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Live Sports: Fans' Last Connection to Cable is Fraying

Posted by McKenzie Mann

Wed, Jul 18, 2018

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Earlier this year, I was trying to watch my beloved Patriots play in the AFC East Divisional Championship game while standing in the airport security line. After numerous failed attempts at downloading streaming apps that promised an uninterrupted game, I resorted to real-time game updates in the form of a line with how many yards the ball went each down and a description of the play.

I was frustrated, to say the least—a missed opportunity as we know fostering the right positive emotions is key to building and maintaining loyal and engaged customers.

When I finally made it through security, I went straight to a restaurant where Tom Brady was on every screen. This time, cable television saved the day.

Live sports is one of the last threads tethering people to traditional cable packages. For most other content, consumers have a plethora of services to choose from—traditional streaming like Netflix, premium network streaming like HBO Now, and even broadcast network streaming like CBS All Access. And with Netflix recently becoming the number one choice for television viewing, it’s no surprise an estimated 22.2 million people cut the cord in 2017—a whopping 33% increase from 2016. 

As more consumers leave the traditional model for “à la carte” style, nontraditional services like Yahoo, Facebook, and ESPN are challenging cable providers’ last bastion of sports. While there have been hiccups in some of these services, like poor streaming quality and cutting out of games altogether, the technology is improving and eventually will offer sports fans a legitimate alternative to watch games on.  

To combat this rising competition, CBS and the NFL recently extended their agreement to stream all games on CBS All Access through the 2022 season—safeguarding their rights to the coveted (and profitable) football games, at least for now. 

New technology is disrupting the industry and cable providers will need to adapt and embrace innovation to stay competitive. This is already happening for some. Charter Communications’ Spectrum now offers à la carte channels instead of the traditional comprehensive packages, Comcast has expanded their on-demand library (including full seasons), and DirecTV now offers DirecTV Now, a streaming service separate from their satellite plan. Some major providers are even exploring new verticals to add to their portfolios, as is the case with Comcast’s Xfinity Mobile.

There’s tremendous opportunity for traditional providers as the competition in the digital streaming market heats up. But companies must carefully consider these opportunities—with so many options (and more to come) available to consumers, solutions must impress off the bat, or lose fans to a competitor for good.

We’ve seen this play out in other emerging tech categories, like virtual assistants. As big players like Apple, Google, and Amazon pour millions into making their virtual assistant tech smarter, they need to embrace a new kind of customer-centricity—one that’s built on an understanding of the functional, emotional, and social identity benefits that drive adoption, engagement, and loyalty. To learn more, watch our quick 20-minute webinar and learn how brands can win the virtual assistant war—lessons for any brand experiencing disruption in their category:

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McKenzie Mann is a Project Manager II at CMB. She spends most of her spare time trying to convince her friends that it’s funny to replace the word “man” with “mann.” It's a work in progress, but mann will it be great when it catches on.

Topics: technology research, television, digital media and entertainment research, growth and innovation, emotion

The New Math of Media Disruption

Posted by Lynne Castronuovo

Tue, Mar 13, 2018

 

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During February’s Winter Olympics, NBC tried to measure exactly how many people tuned in to watch the games. This sounds like standard practice—and it is—but this time NBC strayed from the traditional Nielsen system by combining broadcast and cable channel viewership with streaming platform audiences to produce a single number—attempting to account for multichannel consumption

NBC isn’t the only one struggling to get a valid headcount. As I was reminded at last month’s Media Insights and Engagement Conference: no one in the media industry seems to be able to measure the crowd anymore.

The media and entertainment industry has been upended. Viewers are spread far and wide across devices, platforms, and time—no longer huddled around a single television set to watch primetime. We’ve said goodbye to the days of the standard 18-49 year old viewer group.

Further, the explosion of high quality, award-winning content from nontraditional producers like Hulu has fragmented audiences with niche tastes and demographics. There’s programming for nearly every interest.

Conversely, the meteoric rise of programs like Stranger Things underscores the emergence of programs that are beloved by a blend of demographics—from parents to young teens—making it increasingly challenging for advertisers to know what will resonate with such diverse audiences.

From splintering audiences to multichannel consumption, the disruption within the media industry is coming from all sides. It’s become harder for broadcasters to know who and how their content is being consumed and for advertisers to measure the ROI of ad spend. Data is coming in from a variety of sometimes incongruent sources, so it can be challenging to get the full picture.

