Posts Tagged ‘ratings’

With Its Total Audience Measurement Delayed, Nielsen Will Share More Connected TV Data

March 23, 2016  |  Media Week  |  No Comments

Networks will have to wait a few months longer for full access to Nielsen's new Total Audience Measurement data, but in the interim, the company is preparing to share more information about usage of connected TV devices like Roku and Apple TV. Nielsen announced today that beginning April 25, it will make brand-level data available from connected TV devices, including streaming video devices and game consoles—Roku, Apple TV, Amazon Fire TV, Google Chromecast, Xbox, Sony PlayStation and Nintendo Wii—as well as enabled smart TVs. This will allow clients to track how many homes across the country own TV connected devices and which brands, and how those numbers grow over time. Clients will be able to determine how much time people spend with devices overall and link program viewing to those specific devices. The company is also creating a new metric called Total Use of Television (TUT), which adds connected TV usage to linear usage for what Nielsen calls "a complete view" of TV usage. "Our device breakout data will report how much viewing to a particular network, program, episode or telecast came from a particular device type or device brand for measured content," said Sara Erichson, evp, client solutions and audience insights.

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Little Big Shots Draws 14.8 Million Viewers, and NBC Looks to Cash In With Advertisers

March 14, 2016  |  Media Week  |  No Comments

NBC is used to dominating broadcast ratings on Sunday nights, but it usually only happens during football season. The network's Sunday fortunes routinely dry up once Sunday Night Football signs off for the year. But NBC felt like Christmas (or the next NFL season) came early when it looked at this Sunday night's ratings. The debut of Little Big Shots, the Steve Harvey-hosted variety show that showcases talented kids, drew 14.8 million viewers overall and a 2.8 rating in the 18-49 demographic (which translates to around 3.56 million viewers). It was NBC's most-watched regular Sunday entertainment telecast since March 13, 2005, when an episode of Law & Order: Criminal Intent attracted 15.7 million viewers. The total viewer ratings improved on the show's post-Voice debut on Tuesday, when 12.8 million viewers tuned in and it had a 2.9 rating among 18- to 49-year-olds. It marked the first time NBC has won an in-season Sunday outright among broadcast networks in the 18-49 demo with a full night of entertainment series programming since April 8, 2004 (when the lineup consisted of Dateline, a Law & Order: Criminal Intent repeat and Crossing Jordan). And while most new shows lose viewers during the hour, Little Big Shots actually gained audience in its second half, jumping from a 2.6 demo rating to a 3.1. Now, with a surprise midseason hit on its hands—one that could help NBC hold on to the coveted 18-49 demo crown for the third year in a row —NBCUniversal's ad sales team has six episodes of the series left to try and cash in with advertisers. "We still have a little bit of time to do something fun, and we're certainly going to be out there in the next week or two trying to find people in the scatter market that are interested in figuring that out," said Dan Lovinger, evp, entertainment ad sales group, NBCUniversal. "But the last thing we want to do is something hasty that isn't well thought out

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The Oscars Draws Its Smallest 18- to 49-Year-Old Audience in at Least 20 Years

February 29, 2016  |  Media Week  |  No Comments

Finding out how Oscars host Chris Rock would address the #OscarsSoWhite controversy didn't prove to be enough of a draw for audiences Sunday night. Just 34.3 million total viewers tuned into the 88th Academy Awards on ABC, according to Nielsen fast nationals. The telecast pulled a 10.4 rating among adults ages 18 to 49, which translates to around 13.2 million viewers in the demo. If those numbers hold when final national ratings are released Tuesday morning, it will be the smallest 18-49 Oscars audience in at least two decades. The previous low came last year, when just under 14 million tuned in. In total viewers, the ceremony looks to be the third lowest rated Academy Awards telecast since 1974, which is as far back as Nielsen has telecast data for. Only the 2003 ceremony (33 million) and 2008 (32 million) had lower ratings. In 2005, when Rock last hosted, 42.1 million people tuned in. Last year, 37.3 million watched Birdman win best picture.

