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tv goes social
tv goes social
tv goes social
tv goes social
tv goes social
tv goes social
tv goes social
tv goes social
tv goes social
tv goes social
tv goes social
tv goes social
tv goes social
tv goes social
tv goes social
tv goes social
tv goes social
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tv goes social

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tv goes social

tv goes social

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  • 1. SOCIAL TOASTERPRESENTS TV Goes SOCIAL eo
  • 2. Social MediaCLAIMS ITS PROVERBIAL SEAT ON THE COUCH Viewers have led this revolution from one screen to three (TV, mobile device and personal computer). At this rate, the next evolution of humans will need four arms and hands to manage all of our data devices. Now we’re starting to see TV networks and advertisers capitalize on the cha-ching of all of these eyeballs that are glued to multiple screens at once. In addition to thinking of advertising as a multi-screen experience, there’s a whole new frontier of viewer2012 may well go down in Grammy Sunday. And as the elections engagement—and monetization--tohistory the as year that TV went social. approach, TV networks are already explore: integration of social channelsNo, this doesn’t mean more people preparing to capture and harness the into TV broadcasts, the concept ofstarted holding Beverly Hills 90210 power of “the second screen”—ABC has syncing what viewers are watching onviewing parties with their friends, it announced a collaboration with Bluefin TV with what they’re doing online duringmeans social media took its rightful seat Labs for coverage of key nights in the that same time period, and integratingon the couch next to TV viewers. It was 2012 presidential campaign, and MTV is viewer comments shared via socialthe year the online live stream of the planning to launch “Fantasy Election 12,” networks into live broadcasts. TheseSuper Bowl drew more than 2.1 million an election game that will incorporate are just a few of the ways networks arevisitors, and fans broke the tweets per real-life actions by both candidates and harnessing the power of social TV. Alongsecond (TPS) record for a sporting event players. A new day is dawning for both with increased viewer engagement acrosswith12,233 TPS. It was the year that viewers and TV broadcasters, and by all multiple platforms also comes tons ofGrammy viewers took to Twitter in record accounts, it appears that the merging of new consumer data both advertisersnumbers too—people sent 10,901 TPS social and TV is here to stay and claim a and networks can take advantage ofas Adele won Record of the Year and permanent seat in living rooms across the in designing next generation viewerthe word “Grammys” was mentioned world. experiences.in more than five million Tweets on SOCIAL TOASTER E-BOOK MOCK-UP 2
  • 3. Social MediaDriving TV ratingsIn addition to providing new opportunitiesfor viewer engagement and advertising, the rise of social TV is having another positiveimpact: it’s driving TV ratings. A study conducted by Neilsen looked at the correlationbetween online buzz and TV ratings and found that a 9% increase in buzz equated to a1% increase in ratings. The effect of online buzz on a show’s ratings was strongest forthe premier of new shows, weakening some as a show’s season progresses, but stillremained significant. A TV Guide survey released in February 2012 correlates with thesefindings-- 71% of respondents of that survey said they have seen a social media impres-sion about a TV show, while 17% have begun to watch a show because of a social im-pression. The message here is that viewers are talking about TV shows online and thereis a definite advantage for TV show’s producers to encourage them to do so.Another benefit of socializing the TV experienceis better metrics for advertisers. Neilsen ratings only get you so far, especially when somany viewers are recording shows and watching them later. Online buzz before, during,and after shows—allows networks to come up with truly measurable results that go wellbeyond Nielsen ratings. Brands are striving for measurable brand and revenue impactand that’s where digital channel can definitely deliver. Number of tweets, mentions,shares, conversations—these and other social media metrics can all be easily trackedand quantified in a way that ratings will struggle to compete with. Besides, Nielsen isclearly behind the times. They still have their “sample viewers” recording what theywatch with something called paper and a pen. Do they think this is 1996? With all of thetechnology out there, you’d think they would have automated this process and have adevice that actually monitors what is being watched, right? Instead, they’ve left the doorwide open for online metrics to highlight inaccuracies in their data based on the numberof online conversations versus recorded viewers. SOCIAL TOASTER E-BOOK MOCK-UP 3
