FAN OUT: Netflix Digital Strategy

ASSIGNMENT FOR Skillshare Course:
Crash Course in Digital Strategy
Tutor: @juliancole

FAN OUT EXPANDING THE VIEWERSHIP
DIGITAL RATEGY

BY

PATRICK MEEHAN
@ideas4pleasure
www.iampatrickmeehan.com

2

“ etflix subscribers don’t just
N
sign up for original content
or specific shows, but for
the overall experience...”
– Reed Hastings Netflix CEO

© PATRICK MEEHAN 2013

CLIENT BRIEF 3

THE MISSION To create a unique digital strategy for Netflix
promoting the release of ‘Hemlock Grove.’


BUSINESS OBJECTIVE 4

THE Goal
Increase brand awareness / brand lift of
Netflix amongst horror fans through the
unique experience of Hemlock Grove
by 5% by June 2013.


TITLE 5

Let’s Get A Feel For
The Landscape.


DEFINE: BRAND 6

Service Product


BLAH BLAH
INSIGHTS 7

Netflix Consumer Profile:
Gender: M/F relatively equal (56% F)

BLAH
Age: ~50% of audience between 25-44
Children: relatively equal (56% w/o kids)
Household $$: affluent. 57% earn $100k+, 84% earn $50k+
Education: College grads+ (59%), no college still relevant (41%)

BLAH BLAH
Race: overwhelmingly white (78%)
Data shows consumer’s who binge-view once, binge-view again.
Peak viewing on weekends. Drop off by Wednesday.

BLAH

BLAH BLAH
DISCOVER: INSGHTS 8

Horror Consumer Profile:
Gender: Male dominant.

BLAH
Age: 18 - 24 are the largest target amongst male group.
Behavioural: High susceptibility to excitation transfer process.
Behavioural: xperience both negative and positive
E
emotions simultaneously.

BLAH BLAH
Physiological: ig difference between people that watch/ like
B
horror movies and people that do not.
Psychological: Horror elicit’s strong emotional reactions.
Psychological: he appeal of horror depends on
T

BLAH
characteristics of the viewer, the film, and
the viewing circumstances.

BLAH BLAH
DISCOVER: INSGHTS 9

Consumer Behaviour: We are x3 more likely to have our
viewing habits shaped by social media. (AU)

BLAH
Consumer Behaviour: 59% of people use online video’s to
help inform them of consumer choices. (AU).

BLAH BLAH
Consumer Behaviour: 33% discuss a programme whilst
watching an actual programme (AU)

Consumer Behaviour: People like watching whole seasons rather

BLAH
than small parts of TV shows. (Don’t like waiting.)


BLAH BLAH
DISCOVER: INSGHTS 10

Consumer Curated Content: format is not driven by traditional
programming constraints. Not driven by advertising.

BLAH
Consumer Centric Content: Results in creative and varying
lengths of content. No ads etc etc. Does not adhere to standard
22 or 44min practice on free to air.

BLAH BLAH
Consumer Centric Content: “It’s television on my terms.”

Consumer Centric Content: Enjoy the connectedness with the

BLAH
show or movie and the nuances of the storyline, the characters,
an the obvious convienence of ‘Viewing On Demand.’

BLAH BLAH

Quality Competitive advantage: credible and assured content

BLAH
deals. (Expansive range. Better quality resolution viewing.)

Quality Competitive advantage: Riding benefits from internet
infrastructure (Who doesn’t want faster internet.)

BLAH BLAH
Quality Competitive advantage: Charges at a reasonable and
competitive rate compared to that of cable or pay TV.
($8 p/month vs $70 p/month + programming constraints.)

BLAH

BLAH BLAH

Quality Competitive advantage: As a result of pricing it will have

BLAH
a positive elastic income demand on market since its forecast to
increase consumption by 95% of the next 10years.

Q
uality Competitive advantage: because its investing in

BLAH BLAH
funding and producing content as well and since it has
guaranteed revenue model. This is a long term investment
in the entertainment industry. (Hemlock Grove.)

BLAH

BLAH BLAH

Product Benefit: Previews to a movie are sometimes the best
part. (Costly exercise of bad choice/ misleading ad.)

BLAH
Product Benefit: Flexible, allows us to watch when and where
we like rather than traditional settings (viewing on demand.)

BLAH BLAH
Product Benefit: Data driven entertainment. They know what
we watch, when we watch, where we stop watching, where we
repeat a scene, where we reach for the fast-forward button,
and most critically, when we break off and move on.

