Posts Tagged ‘apple’

Despite Post-Election Depression, Social Chatter Around Black Friday Is Mostly Positive

November 23, 2016  |  Media Week  |  No Comments

Despite the negative nature of pre- and post-election social, Americans seem to at least be on the up and up when it comes to shopping. According to an analysis of social conversations conducted by the Marketing Cloud social team at Salesforce , nearly 80 percent of all Black Friday conversation have been positive in nature in the 30 days leading up to it. Salesforce—which so far has tracked 934,000 mentions of Black Friday and Cyber Monday—said 78.6 percent of posts have been positive, with leading topics including deals, the season and online shopping. The volume of social conversation about Black Friday seems to keep growing, with 2016 up 30 percent over 2015. (Last year, overall volume was up 20 percent over 2014.) So who's doing all the shop talk? According to Salesforce, 56 percent of dialog is coming from women. Also notable is that the higher percentage of mentions isn't coming from social-savvy millennials—the largest group has been consumers between the ages of 25 and 34, with the 35- to 44- year-old demographic also contributing more than other groups

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Here’s How The CW Is Forging Its Own Digital Path, Without Hulu

October 3, 2016  |  Media Week  |  No Comments

This week, as The CW begins to debut its season premieres, viewers used to streaming those shows on Hulu will be in for a surprise. The network's five-year deal with the streaming service has lapsed, which means that for the first time, The CW's website and apps will have exclusive in-season streaming rights to its shows like Supergirl , which has migrated over from CBS, Jane the Virgin and The Flash . It's a brave new digital world for The CW, which created its CW Seed digital platform in 2013 in part so it would one day be prepared to go it alone without Hulu. Last week, the network rolled out its CW app on Roku, Apple TV, Xbox, Chromecast and Amazon Fire, and will be amping up marketing efforts to direct audiences to the new digital destinations. "When you know this is the only place you have to go, that makes a big difference, and it helps our business model," said network president Mark Pedowitz. While ABC, Fox and NBC, whose parent companies jointly own Hulu, were able to sell a big chunk of their ad inventory on the streaming service, The CW was not given the same access to Hulu ad revenue. (That did not change when Time Warner, which jointly owns The CW with CBS Corp., acquired a 10 percent stake in Hulu in August.) "We had none of it, and I'm sure a lot of advertisers went there to get our shows," said Rob Tuck, evp, national sales for The CW. "The advertisers had been looking for more from us because our inventory was somewhat constrained, and we now have been able to release it. We've got a lot more available to us, and clients definitely responded. Our digital growth this year was really significant." Sources close to Hulu counter that the company didn't want to pay more to renew its deal, and be required to take on the entire network's portfolio without in-season stacking rights to all episodes of a current season when only The Flash and Arrow were generating meaningful traffic on the site. In addition to being the only network to offer unauthenticated access via its apps ("our median age on digital is 23, and our viewer does not want to authenticate," explained Tuck), Pedowitz and Tuck have reduced The CW's digital ad load this season, from 12 minutes per hour, which mirrored the linear load, to seven-to-nine minutes per hour. "We're trying to figure out what is the right load so that viewers feel that they've had a great viewing experience," said Pedowitz. While The CW ended its partnership with one SVOD, it has enhanced its relationship with another. In July, the network signed a lucrative, multiyear deal with Netflix, giving that company exclusive streaming rights to full seasons of each CW series, beginning just eight days after its season finale. Under its previous CW deal, Netflix did not get streaming access until several months after a season had concluded

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Warren Buffett’s Berkshire Hathaway Takes Stake in Apple Worth More Than $1 Billion

May 16, 2016  |  Variety  |  No Comments

Warren Buffett’s Berkshire Hathaway has revealed it has taken a stake in Apple valued at more than $1 billion. Berkshire Hathaway said in a regulatory filing Monday that it has held 9.81 million shares in the iPhone manufacturer since March 31. More to follow.

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State Farm Is Being Featured in Tonight’s Episode of Black-ish

March 16, 2016  |  Media Week  |  No Comments

Faced with declining overnight ratings and the myriad ways viewers can avoid ads, some brands are beginning to master the art of product placement, and networks are reaping the rewards. Last season, ABC's hit comedy Modern Family produced an episode shot entirely with Apple products. But that integration—in an episode called "Connection Lost"—was not a paid placement. Tonight, another ABC sitcom incorporates a well-known brand into its storyline, but this time, it gets something in return. On Black-ish, advertising executive Dre Johnson (played by Anthony Anderson) persuades his client, State Farm Insurance, to sponsor his son's basketball team, the "State Farm Good Neighbors." The integration, created in partnership with Omnicom agency The Marketing Arm, fits with State Farm's already sizeable footprint in basketball—it's a brand partner of the NCAA, NBA and WNBA.