  • 4. SOCIAL MEDIADisadvantages T WEET! Like us! Register Toda ! FOLLOW ME! y BREAKING NEWS!Of course, just as there are shows is no easy feat. Also tough issuedefinite advantages to incorporating will be figuring out ways to monetizesocial elements into TV shows, there these new opportunities. There are aare downsides. Figuring out how to few challenges that networks will facepull Tweets and Facebook comments in the quest to monetization includinginto a show is tricky business—viewers analyzing the flood of viewer data,don’t want to watch a screen filled with designing sponsorship packages that OMG!annoying, distracting text. We like to incorporate multiple activation points, and eolook to another screen for that. Viewers’ developing innovative ways of engagingattention is already divided among their viewers who are already being barrageddevices while watching TV; figuring out with content on multiple platforms.. Butengaging, artful ways of incorporating there are already lots of great examplescomments or other social contributions of networks and brands rising to thewithout further detracting attention from challenge. SOCIAL TOASTER E-BOOK MOCK-UP 4
  • 5. !! !!The Evolution !Of Social TVMore Screens,More Engagement,More Opportunity. ?!When talking about social TV,people talk about the three screens: TV,mobile device and computer. Right now,a lot of social integration takes place viathe first screen, in a sort of social TV 1.0,if you will: tweets or texts displayed onthe TV screen. This method is nothingnew—VH1’s “Pop Up Video” was doingthis in 1996. How many shows have youseen lately that include a hashtag across Census shows 18- to 24-year-olds make C, about 40% of smartphone and tabletthe top or bottom of the screen? That’s up 23% of the population. Interestingly users report using them while watchingTV 1.0. they also make up 23% of TV viewers. TV daily, according to a 2011 Neilsen But when it comes to their online survey. And while the predominant activity activities, they are far from average. that simultaneous TV and smartphone/Nielsen talks about “Generation They watch 27% of all online videos and tablet users reported was checking email,C”—a new, connected generation who they are 27% of all social networking 19% of them report searching for productconsume media, socialize, and share site visitors. They also own 33% of the information and 13% say they search forexperiences through devices—and while tablets and 39% of smartphones in the coupons or deals—an important statisticthey define this generation as age (18- U.S. These are disproportionately high for both networks and brands to be aware34), surely this age group will continue percentages when compared to other age of when they consider how to monetizeto expand to encompass both older and groups, but really does that surprise you? the social channel.younger viewers. The most recent U.S. Probably not. And beyond just Generation SOCIAL TOASTER E-BOOK MOCK-UP 5
  • 6. TBS IS A SUCKERFor dumbdumbsIn terms of monetization, For the TBS/Facebook deal,more screens means more ways to DumbDumb will produce a bunch ofadvertise and more opportunities for video shorts featuring famous actors.cross-channel packages. A cool example The shorts will be distributed on TBS’sis TBS’s bundled Facebook /TV/digital various sites, YouTube channels,package.This TBS/Facebook partnership Facebook pages and Twitter feeds. In theis the first of its kind.It involves branded package that TBS has been presentingcomedy “shorts” developed by the digital- to advertisers, brands can then chooseproduction company DumbDumb, no they to promote the video shorts throughdidn’t name themselves after the famous TV spots showing a teaser version oflollipop. DumbDumb has worked directly the video on popular comedy shows,with brands like Denny’s, for which it through digital buys across Turner digitalproduced a series featuring “Saturday properties, and also on Facebook, likelyNight Live” alum Dave Koechner through sponsored stories.interviewing celebrities in a Denny’sbooth. DUM DUM SOCIAL TOASTER E-BOOK MOCK-UP 6
  • 7. Social TV Viewersget glued to the tube Another way brands are bank- in the Hamptons. Unilever partnered with Viggle as part of their March Madness ing on TV audience’s multi-screen ten- campaign for Dove Men+Care, offering dencies is through second-screen apps users bonus Viggle points for viewers like Social Toaster, Get Glue, Into Now, who watch branded videos or ads. Social- Shazaam and Viggle. Get Glue lets view- Toaster will be used to drive fan advocacy ers check in to shows they’re watching to and engagement for a Kraft sponsorship find others watching the same shows, see with The Balancing Act on Lifetime. This what friends are watching, and get re- program will have contests geared around wards like stickers and discounts. In case audience participation and fan recruitment you were wonder, these new social view- all