YouTube Announces Original Programming

YouTube has decided to make a bigger investment in original programming. One year after creating originals for its YouTube Red subscription service, it’s creating ad-supported original programming that everyone can view. At its YouTube Brandcast event tonight in New York City—an annual event that takes place during NewFront Season—YouTube CEO Susan Wojcicki and CBO Robert Kyncl announced the company is working with a handful of proven commodities—Ellen DeGeneres, Kevin Hart, Ryan Seacrest, Demi Lovato, the Slow Mo Guys, and Rhett and Link—to create original series. Speaking to an audience made up of thousands of advertisers and agencies, Kyncl plugged the programming as a way for advertisers to find a home is a streaming world increasingly dominated by ad-free SVOD originals.

DeGeneres’s program will be called Ellen’s Show Me More Show, and will bring viewers backstage with celebrities. Hart’s program will be called What the Fit?, and will show the fitness-loving comedian taking part in unusual fitness regimens. Other originals include Seacrest’s Best.Cover.Ever, Lovato’s I Am: Demi Lovato, Rhett and Link’s Good Mythical Morning, and the Slow Mo Guys’ The Super Slow Show. You Tube will also create an original special with Katy Perry. YouTube didn’t offer details on its financial investment in these programs.

This year’s newfronts have been dominated by brand safety conversations thanks to YouTube’s recent disaster where it ran major brand ads on videos from hate groups, leaving publishers working extra hard to assure advertisers that their content is brand safe. Wojcicki addressed the issue early in her Brandcast presentation, offering an apology and a pledge to do better.

“The last several weeks have been challenging for some of you,” Wojcicki said, promising YouTube will put more controls in place and work with trusted third-parties like ComScore to create a “stronger and better platform.”

At the 2016 Brandcast, Wojcicki said YouTube was visited by more 18- to 49-year-olds in a month on mobile devices than any cable or broadcast network. This year, she added that even during primetime YouTube is visited by more 18- to 49-year-olds on mobile than any network. In all, YouTube is watched by over 1 billion people worldwide, she said.

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Digital advertising insights as the market reaches attention saturation

Digital advertising will capture 77 cents of every new ad dollar this year and will surpass TV advertising in five additional countries, reports GroupM in its annual Interaction Report. Rob Norman, global chief digital officer and author of the report, addresses the value exchange between the user and the advertiser. Norman points to new revelations in today’s advertising model, “Attention is a reward not a right. Useful advertising is a function of relevance which in turn is a function of time, place, context, cognitive targeting and creation, and actionability.”

Once again, overall daily media usage grew by nine minutes in 2016, to a total of eight hours. Mobile and its many devices drove the increase with a 14-minute increase of time online. In this report, GroupM states that the 2017 forecast appears to be approaching a point of saturation. They see this period as a time of two distinct challenges: peak advertising and peak segmentation. Peak advertising refers to a state of reduced commercial interruption and peak segmentation is the point at which the value of user data cannot be converted in value. Both of these challenges can offset advertising results, for example when inefficient allocations counterbalance detailed targeting precision.

GroupM media snapshot offers key insights on digital platforms and marketing practices. These include:

Advertising paradigm shifts

GroupM recommends that every brand have data and every brand have a data story. Without a data story, a brand lacks discovery, relevance and algorithmic referred platforms. Today there are also expectations of augmented reality and data overlays. Consumers expect brands to have a voice (which may soon be powered by artificial intelligence) to increase consumer interaction, both structured and unstructured.

Many market channels are experimenting with limited commercial interruption on a whole, or within individual programs. The thinking here is the less cluttered an environment, the higher the recall, the more an advertiser is willing to pay the premium that offsets the reduction in inventory. And further, the better the advertising, the more native to its environment, the even better and improved recall. This thinking warrants creative advertising content to be easily placed inside programming and network context.

Media options:

TV with commercials, as we know, will continue to exist. However, commercials will be more creative with skippable options.
A middle ground of mostly short form commercial content will be traded with guarantees on view duration and “sound on” consumption. GroupM’s current standard will continue to apply; human verified exposure to 100% of the video window, audio on and 50% of the ad viewed.
An entirely new creative category that values both time and attention with the opportunity scale and share.
Platform profiles

Google/YouTube/Google Preferred

Google/YouTube/Google Preferred want to change the idea of the “forced view” advertising television paradigm, which is the forced completion of a commercial. In contrast, Google’s TrueView counts viewing only after a video ad is clicked on or after completed viewing or viewing of the first 20 seconds. The video ad length has no limits, it can be longer than 30 or even 60 seconds and the advertiser only pays for the ads the consumers choose to watch.