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Grease Live Draws 12.2 Million Viewers, Making Fox’s First Live Musical a Hit

February 1, 2016  |  Media Week  |  No Comments

Fox has chills, and they're multiplying. That's because Grease Live, the network's first foray into the live musical genre that NBC has owned since 2013, was a huge success for the network Sunday night. Grease Live attracted 12.2 million viewers and a 4.3 rating among adults ages 18 to 49, according to preliminary Nielsen numbers. That tops the 11.5 million viewers and 3.4 demo rating for NBC's The Wiz Live in December and comes close to the numbers for NBC's biggest live musical: 2013's The Sound of Music Live, which drew 18.6 million total viewers and a 4.6 rating in the demo. The show was particularly strong among younger viewers, with a 3.7 rating in adults 18-34 and teens. The teen rating was 23 percent higher than Sound of Music's numbers, Fox noted. (While the network has stopped reporting live-plus-same-day ratings , it makes exceptions for live events like Grease.) The ratings are also good news for Coca-Cola, which sponsored Grease Live with period-appropriate integrations and also ran three spots during the show. Grease Live's success is one last win for former Fox chief Kevin Reilly, who green-lit the musical in April 2014, less than two months before he stepped down. "The truth is, Grease was ordered before we came to the network. We were thrilled with it and embraced it," Gary Newman, co-CEO and co-chairman of Fox Television Studios, told Adweek last month. While there were plenty of questions leading up to last night's musical—How would the rainstorm pelting Los Angeles impact the show, part of which was set on the Warner Bros. backlot? Would Vanessa Hudgens, who played Rizzo, be able to carry on after the tragic death of her father a day earlier?—audiences were most dazzled by the technical wizardry of director Thomas Kail, who also helmed the Broadway sensation Hamilton. The show had 1.2 million tweets, with the most-tweeted minute occurring at 8:31 p.m. ET, after Boyz II Men sang "Beauty School Dropout." The most TiVo'd moment came at 9:26 p.m., when Sandy (played by Julianne Hough) stands up for Rizzo, who sings "There are Worse Things I Could Do." In addition to Kail's euphoric camera work, the show was given an energy boost by the inclusion of a live audience, which have not been a part of NBC's musicals. "It's just one of the ideas we are doing to sort of burst open the genre of a live television musical," said executive producer Marc Platt. The production took over two soundstages and half of the Warner Bros. backlot, where the finale's carnival scene took place

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In a Good Sign for the Super Bowl, CBS Celebrates Highest-Rated AFC Championship in 29 Years

January 25, 2016  |  Media Week  |  No Comments

Peyton Manning's nailbiter victory over Tom Brady helped drive Sunday's AFC Championship game to its highest ratings in 29 years, according to early estimates from Nielsen. In early numbers, which will be adjusted and updated later today, CBS said the AFC Championship—in which the Denver Broncos held off a last-second comeback attempt by the New England Patriots, to win 20-18—was the highest-rated telecast since last year's Super Bowl, which drew 111.4 million viewers and a 49.7 rating in adults 18-49 . While those numbers were likely boosted by East Coast residents snowed in for the weekend by Winter Storm Jonas, they are music to CBS' ears as the network gears up to air Super Bowl 50 on Feb. 7. With an average overnight household rating of 31.8, the game was the highest-rated AFC Championship in 29 years, since the Denver Broncos beat the Cleveland Browns in overtime in 1987. The household rating was 19 percent higher than the NFC Championship game which followed on Fox, and up 31 percent from last year's AFC Championship game, which aired in the later, prime time slot. That should translate to more than 50 million viewers when updated figures are available later today. 40.7 million (14.3 rating in 18-49) watched last night's NFC Championship on Fox, where the Carolina Panthers streamrolled the Arizona Cardinals, 49-15. A reported 20.6 million stuck around for the postgame, and 13.5 million (5.1 in 18-49) watched the 10:30-11 portion of The X-Files, which because of an usually long postgame, didn't start until around 10:24 p.m. ET. It's a solid start for The X-Files, which Fox is betting will reverse the recent spotty track record of revivals and reboots . The second episode airs tonight at 8 p.m. ET/PT, the show's regular time slot. As part of the show's elaborate marketing campaign , Fox ran spots during every NFL game this season, touting the show's post-NFC Championship premiere. Its series finale in 2002 drew 13.3 million. That is an improvement upon Fox's post-NFC Championship programming two years ago, the Season 2 premiere of its Kevin Bacon drama The Following, which drew 11.2 million total viewers and a 4.4 rating in 18-49