The media industry needs researchers now more than ever to help uncover who, how, and why content is being consumed. Understanding the who, how, and why is critical for creating content and advertising that will resonate most with viewers and ensure advertisers are targeting  and reaching the right audience.

The changing media and entertainment landscape is daunting, but this is a tremendous opportunity for market researchers to innovate and rise to meet these new challenges. We can’t rely solely on traditional audience tracking methods—we need to dig deeper into the consumer psyche understand how media is being consumed.

The most successful researchers will be those who can balance the art and science of collecting insights—those who can parse vast amounts of data and stitch together a holistic story. I welcome these new challenges within the media and entertainment industry and encourage other researchers to help our clients face them head on.

 

Topics: digital media and entertainment research

CMB + ABC @ TMRE 2017: Attracting Viewers (& Customers) in the Golden Age of Content

Posted by Megan McManaman

Mon, Oct 23, 2017

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We're less than 24 hours into TMRE 2017 and it has been a whirlwind of sessions and great conversations with researchers and marketers from all over the world. If you're not one of the 1000+ people who've converged on Orlando for one of the biggest market research events in the U.S., don't worry—we won't let you miss out. 

This afternoon, CMB's own Judy Melanson and ABC's Lyndsey Albertson presented an in-depth look at how ABC is building a deep understanding of what drives content discovery and what keeps viewers watching! You don't have to be ABC Disney to know how critical it is to gain traction for new products while navigating a market in flux.  As you navigate your customer journeys, amid seismic shifts, are you asking and answering these 7 critical questions?

  1. What does “new” mean to your consumers; what content, products, and materials can you re-merchandise?
  2. Do you understand how your industry’s disruptors are meeting customer needs?
  3. Are you regularly evaluating your schedules to ensure offerings break through and remain relevant?
  4. How well is your brand’s story connecting with your customers’ emotions?
  5. Are you fully leveraging the power of social to engage?
  6. How are your distribution points ensuring relevance and stickiness?
  7. Have you adapted your product availability to better fit with consumer needs (that may be changing due to competitor offerings)?

Learn more about how we're helping leading brands ask, answer and act on the questions that matter, drop us a note or give us a call:

Contact us!

At TMRE now? Stop by Booth 409 to chat! 

 

Topics: conference recap, digital media and entertainment research, customer journey

Hulu's Emmy Win Marks a New Age for Content Creators

Posted by Savannah House

Thu, Sep 21, 2017

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Hulu made Emmy and television history on Sunday night when “The Handmaid’s Tale” took home the award for Outstanding Drama Series. Hulu’s dystopian drama beat out heavy hitters like Netflix, NBC and HBO to become the first streaming service to win the coveted award.

We’ve seen the rapid maturation of streaming services ever since Netflix released “House of Cards” in 2013. It was the first time a streaming service delivered Emmy-nominated original content that could compete and win against powerhouses like HBO and Showtime. And while “House of Cards” put Netflix on a path to become an award-winning and prolific content provider, a best series award eluded them.

That’s not to say that Sunday wasn’t a big night for other networks—HBO snagged the highest number of awards with 29 wins and NBC’s “Saturday Night Live” was the top winning program with 9. But Hulu’s big win is a game changer—securing a seat at the table and putting networks on notice.

The sheer volume of award-winning content means there are literally thousands of quality programs available on every device imaginable. With that sort of competition, how do content creators ensure their programs will get visibility and retain viewers?

Gone are the days of linear viewing—people can access what they want, when they want, and how they want. Empowered consumers are more decisive and critical than ever before. For that reason, it’s important to understand what’s motivating people to discover, watch, and stick with shows.

Next month at TMRE, CMB’s Judy Melanson and ABC’s Lyndsey Albertson will share findings from a comprehensive content discovery initiative that gets to the heart of a viewer’s path to engagement, loyalty, and advocacy. While this is a case study on the disruption within the media and entertainment space, the challenges and solutions will resonate with any brand looking to gain traction with new products while navigating a market in flux.

The shift towards consumer-centricity transcends the entertainment space, but Hulu’s shining moment at the Emmy’s underscores the rise of streaming services as legitimate content providers and the need for all entertainment players to start considering what is motivating their customers if they are to be content kings.