Combining the viewership data with all of Google’s other data, provides a robust and detailed report of an opt-in view. Despite YouTube’s success, it has not achieved the watercooler moment of significant simultaneous reach. Consequently, YouTube is often used as a compliment to TV and not a replacement. Even Google Preferred, an aggregation of its highest quality content, has difficulty building scale. The impressions are often placed in questionable content causing marketers concerns.

Facebook/Facebook Video Live

Facebook’s video product is questionable as an advertising vehicle given unease with auto play and sound off. Unfortunately, the consumer’s news feed is now being populated by content that is not necessarily of interest. GroupM shares their Moat data which implies that for every 20 video ads served in the news feed, three are watched for three seconds or more and just one is watched for ten seconds or more. Facebook believes that even minimal exposure has value. However, advertisers need to factor into their own valuation of the platform’s performance to accurately reflect actual video ad consumption.

Facebook’s Live video inventory is familiar to the advertiser because the ad frame is content rather than just the user interface. These ads are initiated by the producer of the content with Facebook determining which ads are seen.

The challenge of measurement is huge with the need to identify and share who watched what, where, for how long and on what device. This is a necessary building block to assess ad and audience value.

Over-the-Top (OTT) or Connected TV (CTV)

Over-the-Top (OTT) or Connected TV (CTV) refers to “television” content delivered via streaming over the internet to a smart TV, streaming Player (such as Apple TV, Roku, Chromecast, Amazon Fire TV) or gaming console. OTT services offer consumer choice, new distribution for program and channel owners and new opportunity for advertisers. The OTT inventory is currently limited but becoming more targetable and measurable. OTT offers an opportunity to reach quality content in a brand-safe and on-demand environment.

A hybrid service combining on-demand and live linear television, called skinny bundles, has a number of strong players in the marketplace; AT&T, Turner, Google, Verizon, Hulu, CBS, Sony and Sling (Dish Network). The premise here is that consumers via their broadband connection can access a reduced channel line-up for a fraction of their original cable bill. The monetization of skinny bundles is based on subscription sales, highly targeted advertising (at a higher cost to marketers) minus the network transmission fees.

Audio on-demand and streaming

Spotify is an online on-demand music collection with the added the ability to find playlists from others, to customize your own and download music for offline listening. Spotify is generally recognized as the global market leader with 100 million users and 40 million subscribers. Pandora, on the other hand, is more about music discovery and a radio service. Pandora decodes music on hundreds of vectors and uses it to create custom “stations.” Pandora also launched an on-demand service (including offline downloads) bringing it closer Spotify’s model. Neither Pandora nor Spotify are profitable, as about 80% of their revenue is returned in royalties to artists and labels. Pandora and Spotify revenue models include subscriber fees and advertising revenue.


The merger of AOL and Verizon offer the world’s third largest aggregation of ad impressions with scaled “channels” in news, sports and finance, and significant ad tech assets and first party data from Yahoo Mail. While it may not challenge the duopoly of Google and Facebook, it could be, if executed properly, a strong offering for advertisers.


Twitter is a unique environment for brand video advertising and for brands to be an immediate and timely connection to consumers. While Twitter’s social significance is unquestioned, it still has not established itself as a profitable entity.


Snapchat has over 100 million users. It is the first of the internet mobile giants to offer a multimedia person-to-person communication experience. The Snapchat Lens is the most innovative digital ad product since the keyword and the news feed. It’s native to the platform and the ability to offer brand assets in user communication makes earned media that much more powerful.


Pinterest has approximately 150 million monthly users with approximately half residing in U.S. People use the platform to collect and share images. While often used by hobbyist, it also presents highly commercial and monetizable categories like fashion, food, design and crafts. Pinterest users “pins” (picture postings) of what they like and also learn about what they do not know much about from other user pins. This duality offers a unique advertising opportunity to reach different audience across the lower, mid and upper marketing funnel.

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The global state of digital advertising in 5 charts

Digital media advertising may still be dogged by issues like fraud, brand safety and dodgy measurement, but that’s not stopping the flow of ad dollars.

Digital advertising is expected to account for 77 cents of each new ad dollar in 2017, according to GroupM’s “Interaction 2017” report, out this week. Unsurprisingly, Google and Facebook are leading the pack. More than two-thirds of global ad spend growth from 2012 to 2016 came from those two companies.