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Tastemade Serves Up $40 Million Funding Round

December 17, 2015  |  Media Week  |  No Comments

Tastemade has had quite the year. The company, known for its quirky short-form videos in the food, travel and lifestyle space, hit the 100 million monthly active viewer mark, with more than 1 billion monthly views. On Facebook alone, Tastemade grew its audience from around 100,000 fans to more than 5.7 million. This year, the company launched on Apple TV – the only food and travel channel on the platform – linked up with Facebook's Anthology and Suggested Videos, partnered with Spotify on the streaming music company's video service, and landed one of the 15 prized spots on Snapchat's Discover platform . As Tastemade, which was founded in 2012, heads into its fourth year, it will do so with deeper pockets. The video publisher announced this morning it has closed a $40 million Series D funding round led by Goldman Sachs, with participation from existing investors Redpoint Ventures, Raine Ventures, Comcast Ventures, Liberty Media, Scripps Networks Interactive, and Tohokushinsha Film Corporation. With the extra cash in hand, Larry Fitzgibbon, one of Tastemade's co-founders, wants to continue Tastemade's momentum, especially when it comes to working with brands. "All of that work has culminated into us reaching the exact consumer we thought we would at a scale we thought we would as well," said Fitzgibbon. "We are truly becoming the brands for our categories for that audience." Fitzgibbon noted that they're seeing an increased appetite from advertisers who want to appeal to that young, millennial, mobile-first audience

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Q&A: Why the Founder of NY Comic Con Is Bringing YouTube Stars to Agencies’ Backyard

October 29, 2015  |  Media Week  |  No Comments

Look out New York, here comes GloZell, as well as Grace Helbig, Mamrie Hart, Joey Graceffa, iJustine and Connor Franta. The stars of social video will gather in the Big Apple this weekend for the first annual Stream Con . The three-day convention, from the people who brought Comic Con to New York, will kick off Friday at the Jacob Javits Center with an Industry Summit , followed by fan events and a "creator camp" throughout the weekend. Event producer Greg Topalian, president of LeftField Media, spoke with Adweek about the goals of Stream Con and the inspiration from its West Coast cousin. Adweek: Why did you decide to start up Stream Con? Topalian: I couldn't believe that New York City didn't have an event that was a 'con' really dedicated to the YouTube, Vine, Snapchat space. We knew the fan demand was there, but the piece that got really exciting was realizing the business behind it. The ad dollars are flowing towards digital. There are certainly plenty of conferences that talk about the digital revolution and social influencers. We felt like there was an opportunity to combine that type of content but also in a fan-friendly environment. Your events are very fan focused, so how do you tailor that experience towards the business audience? We had a lot of conversations with brands and agencies upfront to say: "What do you want? What do you actually want this to be?" What we heard over and over was, "We're not looking for the big philosophical overview. Get down in the weeds, give us case studies and introduce us to the talent." It was a lot of "We know this is big, we know this is moving, there is not a client on our roster that's not asking about this. Get us the details and connect us with the right people." There is already a major online video conference, VidCon, that takes place in Anaheim, Calif. each summer.

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Study: Game of Thrones Leading the Charge for HBO Now Viewers

April 13, 2015  |  Media Week  |  No Comments

Cutting the cord has created larger viewership numbers for HBO, according to a new study by Amobee Brand Intelligence . The digital marketing and data analytics firm said HBO consumption has increased 85 percent since the network announced it would debut its

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Why Streaming Service Crackle Ditched the NewFronts for the Upfronts

April 9, 2015  |  Media Week  |  No Comments

Xbox, Kindle Fire, Roku, Smart TV—no matter what device you have, you can find Crackle on it. Each month, 18 million users in the U.S. access the Sony-owned, advertiser-supported streaming network to watch a selection of movies and TV shows, as well as a growing number of original series, including Jerry Seinfeld's Comedians in Cars Getting Coffee. But Crackle still has a bit of an identity crisis as it looks to make a name for itself among the likes of Netflix and Amazon. After an erroneous New York Post report in December indicated that Sony—at the time under siege from hackers and seeking alternative distribution for its controversial comedy The Interview—would be releasing the film for free on Crackle, most people said, "What's Crackle?" (In the end, Crackle landed rights to the film next year in the first ad-supported window.) Crackle's general manager and evp Eric Berger, who's also general manager of digital for Sony Pictures Television, is trying to change that. He's taking big swings like commissioning Joe Dirt 2: Beautiful Loser—the first digital sequel to a movie—and pushing original series like the drama Cleaners, starring David Arquette and Gina Gershon, and the thriller Chosen, starring Chad Michael Murray and Rose McGowan. And in his loudest statement yet, he's moved Crackle out of the NewFronts and into the upfronts for the first time this year: on April 14, it will become the first streaming network to present at the upfronts. On the eve of Crackle's first upfront, Berger talked about his bold move, what really happened with The Interview and meeting the challenge of raising Crackle's profile.

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Netflix Spoofs Apple Watch with ‘Netflix Watch’ Parody Video

April 8, 2015  |  Variety  |  No Comments

In a late April Fool’s stunt, Netflix has posted a dead-on parody of the Apple Watch — with a fake announcement of a wrist-bound video device that would let subs stream videos anytime, anyplace. “It’s the vast world of Netflix, right on your wrist!” exclaims the narrator. “Because life is too short to waste precious time not watching Netflix.”... Read more

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Canal Plus Bites Into ‘Hard Apple’ With James Gray

April 8, 2015  |  Variety  |  No Comments

Looking to explore different genre and worlds, French pay TV giant Canal Plus is joining forces with American filmmaker James Gray to foray into “Hard Apple,” an adult-skewing animated series. Gray, whose latest movie, the Marion-Cotillard starrer “The Immigrant” opened in competition at Cannes, will serve as executive producer and will supervise all creative aspects of the series, including the writing.... Read more

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