channeled through social media using ers also have no shame. They’ll openly our platform. tell their friends exactly how long they’ve been vegged out in front of their TV. Fox recently partnered with Get Glue and Twitter to promote “Fringe”—a campaign With so many social interac- tions around TV happening, how will net- being hailed as so successful with fans works and brands know where to focus that it saved the show from being can- future efforts and tap into the conversa- celled. While the show has only moderate tions happening around TV shows? That’s Neilsen ratings, it is a big hit among Get where new social TV analytic tools come Glue users as a result of the campaign. in. SocialGuide, Trendrr, Bluefin Labs and Showtime is another network that has had Networked Insights are the big players success with Get Glue by offering users in that space, offering various capabili- who check in while watching shows the ties from monitoring conversations about chance to win stickers and DVDs. Into shows to drilling down on individual fans Now has teamed up with ABC and spon- to find influencers to which commercials sor Lexus to promote “Revenge” with are people talking about on social media a second-screen sweepstakes that will sites, and more. allow one lucky fan to win a week’s stay SOCIAL TOASTER E-BOOK MOCK-UP 7
  • 8. Case Studiesof Social TV AwesomeFashion Star create clothes and have them purchased by a buyer from one of three stores: Each week, the winning pieces selected by buyers are available onlineShortens the Runway Macy’s, Saks Fifth Avenue, and H&M. Designs are judged by celebs Jessica and in stores the same night the showfor Direct Sales  Simpson, Nicole Richie, and John Varva- airs. Despite sluggish ratings during its first season, the show was considered to tos. At the end of the season, the winner be a success on at least one front: gener-Fashion Star is a unique new reality show is named “Fashion Star” and receives ating sales directly from the show. “Salesthat has integrated fashion retail into the a multimillion dollar collection within of ‘Fashion Star’ merchandise exceededshow itself and used social media includ- each store. Last season Kara Laricks expectations,” Macy’s spokespersoning Pinterest to drive online engagement took home the prize, despite selecting a Holly Thomas said in an interview withTVabout the items that were being sold. strange version of a female Mohawk as Guide. According to executive producerContestants compete with each other to her hairstyle of choice. Ben Silverman, the click-through rate on purchases was “hundreds of percentage points higher than normal.” Fashion Star is a great example of direct from show sales, buzz, and inte- grated campaigns across multiple plat- forms, including Pinterest, which is espe- cially well-suited to the show’s content. (Image source: http://www.nbcumv.com/ images/author-created/previews/NBCEn- tertainment/FashionStar_P.jpg) SOCIAL TOASTER E-BOOK MOCK-UP 8
  • 9. Oprah LifeclassBreathes Life into OWNOprah Lifeclass is currently in its second season and features various motivational speakers and guests who aim to helpviewers overcome challenges.The show is being hailed as breaking new ground in terms of social media integration. Oprah is incorpo-rating social media and interactivity into every episode across various platforms, from Facebook and Twitter to Skype and Instagram.During each episode, oprah is positioned in front of mul-tiple TV screens displaying tweets. Backstage is a room where fans canbe Skyped in to the live show to interact with Oprah.Social media is really the lifeblood of the show—in addition tothe format of the show centering around real-time engagement with view-ers, the show does things like incorporating Facebook polls into the showgiving real-time results, displaying tweets and responding to them on theshow, and rewarding viewers for tuning in online by giving them a behind-the-scenes look at what happens during commercial breaks. While TVviewers watch commercials, the camera keeps rolling, and only thosewatching online get to see that footage. The show’s online site is also acommunity where they can post comments and interact with others watch-ing the show.The Oprah team reported to Mashable in April that during one week alonethere were 414,780 mentions on Facebook and 3,026 answers posted tothe Lifeclass wall on Oprah.com, along with over 29,000 views to the wall.The web cast brought in nearly 2.6 million viewer minutes from 149 coun-tries. Oprah had to do something to attract viewers to OWN which initiallylooked like the Ishtar of movie networks. (Image source: http://uniquethink.com/wp-content/ uploads/2008/03/picture-47.png)You can watch season one of Oprah’s Lifeclass here:http://www.oprah.com/oprahs-lifeclass/Oprahs-Lifeclass-Lessons-Season-1 SOCIAL TOASTER E-BOOK MOCK-UP 9