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Nielsen Will Add Facebook to Its Social Ratings to Measure Conversation Around TV

January 20, 2016  |  Media Week  |  No Comments

For nearly three years, Nielsen has been measuring the social conversation around TV shows— but only on Twitter . Now, as it faces increased scrutiny over its ability to accurately measure how many people are watching TV, the company has decided to add Facebook to its social ratings. Nielsen plans to make the new data, which it's calling Social Content Ratings, available in the first half of this year. The new ratings will incorporate all Facebook posts, including those shared with friends and family, with followers, and publicly, and are expected to be available in markets where the company's Twitter TV Ratings service currently is (the U.S., Australia, Italy and Mexico). Nielsen also plans to eventually integrate data from Instagram. "The development of Social Content Ratings reflects Nielsen's commitment to continually adapt our services to meet the needs of the industry and is part of Nielsen's ongoing effort to evolve our measurement to reflect the total audience across screens and platforms," said Nielsen Social president. "Nielsen Social measurement is evolving to provide a comprehensive, standardized picture of how consumers are responding to program content through social media, wherever and whenever." The increased data should give networks and other content providers a better gauge of how effective their social marketing strategies are and insight into the relationship between social activity and tune-in.

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Symphony Brushes Off Netflix Attacks on Its Ratings Metrics

January 19, 2016  |  Media Week  |  No Comments

If Netflix was hoping to intimidate Symphony Advanced Media into submission when it blasted the company's data —which, for the first time, revealed how many viewers are watching Netflix's original series —it is going to have to switch to Plan B. Symphony Advanced Media told Adweek today it is standing by its metrics, which Netflix's chief content officer Ted Sarandos derided as "remarkably inaccurate data" that "doesn't reflect any sense of reality of anything that we keep track of." Despite Sarandos' scoffing, "we have confidence in our data," said Laura Bernstein, Symphony's svp of client solutions. She said that Symphony's multiplatform measurement tool, VideoPulse, also measures broadcast and cable programming, and the company's partners and clients—which include NBCUniversal, A+E Networks and Viacom—have said Symphony's numbers echo the data they receive from other ratings sources like Nielsen. "There's some variation—there's different methodologies to data collection—but for the most part, we're very in line with other published numbers and with what our clients would expect. So our methodology is where people would want it to be on the broadcast and cable, where there is a comparison, which gives us a lot of confidence in what we're seeing in the streaming originals," said Bernstein. NBC kickstarted Symphony's battle with Netflix last Wednesday, when NBCUniversal's ratings guru Alan Wurtzel shared Symphony's Netflix data with reporters during the Television Critics Association's winter press tour. Wurtzel claimed Netflix doesn't yet pose a "consistent" threat to broadcasters. To make his point, Wurtzel incorporated data from Symphony Advanced Media, which has been tracking Netflix ratings metrics for the notoriously tight-lipped streaming service with VideoPulse, the multiplatform measurement tool Symphony unveiled last September . (Symphony does that by using automatic content recognition, or ACR, software embedded on a mobile app to recognize and match a program's audio files, as well as URL matches for streamed content. The company also sends a targeted survey to its panelists twice a week, asking which platform they watched specific programs on, to determine whether a show like Quantico was viewed via Hulu, VOD, or DVR.) Among the Symphony data that Wurtzel shared: Each episode of Marvel's Jessica Jones averaged 4.8 million viewers in the 18-49 demographic within 35 days of its November premiere. Master of None drew 3.9 million in the demo and Narcos was third with 3.2 million. Sarandos returned fire on Sunday, blasting Symphony's methodology and data. "It's a bold statement for them to make," said Bernstein of the company's response. "We've never had a conversation with Netflix, so I'm not even familiar with what they know of our methodology." And while Sarandos argued that the 18-49 demo "means nothing" to Netflix, Symphony counters that the demographic is in fact incredibly important to the industry. "It's the demo that matters to the people who are selling advertising, so I do think that makes it an important demo," she said.