In 2016, Google and Facebook swallowed 20 percent of the entire global media advertising pie, according to Zenith’s “Top Thirty Global Media Owners” report, also out this week.

And yet, a little sheen may have come off that lately, for Google at least. Confidentially, agency reps say Google has taken more of a hit from the YouTube crisis than it has admitted publicly. “There has been significant fallout from advertisers pulling spend from YouTube,” said one media agency CEO who spoke on condition of anonymity. “There are a lot of advertisers who would normally spend on YouTube who are still not. Google’s numbers are under pressure quarter on quarter.”

Here’s a look at the current state of global advertising spend, in five charts.

Google and Facebook set the pace
Google, under its holding group Alphabet, still leads Facebook, gobbling up $79.4 billion (£61.4 billion) in ad revenue in 2016, three times more than the social network, which took $26.9 billion (£21 billion) last year. In third place was Comcast, which took $12.9 billion (£10 billion) in ad revenue, according to the Zenith report.

Digital-only media owners took a decent chunk of the top 30 slots for biggest media owners by ad revenue. Among them were Verizon, Twitter, Yahoo, Microsoft and Baidu, which together generated $132.8 billion (£103 billion) in online ad revenue in 2016 — 73 percent of all digital ad spend and 24 percent of global ad spend across all media, according to Zenith.

“Zenith’s new ranking demonstrates just how much the internet advertising platforms are setting the pace for global ad spend growth,” said Jonathan Barnard, head of forecasting at Zenith.

Don’t write off Twitter, though

With all the talk of the duopoly dominating spend and Snapchat being the latest digital darling, Twitter has moved somewhat to the sidelines, as evidenced by several reports showing its recent ad revenue drops. But from 2012 to 2016, Zenith showed Twitter grew the fastest, increasing ad revenues by 734 percent. Tencent is second, growing by 697 percent over the same period to $4.3 million (£3.3 million) in 2016, and Facebook is third, with 528 percent growth to $27 million (£21 million), according to Zenith.

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Twitter In Unprecedented Recovery, Says Analyst Greenfield

It’s not often a company sees its share price rise despite reporting a fall in revenue. But that’s what happened to Twitter last week.

On Wednesday, the social network company reported Q1 2017 revenue down 24% on the prior year – and yet, Twitter’s share price is up nearly 20% at time of writing. So, what’s behind the contrasting trends? For one, Twitter’s net loss improved after cutting costs.

But BTIG media and technology analyst Rich Greenfield puts Twitter’s improved Wall Street performance down to a simple algorithm change the company made more than a year ago – to stuff users’ timelines with less-new but nonetheless interesting tweets; to undo its traditional reverse-chronological timeline.

“That change has enabled users to find more value in the service,” Greenfield tells Beet.TV in this video interview. “It’s no longer just what happened a minute ago – it’s ‘what how you not seen since you used the service last that you should see?’

“That small change has been monumental in terms of re-accelerating user growth, because now Twitter becomes a lot more useful. You’re not just going on and being baffled about what to look at or why your’e seeing these recent tweets; you’re seeing things that are of interest to you, the consumer. And so, usage is going up.”

Specifically, Twitter’s Q1 2017 monthly-active-user (MAU) count of 328 million was 6% higher than the prior year’s quarter – not a stellar jump but positive momentum for a company that has struggled to show forward traction since bowing on Wall Street in 2013. Bear in mind that Twitter’s share price is still some 58% below its IPO price, even after this week’s gains.

Twitter’s MAU dipped slightly in Q4 2015, after which it made the algorithm change in February 2016. Since then, MAU has continued growing. But the real needle the change has moved is domestic MAU, which had flatlined before the tweak.

“There aren’t many media companies that have started their descent, in terms of usage, and reversed (it),” Greenfield says. “Twitter is in the middle of a recovery that has never been seen before in digital, online media. It presents a significant opportunity on the stock side… usage is growing double-digits. As eyeballs follow … advertisers ultimately will follow.”

All the same, Twitter’s Q1 2017 advertising revenue was 11% down from the prior year.

From a glass-half-full investor’s perspective, the company’s headroom seems clear, and its advertising outlook may improve as TV and video deals flow in.

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This is how The New York Times is using bots


We know about the explosion of messaging apps: 1.2 billion people use Facebook Messenger, 1.2 billion people use WhatsApp, which is owned by Facebook. Snapchat, in terms of nonnative iOS apps, is No. 2 in terms of how much time people spend with that app. iMessage is the most used iOS app. And of course, good old-fashioned SMS is on 4 billion phones. So news organizations rightly went where all the users are.

