Are You Dating an Imposter?—marking the first time BuzzFeed has created content in that space for a brand. In that video, users will answer a series of questions and determine whether their partner is an imposter. The content will debut Feb. 7, the same day that Imposters premieres, on BuzzFeed's Facebook and YouTube platforms. "One of the ways we're positioning this show is all about, do you know the person you're with? We thought this would be the perfect test for the 360, so it's all about, is your significant other an imposter? It's an interactive quiz that allows fans to take the choose-your-adventure-style quiz in a 360 way," said DeLuca. Since Imposters debuts one week before Valentine's Day, "Another big, appealing thing as a part of this was being able to hijack content around Valentine's Day. Thematically, that also played a huge role in how we developed some of this content," said DeLuca. "It really taps into relationships." The collaboration also includes a BuzzFeed post, "I Lived as My Alter Ego Character for a Week," which goes live today.  On Thursday, the site will post an interactive quiz, "How Well Does Your Significant Other Really Know You?," in which users can send a link to their significant other so that both of them can complete it. Next Thursday, Feb. 2, BuzzFeed will launch a short comedy video, "Married People Take a Lie Detector Test." And on Feb. 6, the site will post "10 Kick Ass Valentine's Day Cards for Your Ex," a custom post spotlighting digital ecards. "The show has all these different layers to it. So by partnering with BuzzFeed and creating all of these different points of reaching our viewers or engagement, it gives us a lot of different ways in and helps us further explain what this show is all about," said DeLuca. "As part of BuzzFeed's ongoing work with Bravo we are creating new and innovative ways to tell stories that engage our audiences and have the ability to launch new programming like never before," said Lee Brown, BuzzFeed's chief revenue officer, in a statement. Since NBCUniversal's $400 million investment in BuzzFeed ($200 million in August 2015; another $200 million last November), BuzzFeed has worked with NBC and American Express on a Leap Day partnership in which NBC replaced 30 minutes of national ad spots during prime time with sponsored content, with BuzzFeed creating shareable content as part of the deal. During the Summer Olympics in Rio, BuzzFeed populated NBCOlympics' dedicated Snapchat Discover channel with behind-the-scenes content and short clips.  And DeLuca said Bravo had noticed "great success" coming out of BuzzFeed's collaborations with NBCUniversal's other companies, like USA for Mr. Robot and Universal Pictures for the Tina Fey-Amy Poehler comedy Sisters. [...]

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Rio Olympics and the Election Sparked a 4.4% Increase in TV Ad Revenue in 2016

Tue, 24 Jan 2017 14:00:01 +0000

The television ad market in 2016 saw a 4.4 percent revenue increase over 2015 thanks to the Summer Olympics and the election, according to new data from Standard Media Index. Broadcast revenue jumped 4.6 percent, while cable was up 4 percent. But when sports-related revenue, which increased 16 percent due to the Rio Olympics, is excluded from the tally, TV was only up 1.4 percent. (Cable grew 3.9 percent, while broadcast was down 2.4 percent.) The elections also boosted last year's ad revenue, driving the news genre to a 14.1 percent increase in ad spending over 2015. According to SMI, which tracks 70 percent of national ad spending from global and independent agencies, NBC had the biggest ad revenue increase of any broadcast network (20 percent) thanks to the Summer Olympics and the five NFL games it added via this season's new Thursday Night Football package. CBS was up by 3.2 percent—it had the Super Bowl but lost those Thursday Night Football games to NBC)—while ABC fell 2.2 percent, Fox was down 4.6 percent and The CW increased its revenue 6.3 percent. On the cable side, the election resulted in big ad revenue bumps for all of the news networks. CNN saw a 57.8 percent increase, while Fox News was up 25.7 percent and MSNBC soared 47.9 percent. Several non-news channels saw big ad increases year-over-year as some viewers sought out alternatives to election coverage, including HGTV (up 13.6 percent), Bravo (13.7 percent), Discovery Channel (7 percent) and Food Network (4.6 percent). The biggest ad revenue drops among the top 15 cable networks included two networks that Viacom's new CEO Bob Bakish is trying to turn around—Comedy Central (down 13.6 percent), and MTV (a 12.3 percent drop)—along with History (9 percent), AMC (7.6 percent) and Freeform (4.4 percent). SMI noted that several big brands moved their ad spending from digital back into TV last year. Paramount Pictures increased its TV spend by 24 percent, after decreasing it by 3.8 percent in 2015. Target dropped its TV spending by 20 percent in 2015 but increased it by 12 percent in 2016. And Progressive Insurance, which had decreased TV ad spending by 5.5 percent in 2015, increased to 6.2 percent in 2016. The largest spending increases by category in 2016 included quick-serve restaurants (16.5 percent), household supplies (16.3 percent) and alcoholic beverages (15.4 percent). The biggest year-over-year decreases came from travel, tourism and hospitality (down 14.8 percent), and toys and video games (down 10.3 percent). In the fourth quarter of the year, the overall TV market was up 2.4 percent, with broadcast down 2.2 percent and cable up 7.4 percent. Over the quarter, NBC's ad revenue increased 7.3 percent, CBS fell 12.4 percent, Fox jumped 2.9 percent and ABC dropped 9.6 percent. Makegoods eat into NFL revenue With all data now in from the NFL regular season, SMI found that the average regular-season cost of an NFL ad across all networks was up 6 percent over 2015, from $471,017 to $499,095. NBC's Sunday Night Football had the highest average cost at $614,972, up 6 percent from the previous year. Of the three broadcast networks, CBS' Sunday afternoon games had the lowest price tag at $406,405, but even that represents a 4 percent increase from 2015. Even though the average cost of an NFL spot jumped 6 percent, overall revenue for all networks that aired NFL games except for the NFL Network was up just 1 percent, due to an increase in audience deficiency units, or ADUs (also known as makegoods), for advertisers that didn't receive their guaranteed impressions earlier in the football season. SMI's previous data showed that plunging football ratings led to 17 percent drop in NFL ad revenue year over year in November. CBS' NFL ad revenue fell 13 percent versus 2015, due to the partial loss of the Thursday Night Football package to NBC, which, accordingly, jumped 17 percent in revenue. Fox was up 2 percent, while ESPN was do[...]