  • 10. American Idol and The VoiceHit a Social High NoteIf there’s a genre of TV success, now the number both networks and advertisers are focused on is online led to a victory over a season-long rivalry with The Voice for number of commentsshow ideally suited to social, it’s real- buzz before, during and after a show. generated—the final tally for Americanity singing competitions. It’s no surprise, Evidence of this shift can be seen in the Idol was 5.9 million comments, while thethen, that beyond the singing competi- coverage of the American Idol season Voice trailed with 2.7 million.tions on each show, there’s another 11 finale. Rather than making headlinescompetition both shows are involved in: for lackluster ratings, the episode gar-the race to be recognized as leader in thesocial TV space. Where once Neilsen rat- nered such headlines as “‘American Idol’ American Idol has gone Sets Four Social TV Records.” While the from audience engagement 1.0—view-ings were the gold standard of a show’s ers voting by phone or text—to allowing episode’s view- ership numbers viewers to vote via Facebook. In addition were down 27% to just voting, American Idol also incorpo- compared to last rated several innovative second-screen year’s season technologies into season 11. American finale, the view- Idol partnered with Shazam, a mobile ers of the show device based music identification ser- generated 1.2 vice, to make the show “Shazamable.” million comments Viewers are able to tag the shows with across social the Shazam app to identify what songs media sites dur- the contestants are performing, buy the ing the two-hour songs, follow the show’s official social finale, making it media channels, and see video and pho- the most talked tos from AmericanIdol.com. Shazam also about season holds the potential to become another finale ever, ac- advertising platform for the show espe- cording to data cially since they have incorporated QR from Bluefin code-like technology that allows a viewer Labs. The sea- to Shazam segments of the show to be son finale also taken to a designated web page.(Image source: http://www.shazam.com/music/web/blogPost.html?blogPost=%2F2012%2F04%2F05%2Fexperience-more-of-american-idol%2F) SOCIAL TOASTER E-BOOK MOCK-UP 10
  • 11. Sponsors of season 11 of screen advertisements that appear while TV commercials air. Second ScreenAmerican Idol explored new promotion Networks works through an automatedvehicles (no pun intended), with Ford as content recognition platform that identi-the official automotive sponsor providing fies what show a viewer is watching thenunique and exclusive content centeredaround the show. Ford vehicles and show matches the spot and the user to a digital Americanfinalists were featured each week in Fordmusic videos, which aired both on TV and ad that runs at the same time. During the Americal Idol finale, the Idol fan site Idol AmericanIdolNet.com featured poll-styleonline on the American Idol site. Ford also ads that asked viewers questions aboutawarded a new car to both the runner-up the commercials that were being aired—and Season 11 winner. Sponsors Coca- in one instance, asking viewers whetherCola and Kraft both riffed on a viewing the Ford commercial on their TV screenparty concept—after all, in-person social- of the show with the online experience.The was convincing enough to get them toizing is just as social (ok, more social) Voice’s season two social media correspon- buy a car. While the ads that ran duringthan online socializing-- with Coca-Cola’s dent, Christina Milian, hung out in the “Social the Idol finale were unpaid prototypes,Family Night program on MyCokeRe- Media Lounge”—sponsored by Sprint—where this concept definitely shows promise inwards.com which offered activities and she interviewed contestants, Tweeted, and terms of both data and revenue potential. recipes to encourage families to “make fielded questions from viewers which theytonight a family night” and Kraft’s Viewing submitted via Twitter. The technique of hav-Party Planner, also featuring recipes andentertainment ideas. Although American Idol won the ing an official social media correspondent is hit or miss, as evidenced by the show swaping spring 2012 season in terms of number of comments generated, The Voice is no slouch out the original person who filled the role with Christina Milian during the second season.American Idol has also begun when it comes to integrating social media into the show. Far from it, in fact—the show Wetpaint.com did a poll that asked “What didtesting second-screen advertising. Dur- you think of Christina Milian as The Voice’s is widely hailed as being the “gold standard”ing the season finale, they partnered with social media correspondent?”—almost half of for TV/social integration. The show featuresSecond Screen Networks, a new com- those who took the poll answered “Totally un- a “social media correspondent” tasked withpany that will create a network of second necessary and annoying!” bridging the gap between the TV experience SOCIAL TOASTER E-BOOK MOCK-UP 11