Are you going to TMRE next month? If so, let us know! We’d love to connect you with one of our lead researchers to brainstorm upcoming projects. If you’re not going, tell us know anyway and we’ll send you the ABC presentation!  

Savannah House is a Marketing Manager at CMB whose list of shows to watch is longer than Game of Thrones season 7.

Topics: digital media and entertainment research

Putting Viewers First in the New Media Landscape

Posted by Lynne Castronuovo

Thu, Jun 22, 2017

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While recovering from a recent running injury, I logged A LOT of miles on the “dreadmill” and “helliptical” at the gym—both conveniently equipped with televisions to keep me entertained. Because I was also in the middle of a kitchen renovation, I found particular solace and inspiration in my good friends from HGTV: Tarek and Christina, Chip and Joanna, and the Property Brothers.

I’d grown particularly fond of Tarek and Christina’s “Flip or Flop”, so when I stumbled upon a recent New York Times article about them, of course it caught my attention. Why is it, the author wonders, do these home improvement “stars” now regularly share the covers and pages of magazines previously dominated by Brangelina? Gone are the days of traditional star power and mass appeal programming—as media consumption continues to fragment, niche is the new mass.

Media companies, from networks to celebrity magazines, are having trouble reaching these smaller groups. They’re still fishing in the biggest ponds left, which in the case of HGTV, has a relatively large fanbase in Middle America. But even with the sizable HGTV audience, there’s also the FX and AMC “big-city smarty-pants” groups to think about. With these splintering subgroups, what’s a media company competing for their attention and loyalty to do?

“Do I like these characters?” to “Who do I want to be?”

Traditional programming research focuses on what the viewer thinks about the show’s plot, characters, setting, etc. Don’t get me wrong, these elements are still essential to programming. However, in identifying subgroups based on the content they watch, we need to answer some important questions about identity, namely: “Who do I want to be?”, “Do I want to be perceived as the kind of person who watches this show?”, and “Can I relate to people who typically watch ‘Flip or Flop’?”

As people, we’re motivated by opportunities to reinforce or enhance our identity—it’s an integral piece to who we are. The brands we use (or in this case, the content we consume) can be an expression of identity, so we’re inclined to align ourselves with those that express it in a way that’s meaningful and true. In that vein, we find we can tell much more about a viewer or consumer by asking the identity-centric questions above than something like, “What do I think about the cast of ‘Flip or Flop’?”

This identity-centric framework is the basis for CMB’s identity measurement solution—AffinID. AffinID helps brands understand their target consumers’ image of the typical person who uses their brand (or watches their content) and finds ways to strategically influence that image to strengthen how much consumers identify with the image.

 As competition increases, identity measurement should play a key role to media companies.

So, as the media landscape becomes more fragmented and competitive, and as we continue to see niche groups with particular tastes pop up, media companies need to consider the important role identity plays in viewership—the more a person perceives a show and/or a network's typical viewer as the kind of person they are, they know and like, the more likely they are to engage in it.

This has distinct advantages for content creators testing new pilots—with so many players churning out quality, original content, there’s no room for mediocracy. Prior to pilot launch, creators can measure the identity benefits offered by the show to predict performance, help identify and profile likely viewers, and diagnose potential barriers to viewership.

This approach could be equally helpful to advertisers. Much of the advertising research conducted today is tactical, focusing on ad load and placement. The holy grail is finding what ads are “relevant” and aligned with not only the network, but also the particular program. And as viewers continue consume programming on a number of different platforms, it’s more challenging than ever for advertisers to be sure they’re reaching the right audience or fishing in the right pond.

AffinID can help advertisers identify perceptions of the viewer that drive these positive behaviors, strategically influencing them through the elements/moments featured in the program promos and identifying the ad placements/brand partnerships that make sense for a particular show.

While I won’t be watching Christina and Tarek as much now that I’m running outside again, and have a newly renovated kitchen, they remain important reminders of the future of media consumption. Like celebrities, there are fewer shows with “mass appeal” these days. In order for media companies (content creators, advertisers, etc.) to remain favorable to targeted audiences, they'll need to start looking through an identity-centric lens and consider questions like, “Who do I want to be?”

Lynne Castronuovo is an Account Manager at CMB who enjoys running outside when she’s not cooking meals in her shiny, new kitchen.

Topics: digital media and entertainment research, AffinID