They rushed to get on these platforms, leading to what Nieman Lab called the botification of news.

I think this is happening now because we’re moving toward this more personal relationship between news organizations and their readers, and the rise of bots happens at this moment because it really facilitates those relationships.

And all of the predictable headlines have shown up, right? This is from the other day: “Journalists beware: This bot we saw at Facebook F8 may do a better job than you.”

This is so predictable — all the people who are worried that we’re going to automate all the humanity out of journalism. “Written by a robot: Will algorithms kill journalism?” I love this one: “Rise of the machine: Journalists under threat as AI robot writes article in 1 second”! That’s actually really slow for a computer.

So I work at The New York Times, and The New York Times is actually filled with humans, with human people. We have 1,100 of them in the newsroom, and we’re really proud of them. Journalists, of course, are people with backgrounds and points of view and unique perspectives.

And what I’ve noticed in the bot space is that there are a lot of great experiments out there where they’re either playful or useful, or sometimes both — but the bots tend to have their own personality. Like, a bot will have this sort of character created for it, or it’ll have a kind of voiceless personality. Or it’ll kind of take on the personality of the news organization — it has sort of an enterprise voice, right?

But I figure we have all of these great humans that you know, are expensive and emotional and really hard to maintain. So why not squeeze more out of them, right?

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YouTube’s Ad Boycott Becomes Google’s Biggest Headache

YouTube’s inability to keep big-brand ads off unsavory videos is threatening to transform a rising star in Google’s digital family into a problem child.

It’s not yet clear whether a recent ad boycott of YouTube will be short-lived or the start of a long-term shift away from the video service — one that could undercut Google’s growth and that of its corporate parent,Alphabet Inc.

Alphabet’s first-quarter results, released Thursday, provided few clues. Major advertisers didn’t start pulling their money from YouTube until the three-month period was nearly over.

The company’s earnings rose 29 percent to $5.4 billion while revenue climbed 22 percent to $24.8 billion. Shares surged nearly 5 percent, to $933, in Thursday’s extended trading.

But the fallout from the YouTube boycott is likely to be felt through the rest of this year. Skittish advertisers have curtailed their spending until they are convinced Google can prevent their brands from appearing next to extremist clips promoting hate and violence.

“There is no entity in the world that is more risk averse than a senior marketing person,” says Larry Chiagouris, a marketing professor at Pace University in New York. “They don’t want to go with a media choice that presents problems for a brand, and they don’t have to because they have many other choices.”

Google CEO Sundar Pichai told analysts during a Thursday review of the first quarter that the company has had “thousands and thousands” of conversations with advertisers as YouTube takes steps to protect their brands. “We are evolving overall to a better place,” Pichai said.

At another point, he assured analysts that YouTube is still experiencing “extraordinary” growth without providing specifics.

Even if YouTube continues to lose advertisers, it won’t leave a huge dent in Alphabet’s earnings. That’s because marketers are expected to keep feeding the company’s golden goose — Google’s dominant search engine. Ads appearing alongside the billions of search results Google churns out each day still generate most of Alphabet’s revenue even as it expands into other fields.

But ad spending has been accelerating at a rapid pace on YouTube over the past two years as brands sought to connect with its audience of more than 1 billion people. Now it looks like things might taper off.

Before the boycott began, YouTube’s ad revenue after subtracting commissions was expected to rise 26 percent this year to $7 billion, based on estimates from the research firm eMarketer. Alphabet doesn’t disclose YouTube’s finances.

Advertisers began to flee YouTube last month, after The Times in London and other media outlets turned up evidence that their brands were appearing alongside clips promoting terrorism and racism.

The findings alerted advertisers that YouTube didn’t have adequate technology or staffing to shield brands from some of the appalling material that gets posted on a site that receives 400 hours of video per minute.

“This is an ostrich situation where the ostrich just pulled its head out of the sand,” says Harry Kargman, CEO of Kargo, which helps manage ad campaigns on mobile devices.

At one point, about 250 advertisers were boycotting YouTube. (Some also stepped back from a related system that Google operates to place commercials next to videos on outside websites.) The list included big-spending marketers such as PepsiCo, Wal-Mart Stores, Starbucks, AT&T, Verizon, Johnson & Johnson, and Volkswagen.