  • 12. (Image source: http://www.accesshollywood.com/content/images/144/680x250/144897_the-voice.png)In AddITIOn to the social media The Loudest Voice was sponsored by Sprint and involved weekly tasks for fans select a team of 12 artists and predict winners for each round. During the show’scorrespondent, The Voice incorporated a to complete in order to win an exclusive live episodes, artists from each of fournumber of other social media activation online badge and placement on the site’s celebrity coach’s teams perform and fanspoints including contestant profiles on leaderboard. For the other game, The playing the game choose who they thinkFacebook and Twitter, weekly live-tweets Voice partnered with Invoke Media to cre- will continue on, earning points for eachwith coaches, live streaming post-show, ate a Facebook app, also sponsored by correct choice. The game included a mul-Instagram and Pinterest boards. Sprint, that allowed fans to engage with titude of chances for players to win prizes the show in a unique way. The app, The in weekly drawings in addition to a finalThE VOICE also integrated two 5th Coach Game, enabled fans to form their own teams—like fantasy football. sweepstakes contest with a grand prize for a trip for two to Los Angeles to meetinteractive online fan games—The Loud-est Voice and The 5th Coach Game. The game simulated the celebrity coachs’ the winner of season two of “The Voice.” on-show experience by allowing fans to SOCIAL TOASTER E-BOOK MOCK-UP 12
  • 13. Revenge is sweetWith into nowThe promotion required view- who were also tuned into the show, and pulled in Twitter feeds including those to commercials during the show and on various ABC and Revenge websites, theers to actually be tuned into the show— from actors and producers. This real-time package also included a Facebook app,the Into Now app works via audio recogni- viewing experience was a way to encour- premier placement on ABC.com’s “Dis-tion technology and provided viewers with age live viewing of the show, as the rapid cuss” pages which feature Facebook andtrivia quizzes and access to special con- growth of DVR video on demand use has Twitter feeds about the show, and in-showtent produced for the app. Users were en- resulted in networks having a harder time product placement.tered into a sweepstakes to win a week- measuring viewership.long vacation in the Hamptons so viewerscan picture Victoria’s disapproving glare While the show enjoyedoff her Grayson Manor balcony as theytry to fit into high society. The app also The show’s social media pres- decent but not spectacular ratings, the ences were factored into a multimedia show’s strong social media followingallowed viewers to spot Facebook friends sponsorship deal with Lexus. In addition and resulting online buzz may well have factored into ABC’s decision to move the show to the coveted Sunday night at 9 pm slot for fall 2012.(Image source: http://ll.static.abc.com/c/shows/revenge/slideshow/keyart/revenge_624x351.jpg) SOCIAL TOASTER E-BOOK MOCK-UP 13
  • 14. ESPN Puts itsGame face onESPN Puts its GameFace OnThanks to the incredible volume of sports-related tweets that coincidewith almost every major sporting event, Twitter has grown increasinglyinterested in monetizing these interactions. A good example of onesuch partnership was ESPN and Twitter’s “#GameFace” promotion dur-ing the NBA Finals. The goal of the campaign was to get fans to tweetphotos of their best “game face.” At the conclusion of each game, NBATonight analysts will highlight the competition and reveal the winningphotos on-air. The winning photos will also be featured in a photo gal-lery online.The campaign was promoted across Twitter via their Promot-ed Products suite (including a Promoted Trend during the finals) as wellas via @NBAonESPN’s Twitter handle, and at the conclusion of theNBA Finals, ESPN basketball analyst Jalen Rose tweeted his top fivefavorite #GameFace entries before revealing the final winner, who willreceived a grand tour of ESPN headquarters in Bristol, Connecticut. Inaddition to promotion across Twitter, the campaign will be publicized (Image source: http://www.lostremote.com/wp-content/throughout ESPN’s TV networks, and ABC and ESPN’s vast array of uploads/2012/05/gameface1.jpg)web and mobile assets.This partnership represents a unique way for advertis-ers to engage audiences around ESPN’s premier content across allthree screens in a coordinated way. It also will undoubtedly help Twitterin their quest to identify meaningful and successful revenue streams,as well as attract sponsors who understand the opportunity and valuemulti-screen campaigns entail. Additional marquee sports events arealready slotted to run similar campaigns in the future. SOCIAL TOASTER E-BOOK MOCK-UP 14