BLAH

DISTILL: CORE INSIGHTS 14

READING
BETWEEN
THE LINES
What does this mean???



FOMO
Now its no longer “how” you consume TV, but rather
“how you control” your viewing. Its ‘consumer curated’
consumption. Never ever miss out again.

love hurts
Horror fan’s are “sensation-seeking” viewers.

WORD OF MOUTH
Basically its in our nature to rely on recommendations of peers
and friends to give us information to help make decisions.



POINT IS
BEHAVIOR
COUNTS FOR
EVERYTHING


DATA BANK
Data on the consumer consumption habits illustrates
subscriber habits of viewing (when, what, where...how.)

IMPORTANT ISSUES
Geographically its still predominately a North American
and Canadian service. Given that it relies on the internet...
it should be more global service.
Biggest issue is hardly anyone knows of
Hemlock Groves or its release.

DISTILL: BEST QUESTION 18

Is the market already over-saturated with
supernatural horror entertainment?
© PATRICK MEEHAN 2013 ** IMAGE © HILLARY WHITE

DISTILL: BEST QUESTION 19

how are we going to do
something useful useable
and entertaining???


DISCOVER 20

By tapping into the
psychological affects,
the physiological effects
the behaviour that
drives the obssession
towards horror viewing.


CORE STRATEGY 21

SHOW
TELL

BRIEFING 22

Strategy:
Show and Tell the excitment and the experiences of
sensation viewing through Hemlock Grove.
Insight:
LOGO Horror is designed to elicit strong emotional reactions
from viewers and it gives us an outlet to rationalize and
face our biggest fears and taboo thoughts.
Proposition:
Face your Fears with Helmock Grove on Netlfix.
Reason’s to Believe:
We’re still sitting around the campfire telling stories.
The fire’s become a movie screen and the darkness
is still outside us, around our backs.
The horror still goes to the heart of that situation,
its a source of shared experience.


IDEA: FOUNDATION 23

Once you start there is
THERES NO TURNING BACK
We’re going to play our cards to those
voyeuristic tendencies and peverse
pleasures of masochism. That condition
of putting oneself through the titilations
and excitements of frightening, threatening
and truamatizing situations.


THE BIG IDEA 24

(Yes, I know its an oxymoron!)

...
IMAGE © GLUE SOCIETY REVOLVER FILMS

THE BIG IDEA 25

Because horror fans ‘love’ their horror
and all the unpleasantness that goes
along with it.

So what’s the worse thing that could
happen to a horror fan???


THE BIG IDEA 26

Someone F@$#! with the things you love.

annoying!
frustrating
UNPLEASANT


THE BIG IDEA: EXPLANATION 27

We’ll create a interactive campaign
driven by the possibilities and
‘emotional contagion’ effects from
being terrorized and horrified but also
enjoying them too.


28

Its intriguing. It’s engaging,
And it’s peverse pleasure at it’s best.


THE BIG IDEA: HOW IT WORKS 29

1. Suspense: Short, sharp messaging. Excitement emotional connection

through tactically placed viral messaging and short content.
Build dramatic tension and momentum.

2. Intrigue:
More motivation – give them something; ‘The Deal’, to watch
the show free for 13 hours + access to extra content.

3.Terror: them the twist – The paying subscribers get the ability
Tell
to ‘toy’ with your viewing pleasure through a series of digital
torture and scare tactics. Whilst paying subscribers get the new
product the ‘Scaretime’ wristband.

4.Horror: The Premiere – ‘Scaretime’ wristband for paying subscribers
to that measures your physiological experience; heart rate,
adrenalin spikes and feed you back the data.

5.Obsession: isualized data to show you where and at what point you
V
were actually feeling; scared, excited, disgusted etc etc.

THE BIG IDEA RECAP 30

So what we’re doing is giving the viewers
what they want from a horror show;

An interactive experience;
– Something they can relatable too.
– fresh form that is linked and relevant to
A
the journey and genre of the show.
– journey they can contribute too
A
and engage.
– ccess to more than just a show....
A
Interesting content/ experience.
– omething that goes to the core of why
S
you watch horror (understanding.)


THE BIG IDEA CHECKLIST 31

� IS IT USEFUL

� IS IT USEABLE

� IS IT ENTERTAINING


COMMUNICATION FRAMEWORK 32

Intuative cross-channel marketing
Less about ‘selling in’ a channel, but selling ‘through’ a channel.