It’s unclear how many, if any, of those have returned to YouTube since Google promised to hire more human reviewers and upgrade its technology to keep ads away from repugnant videos.

Both Verizon and AT&T, two companies that are trying to expand their own digital ad networks to compete with Google, told The Associated Press that they are still boycotting YouTube. FX Networks confirmed that it isn’t advertising on YouTube either. Several other boycotting marketers contacted by AP didn’t respond.

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Podcast: Inside Bloomberg’s Nine-Figure Ad Business

As global CRO at Bloomberg Media, Keith Grossman oversees a “business within a business” that reaches 62 million users and brings in nine figures of revenue annually.

In the latest episode of AdExchanger Talks, Grossman describes his sales strategy for that business-focused audience, and where programmatic fits in.

“Ultimately, every dollar we have that’s digitized will be bought and sold by computer,” Grossman says. “What programmatic provides is an ease of transaction, should that be the method in which somebody wants to partner with us.”

And, he adds, “It opens us up to thinking about how we price ourselves differently not annually, or monthly or weekly or even daily, but ultimately down to the millisecond. My dream is to be in a world where we don’t have a static rate card, but rather to have a fully dynamic one.”

The Bloomberg Media audience, if not the revenue, is far larger and more diverse than the core terminal business, which reaches 327,000 mostly Wall Street investors.

Much of Media’s audience is outside the financial sector, in areas like B2B, consulting and marketing. It reaches those professionals across every platform (print, digital, television, radio and live events). And the company has been proactive on social, snatching up a myriad of Twitter handles, including @business and @brexit.

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Netflix’s Use Of Big Data: Lessons For Brand Marketers

by Jonathan Cohen, principal brand analyst at Amobee.

Last Friday, Netflix founder Reed Hastings celebrated Netflix getting its 100 millionth subscriber, a major milestone for a company that has spent the past 20 years thriving on science and analytics.

Netflix has arguably been the biggest disruptor of the decade to the TV and film industries, and it’s impossible to describe its success story without recognizing the central role big data has played every step of the way.

Its business model depends on using analytics to understand its audience better than its competitors. For brand marketers, for whom understanding audience behavior is equally essential, Netflix is a great case study on how to leverage big data correctly.

I see three ways in which Netflix has successfully used actionable analytics that can be relevant for brands.

Outreach Needs To Be Personalized

Even before Netflix was a video streaming service, its recommendation engine played a critical role on its website. Back when its existed solely as a DVD rental-by-mail-business, Netflix didn’t have enough inventory to ship the biggest new releases to all its customers overnight, so it created an algorithm that suggested movies its customer would be interested in, based on their previous picks, and didn’t emphasize new releases.

The strategy worked, and in 2006 new releases represented [PDF] less than 30% of Netflix’s total rentals, compared to new releases making up 70% of total rentals at standard video stores.

Since it made the shift to online streaming, a more sophisticated recommendation engine has been successfully surfacing content that’s personally relevant and engages users to the point that they spend on average 17.8 minutes browsing before selecting a program to watch, compared to 9.1 minutes of browsing for cable users. That keeps Netflix’s monthly churn rate in the low single digits, extending the lifetime value of customers and saving an estimated $1 billion-plus per year in retention efforts.

Minimizing Data Loss Is A Strategic Advantage

“Big data helps us gauge potential audience size better than others,” explained Ted Sarandos, Netflix’s chief content officer, in a 2016 interview.

That’s true, but it’s also important to recognize why it’s able to take advantage of analytics to an extent that traditional broadcast and cable networks can’t. Netflix has exact data at the individual user level as a content platform and creator in a walled-off ecosystem.

Netflix paid $100 million in advance for 26 episodes of “House of Cards” because it knew people who watched the British version also loved Kevin Spacey and David Fincher movies, an insight that’s only possible in a walled-off ecosystem, not from estimated ratings.

Additionally, when it came time to promote “House of Cards,” Netflix had enough audience data to serve different variations of its ad to different audience personas. For instance, “Thelma & Louise” fans saw a version focusing on the female characters, while people who viewed Kevin Spacey movies would see him as the focus.

Relating that to brand marketers, the more unified their digital spend (while minimizing the challenges of working with multiple vendors and metrics), the less data loss there will be, allowing for more educated and effective campaign optimization efforts.