  • 15. The Balancing ActGoes Full ThrottleLifetime’s The Balancing Act, a in distribution channel for their content while providing meaningful data back to “We wanted to create a way formorning talk show geared towards wom- sponsors to benefit from the social fol- sponsor participants on influencers, reachen is taking branded social entertainment lowing we were generating. When SME and conversions. Viewers will be reward-to a whole new level. They partnered with Digital brought SocialToaster as one way ed for recruiting new super fans, gener-SocialToaster and SME Digital to pro- we could deliver meaningful metrics back ating content sharing from their networkduce sponsored entertainment packages to our sponsors, we couldn’t deny that and driving the most traffic to the Balanc-for their advertisers. The goal is to cre- being able to show an average share rate ing Act website. As part of the campaignate an organic way for paid sponsors to of over 70% for our content would make viewers will be given the opportunity toparticipate in the social channel. The pilot a difference. We are excited about this participate in special contests drivenprogram will air in August with Kraft, one program and look forward to showing through the social channel that integrateof their premier sponsors. The Balancing success for Kraft.” Jamie Kennedy, Social Kraft’s products to win exclusive prizes.Act will build their audience of Super Fans Media Director, The Balancing Act. One lucky winner will even get to partici-through SocialToaster and create a built- pate in a cooking segment on the show! SOCIAL TOASTER E-BOOK MOCK-UP 15
  • 16. whAT dOESTHE fUTURE Of TV HOLD?whAT wILL TV look like in the future? Will our attention still be divided between the big screen and our smaller ones, or willit all eventually evolve back to one channel where we’ll watch shows, interact and consume advertising? Of course, we can’t predictthe future—we’re good but not that good!—but here are a few trends we’re seeing with regard to the evolution of TV: TELEVISION • Online TV models might replace tra- • Audience interaction will shape OF THE ditional TV. This is already starting to hap- content. As we’ve already discussed at FUTURE pen, as witnessed by YouTube’s recent length here, audiences are not content to announcement of a new TV initiative that just passively watch TV anymore. They would add premium channels with content want to interact with each other and with from Hollywood providers. Hulu has also the characters they’re watching on TV. announced they’ll be adding more original Audiences pick the winners in online sing- shows. Ask around to see how many of ing competitions—what about picking the your friends have abandoned their cable ending to a show or a season finale? service in favor of onDemand TV watch- ing online. • Shows will find ways to drive the after conversation. Most shows we’ve • Netflix may become a cable chan- discussed are examples of using social to nel.Netflix CEO Reed Hastings’ revealed drive and almost force live TV watching. that in the future we may see Neflix in- Networks will have to come to terms with cluded as part of a bundled cable pack- the fact that many of their viewers are too age, with 40 percent original content and busy to watch the live show, but still want 60 percent coming from other sources. the opportunity to engage in the social They are still desperately trying to recover conversation. This will require creativity from their price hike mishap. It appears around campaigns so that they remain they may abandon the online model too. relevant even during onDemand viewing. SOCIAL TOASTER E-BOOK MOCK-UP 16
  • 17. ReferencesNeilsen study on relationship between Twitter TV producers guidesocial media buzz and TV ratings: https://dev.twitter.com/media/twitter-tvhttp://blog.nielsen.com/nielsenwire/on-line_mobile/the-relationship-between-social-media-buzz-and-tv-ratings/ Trendrr.TV March Whitepaper --part of a monthly release of Trendrr.TV social TVNeilsen survey about smartphone use dataaddressing the problem of valuingwhile watching TV: media, understanding marketing andad-http://blog.nielsen.com/nielsenwire/on- vertising effectiveness as well as produc-line_mobile/40-of-tablet-and-smartphone- tion resonance through processing social-owners-use-them-while-watching-tv/ data. http://www.scribd.com/doc/88615546/Who’s talking about TV on social media? Trendrr-TV-March-White-Paper http://blog.nielsen.com/nielsenwire/global/social-media-and-tv-whos-talking-when- http://adage.com/article/special-report-and-what-about/ social-tv-conference/facebook-networks- programming-strategy/234651/?utm_TV Guide Survey source=mediaworks&utm_http://www.marketingcharts.com/ medium=newsletter&utm_television/social-media-impres- campaign=adage Facebook wants to besions-fuel-tv-engagement-for-some- part of networks’ programming strategy21272/?utm_campaign=newsletter&utm_source=mc&utm_medium=textlinkTV Goes Social Infographichttp://farm8.staticflickr.com/7057/6831498728_d8cf65d36f_o.png SOCIAL TOASTER E-BOOK MOCK-UP 17

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