COMMUNICATION FRAMEWORK MODEL “I need a new horror show to watch.” 33
Face your fears. We know what you want. Do you?
AWARENESS

CONSIDERATION

REACTION
BUYING BUYING
“This looks okay. Maybe.” “This looks crazy!”
Indulge those tendencies We know exactly how you feel,
BUYING BUYING would you like to see more?

BEHAVIOR
“It’s just another horror show. I’ll just torrent it”
We’ll give it to you for free for 13 hours only.

COMMUNICATION FRAMEWORK MODEL 34

AWARENESS

“It’s just another horror show”

“Have you seen how
crazy this looks”
CONSIDERATION

REACTION
BUYING BUYING

BUYING BUYING

“I wonder if it’s any good?”

“I love that feeling I get
from watching horror”

BEHAVIOR

MEDIA DIGITAL ECOSYSTEM 35

Awareness
Why Twitter Vine:
– Foundation short-form content application.
– horter the message, the better the response
S
from your target audience.
– Short-form video content app embedded in Twitter.
– Introduce new content (micro preview)
– Create short stories that address news or new content.
– A glimpse of your full length content.
– Eli Roth skills in short period (suspensful.)
– No one is using it for horror atm...Pioneer of channel.



Awareness
Why Integrated Facebook:
– Ability to connect directly to profile info for content.
– To develop socially interactive experiences into the mix.
– Mobile ready.
Why Augmented Reality:
– Bridge offline to online (digital streams)
– Interactive doesn’t just mean online!!!
– Trigger a ‘experiential’ TTL experience. Digital core.
Why Web Banners:
– We’re only using tactically placed banners to create awareness.
– Position on underground culture and sympathetic sites.
– Possibly trigger AR content or tunnel journey throught too...
– Cause its trackable.


BEHAVIOR
Why Youtube:
– Current habit for trailers.
– High traffic content site.
– HUGE reach.
– Annotations and overlays for continuing journey.
Why Spotify:
– Free On-Demand-Listening service integrated to Twitter Fb
– Music is another stimuli that parallels well with Video.
– PR the showthrough access to soundtrack.
Why Data Product:
– Real time data gather.
– Insightful; measures consumer experience directly.
– Novel, useful and differeniating.


Vine

Twitter
Augmented
Reality
AR

WEB Microsite
Banners

Integrated
Integrated Mobile
Mobile Microsite
Microsite
Youtube
Spotify

© PATRICK MEEHAN 2013 Dataveillance Product

KPIs 39

RETENTION
+5% increase in subscriptions from the campaign in 4 months.

PURCHASE
80,000 extra viewers at first drop
Overall 23,000 extra subsribers throughout.

PREFERENCE
20% increase in viewership of first two episodes
5.6% increase in average viewership through series.
2.5 % increase in current subscriber engagement

CONSIDERATION
286,666 qualified visitors

AWARENESS
5% Increase in brand awareness of platform
21,927,500 impressions from the tri-network of paid media
120,000 YouTube views.

BUDGET 40

$1,480,000 Production =
Data Product + Data Tracking = $500,000
$70,000AR / HTML5 Microsite =
$50,000
Integrated Fb Mobile Micro =
$50,000 Vine Twitter* =
$30,000Rich media / Banners =
YouTube Trueview = $30,000
$10,000 Spotify =
(5% of Hemlock Grove Production cost) Total = US$2.25M


TIMEFRAME 41

Pre-Release march 2013

Display.
Anaylze.
Track.
Record.
Share.

Post-Release JUNE 2013

NETFLIX DIGITAL STRATEGY 42

GOAL
Increase brand
STRATEGY
Show Tell the experience
awareness of Netflix and the excitment of sensation
amongst horror fans viewing through hemlock grove.
through the hemlock
grove experience.

KPI’S TACTICS
+5% Increase in subscriptions from campaign. Spatial P2P conversation. Less linear.


REFLECT 43

“IF YOU WANT SOMETHING YOU’VE
NEVER HAD, YOU NEED TO DO
SOMETHING YOU’VE NEVER DONE”

Assignment for Skillshare Course:
Crash course in Digital Strategy
Tutor: @juliancole
Assignment:
Patrick Meehan
@ideasforpleasure
© PATRICK MEEHAN 2013 www.iampatrickmeehan.com

FAN OUT: Netflix Digital Strategy

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