Adapt The 13-Millisecond Rule

Netflix understood it needed to capture a member’s attention within 90 seconds or they’d leave the site. And acknowledging recent research that found the human brain can process an image in as quickly as 13 milliseconds, Netflix began A/B testing the box art thumbnail image for select films, allowing users to pick between six options. Video viewing increased by 20%-30% for the winning images, with photos showing facial expressions that reflected the tone of the film or TV show tending to do well.

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Facebook Aims To Nose In On Google’s Territory With Dynamic Ads For Flights

Facebook is lusting after lucrative online travel ad dollars.

And on Thursday, Facebook launched its next assault on the travel industry – encroaching further on Google’s turf – with the global rollout of Dynamic Ads for flights.

The release will allow airlines and flight advertisers to retarget users across Facebook, Instagram and Audience Network with ads tied to browsing behavior on and off the platform.

Advertisers are able to bring their own data to the table, including activity on their mobile site, app and website.

The addition of the flight vertical rounds out Facebook’s Dynamic Ads for travel offering, which Facebook developed last year to help hotels and destinations generate bookings.

Travel marketers spent almost $6 billion on digital advertising in 2016 in the US alone, according to eMarketer, while digital travel sales are expected to hit $755.9 billion by 2019.

Google Flights, Google’s search engine for travel, already generated at least $12.2 billion from travel advertisers last year, but Facebook’s play is that it’s a place where people go to converse with their friends and family about travel plans.

Now, Dynamic Ads for travel and flights allows Facebook to edge in when consumers are ready to book – which is increasingly happening on mobile. A research study conducted by GfK for Facebook last September found that 85% of travel is planned on a mobile device.

“People come to us every day to discover and talk about what matters to them,” said Christine Warner, Facebook’s US industry head for the travel sector. “And then Dynamic Ads for travel capture people when they express interest in your brand with clear intent about where they want to go.”

FacebookCathayCathay Pacific, an early beta tester of dynamic flight ads, has seen a sixteenfold increase in booking volumes and a 15% reduction in its cost per acquisition. Delta is also using the product.

For now, the only creative formats available are static images and carousels, although video is something Facebook would consider down the line, Warner said.

Tackling flights in a dynamic ad format is a complex endeavor. The ads need to take origin and destination into account, as well as the continually fluctuating price of flights.

Airlines can either share specific flight prices pegged to time windows or enable Facebook to target individuals based on the pixel fire that happens before serving an ad that’s dynamically aligned with that person’s last search.

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TV ads just went digital, and this could have far reaching impact on the industry

The internet has changed the way we consume multimedia content. The shift to smaller screens is very much evident, especially in a ‘mobile-first’ market like India. Availability of faster connectivity options such as 4G and Wi-Fi hotspots have only accelerated this trajectory. Current media such as TV broadcasters are obviously bleeding. Fortunately, a lot of them are evolving and embracing the digital age as we know it. Though sporadic in nature, the evolution of the traditional media has begun.

Smaller screens, of course, make a lot of sense in the digital age. You can catch up with any news, videos and even communicate with your friends on-the-go. With mobile displays peaking to 2K resolution, the user experience has only gotten better. Last year a Vuclip study revealed that while TVs were the preferred medium to consume content, people were increasingly getting acquaintance with streaming and downloading on their smartphones. ALSO READ: Online video consumption habits of Indians reveal the challenges for Netflix and other streaming services

In the West, the shift is happening at a much faster pace. According to an Accenture study, laptops and desktops have surpassed TVs as the preferred devices for watching TV shows. Also, the people who prefer watching shows on TV dropped to 23 percent from 55 percent in the previous year.

That being said, TVs are still around in our living rooms, and I don’t think they are going to be redundant anytime soon. What TV manufacturers and even broadcasters are doing to stay abreast with the shift in paradigm is embracing the internet.

Already a slew of smart TVs that let you surf the internet and access your favorite streaming apps have launched in the market. In India, these smart TVs are still niche, but growing popularity of Apple TV and Chromecast, and now Amazon Fire Stick, suggests people are wanting to get more out of their TV sets, rather just watch the routine channels.

As far as the televisions go, brands like VU have already some efforts in this direction. Last year, it introduced Netflix as preloaded feature on its TV along with a slew of entertainment focused apps. “Video-on-demand is big. We have partnered with Hotstar, Eros Now and bunch of other apps on the Opera store to offer video content on television,” VU Technologies chief Devita Saraf is quoted as saying. Though LeEco is currently in hot soup, it did make an attempt to bring its content ecosystem preloaded on its TVs. Xiaomi, on the other hand, has done the same in China.

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