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Lying in the Face of Facts? Trump Did That for a Decade With Celebrity Apprentice Ratings

Thu, 19 Jan 2017 18:14:23 +0000


The actions of President Trump and his White House press secretary Sean Spicer over the weekend—lying about the size of his inauguration crowds, despite ample evidence disproving their claims—were surprising and alarming to many who were unaccustomed to seeing that degree of blatant dishonesty from the office of the President of the United States.

On Saturday, during a visit to the CIA, Trump insisted, "It looked honestly like a million and a half people, whatever it was, it went all the way back to the Washington Monument." (It didn't). A few hours later Spicer attacked the media for its reporting on the crowd size. "This was the largest audience to ever witness an inauguration, period," Spicer said, which contradicted aerial photos, Nielsen ratings and D.C. Metro transit ridership.

But to television reporters who have spent the past decade covering Trump's time as host of The Apprentice and Celebrity Apprentice, this bald-faced lying in the face of clear facts was a familiar sight. As New York Times TV critic James Poniewozik tweeted:

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Crackle Insists It Can Thrive Even After Losing Jerry Seinfeld and Its Signature Show

Thu, 19 Jan 2017 13:07:01 +0000

Tuesday seemed to be a bleak day for Crackle, as Jerry Seinfeld—creator and host of the streaming service's signature series, Comedians in Cars Getting Coffee—announced that he's moving his show to Netflix after signing a deal with the streaming rival. Seinfeld will produce Comedians in Cars for Netflix (and move all nine prior seasons of the show there as well) and film two new stand-up comedy specials for the streaming service as part of the $100 million agreement. Crackle faces a future without its most well-known series—in which Seinfeld chats and drives around with his favorite comedians—and online speculation that the streamer might not be able to continue without it. Crackle general manager Eric Berger allayed those fears in his first comments since the Netflix deal was announced. He told Adweek that Crackle will continue to survive and thrive without the show. "Although we are incredibly grateful for our time working with Jerry and proud of the Emmy nominations the show has garnered, we have built up a slate of original series with top talent that we are incredibly proud of," Berger told Adweek, referring to The Art of More (starring Dennis Quaid), StartUp (starring Martin Freeman), SuperMansion (executive produced by and starring Bryan Cranston) and Snatch (the drama, which stars Rupert Grint and is based on the 2000 Guy Ritchie film, debuts March 16). "We have a development slate that we feel can rival any ad-supported network." Berger echoed those comments during a lengthy interview with Adweek just a few days before the Netflix news was announced. When asked at the time about the possibility of Seinfeld taking Comedians in Cars elsewhere, Berger said, "We love the show, and it has been a signature for Crackle, but I think the great part is, it's a portfolio now. It's not like a few years ago, where we didn't have that portfolio of all the slate of dramas and the comedies that we have. We're working with a lot of big talent show that we never did before. And we view all of that in a big portfolio." Crackle, which has an average monthly U.S. audience of 18 million, said that while Comedians in Cars had long been the top performing title on the site, it was surpassed by StartUp, which premiered in September. And the service's original film Mad Families, which stars Charlie Sheen and premiered last week, is also outperforming the current season of Comedians. So while Seinfeld's show remains Crackle's best-known title, it's no longer its most popular one. Here's the rest of Adweek's conversation with Berger, who laid out Crackle's vision for 2017—one that no longer includes Comedians in Cars Getting Coffee: The streaming world has changed so much in the past year. What is Crackle doing to carve out its own niche? The first thing is, we're really focused on our consumer and our platforms. We have more data and direct contact with customers than ever before, and game consoles are a big piece of that. So really understanding that our market is about mature millennials who are gamers and stream to relax, and use other connected TV [devices] in the living room as well. We are making sure that our content really aligns with that audience more than ever before. The second thing is, as one of the only services that's focused purely on advertising, we want to make sure that we have the best advertising experience possible, so that consumers continue to use the service when there are plenty of other choice that are not ad supported in the marketplace. How are you doing that? We already had about half the ad load of TV across our products on the service already. For our dramas, we started doing something that we announced at our upfront last year, which is called BreakFree. There's only one ad at every break, that's it. And with that is a piece of [branded] content that we[...]

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