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Millennials Are Watching More TV on Hulu This Fall and Less When Shows First Air

November 20, 2015  |  Media Week  |  No Comments

Millennials are still watching new episodes of television shows this fall—it's just taking them longer than ever to do so. Adults ages 18 to 34 are increasingly turning away from live TV to time-shift programming on platforms like Hulu, according to new insights from data technology and research firm Symphony Advanced Media (SymphonyAM). The study, which looked at fall season programming through Nov. 1, found that millennials are only watching live TV 30 percent of the time. They're also spending 30 percent of their time watching programs outside of Nielsen's live-plus-3 and live-plus-7 measurements, including OTT programming, VOD beyond three days after an episode's premiere and DVR more than seven days after a show airs.

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3 Things to Know about Donald Trump’s SNL Hosting Gig

November 6, 2015  |  Media Week  |  No Comments

Donald Trump will host Saturday Night Live this weekend for the second time, but this will be very different than his 2004 appearance, when he was a part of the NBC family as host of The Apprentice. NBC dumped Trump in June, but the GOP presidential candidate is back at 30 Rock and will take the stage live from New York on Saturday night. And not everyone's happy about it. While Trump is by far the most significant candidate to host the sketch comedy show in the midst of an active campaign, he isn't the first. Steve Forbes hosted while he was running for the Republican nomination in 1996, and Al Sharpton took his turn in 2003 while running as a Democrat. Here are some 3 things to look out for on Saturday night: 1) An FCC Rule Could Mean Headaches for NBC Affiliates A candidate cameo on SNL is par for the course, but usually it's no more than a skit, or a Weekend Update appearance, such as Hillary Clinton's turn as "Val the Bartender" on this season's premiere. But as host, Trump will be front and center throughout, and it could trigger an FCC rule regarding the amount of airtime candidates are allowed on non-news programs. The FCC's equal time rule states that broadcast and radio stations must provide an equivalent opportunity to any opposing political candidates who request it. NBC stations could be forced to fork over a significant chunk of airtime as a result. Don't be surprised to see other campaigns adding up Trump's airtime and asking for an equal amount. When Sharpton hosted during the 2004 campaign, several NBC affiliates refused to carry the episode for that reason. 2) It's Live, and Someone Might Want to Make a Statement Trump's hosting gig has angered many people, particularly some in the Hispanic community, in the wake of his degrading comments about illegal immigrants. On Thursday, a coalition of Latino advocacy groups staged a protest outside NBC's headquarters. Protester sign at small rally for #SNLDumpTrump — Tanzina Vega (@tanzinavega) November 4, 2015 The Hispanic Federation, the Labor Council for Latin American Advancement (LCLAA) and the League of United Latin American Citizens (LULAC) are planning to march from Trump Tower to 30 Rock ahead of the broadcast. A Latino Rights PAC called Deport Racism is offering a $5,000 "bounty" for any audience member who disrupts the episode by yelling out "Deport racism!" or "Trump is a racist!" SNL is no stranger to controversy, and airing the show without the safety net of editing—it is live, after all—only further leads to the possibility that something unexpected might happen. It might not top Sinead O'Connor ripping up a picture of the Pope, but Trump is a combustible figure and there could be those who see an opportunity to make a statement. 3) NBC Will Do "Yuuuge" Ratings Trump has already boasted that his hosting stint will result in massive ratings for NBC, and he's probably right. As the three Republican primary debates have proved, Trump brings in viewers whether they like him or not.

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New Data Shows Just How Much Advertisers Are Paying for Commercials in Late Night

October 19, 2015  |  Media Week  |  No Comments

Networks and advertisers typically spend every fall focused on the new prime-time lineups. Not this year. All eyes are on late night, and with good reason. "Outside of sports, it's the strongest area of television from an ad-supported perspective," said Chris Geraci, president of national broadcast at OMD. When Jimmy Fallon took over from Jay Leno as host of NBC's Tonight Show in February 2014, his immediate success at 11:30 p.m. "rejuvenated the daypart," said Geraci. This fall, late night has been revitalized yet again, with the arrival last month of The Late Show with Stephen Colbert on CBS and The Daily Show with Trevor Noah on Comedy Central. Those two launches capped a turbulent 19-month period in which every nightly talker with the exception of ABC's Jimmy Kimmel Live welcomed a new host. As the dust settles on the latest late-night moves, advertisers find themselves with a more enticing (and younger-skewing) audience than they've had in years, and they're paying to reach them. According to SQAD NetCosts, which tracked quarterly 30-second ad prices in the adult 18-49 demo, CBS has doubled the rates The Late Show got as David Letterman was winding down his reign.

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