The new campaign includes logos, packaging, products, a presence in digital and social media and advertising with the theme, “Say good morning to a good day.”
Winning in the distribution of high-end content is about mining an audience, and you can’t blame technology companies for believing they have relevant skill sets.
Michael Isikoff, whose work included coverage of the government’s war on terror and other national issues, said his departure was amicable.
“Arnie” is Golf Channel’s attempt at delivering everything, and it arrives with the archival film, video, photographs, letters and talking heads that are the trappings of documentaries.
After a failed attempt to block the Comcast-NBC Universal merger, Senator Al Franken again finds himself playing a trustbusting role in Washington.
Stephen Colbert became the immediate front-runner for the position both because of an increasing recognition of his talent and because he clearly wanted the job.
The popular AMC show about fictional advertising men and women of the 1960s begins the first half of its final season on Sunday.
It's always hard to find the best goat scream for the occasion (Doritos devoted a lot of effort to the task). But sometimes, with what sounds like a little bit of AutoTune and some well-chosen goats, and also what appear to be a sheep and and ibex, you can, for example, record the entire theme song to HBO's popular fantasy series Game of Thrones exclusively in goat voice.
This is the work of Marca Blanca, the Spanish-language comedy company responsible for such masterpieces as the opening sequence from Friends reworked with stock footage of high-ranking Nazis, and this amazing video of live-action footage substituted for Grand Theft Auto V gameplay. The latter is in Spanish, but it doesn't matter.
Game of Goats, however, knows no language, race or creed. It is simply there for you, on the cold nights, when the only thing that can cure your loneliness is a furry omnivorous quadruped shouting in a voice that reminds you of your fourth-grade teacher.
To all other parodies of Game of Thrones, I say: "Bah!!!"
If you can't wait for Mad Men to return for part one of its seventh and final season this Sunday, and you're itching to declare your intention to watch it to all your social media friends, AMC would like to offer you a special opportunity to advertise on its behalf by customizing a picture of Don Draper so your name appears next to his face.
You can choose one of seven other characters, too. It's a fun tool for die-hards, and a smart way to drive the natural symbiosis between TV and social media. Dubbing it "Mad Men Out of Office" seems a bit of a misnomer (as much as posting to Facebook may feel like clocking in to some). If you were going to be in the office on a Sunday night, you should obviously quit and watch Mad Men.
Unless you work in advertising, in which case, of course, you probably are in the office on a Sunday night, and you won't be watching Mad Men, or having much use for AMC's widget. You can still drown your woes in Canadian Club, though—and catch up on the first six seasons in two minutes, to remember what you'll be missing.
Stephen Colbert will succeed David Letterman as host of “Late Show,” CBS’s flagship late-night franchise, when Mr. Letterman retires next year, the network announced Thursday.
With the promotion, two of the three broadcast network news divisions in the United States will be led by British journalists.
Muthana Sweis, a student at Marist High School in Chicago, took two dates to his junior prom—and one of them was Netflix.
In a January tweet, the 17-year-old asked the company if it would accompany him on March 29 if his request got 1,000 retweets. (He probably asked Netflix because everyone knows that Comcast is taking Time Warner this year.) Netflix agreed, raising the question of how exactly a streaming service goes on a date.
Hey @netflix if this gets 1,000 retweets will you go to my junior prom with me?— Muthana Sweis (@muthanasweis) January 30, 2014
We said yes! We’re third wheeling to #Prom2014 with @muthanasweis and his date: https://t.co/0AQKYrljxj— Netflix US (@netflix) March 28, 2014
In the end, the site's accompaniment consisted of providing a tuxedo, car and chauffeur based on movies and TV shows it carries. Sweis chose a classy James Bond Skyfall tux and a classic '50s Buick from Grease, along with John Travolta's character as his driver. (Breaking Bad's mobile meth lab was among the vehicle choices. Too bad Sweis didn't pick that one and really get the prom cooking.)
Beyond being a fun way for the brand to build buzz by leveraging its connection with fans, the episode reflects how deeply media have become woven into the fabric of our lives. Film content informed key aspects of the evening, there's a nod to Samsung's Oscar selfie, and the whole thing played out on social channels. It's especially telling that Sweis approached Netflix in the first place, tapping into our shared media experience to write his script for the prom.
The company is teeing up about 50 commercials that will run just once during the tournament, aimed primarily at so-called C-suite executives.
HGTV Magazine and Food Network Magazine have teamed up for a party issue and to promote Pure Leaf Tea.
Creative studio and production company Logan is expanding, with a new content development arm called Logan Pictures.
Logan Pictures is launching with “a diverse slate of film, television, and new media projects,” including the company’s first feature film, A Girl Walks Home Alone at Night. Written and directed by Ana Lily Amirpour, the film was met with critical acclaim at Sundance Film Festival 2014 and kicked off the 2014 New Directors/New Films Festival at the Museum of Modern Art in New York. Logan Pictures will be led by producer Nick Moceri with oversight from Logan founders Ben Conrad and Alexei Tylevich.
“Logan Pictures gives us the opportunity to explore an entire new spectrum of production,” said Conrad. “With a festival-favorite already under our belt, it’s clear that our team harnesses the talent and vision to produce visually-appealing and emotionally-captivating film concepts in a new era of truly innovative feature films and avant-garde artistry.”
New Career Opportunities Daily: The best jobs in media.
These days, most enterprise marketers use a multichannel brand awareness and business development strategy to spread the word about their company, products and services via a variety of platforms including digital ads and social media marketing. But, sadly, television still gets the lion’s share of ad spend. Isn’t it time for enterprise brand marketers to demand their TV campaigns work harder and smarter?
According to a recent Nielsen report, Internet display ad spending grew 32% in 2013, which demonstrates the growing power of the digital medium. However, Internet display advertising still makes up just 4.5% of total spending, with TV accounting for nearly 58%. And marketers have good reason to put their faith in TV advertising: A Nielsen analyst noted that TV remains the most trusted source of paid media information.
But the question remains: How do brand marketers measure the effect of their TV marketing to make their campaigns more accountable? Predictive modeling platforms can provide the answer by delivering data. The concept of “Big Data” has generated significant buzz in the business world for the past several years, and in this instance, the hype is justified: Big Data can provide unprecedented insights into how advertising drives consumer behavior.
In the past, marketers in sectors such as insurance and telecommunications put brand awareness campaigns on television with no accurate way to measure the return. But predictive modeling technology offers a more scientific and analytical approach, empowering enterprise brand marketers with accurate metrics to demonstrate exactly how campaigns are delivering responses via the web, telephone and retail locations.
With an intelligent marketing platform, enterprise brand marketers can bring all relevant media performance data together with information on fulfillment, cost center data and web analytics. This allows them to tie consumer actions back to the specific airing of direct response TV ads. By using an algorithm similar to that used by day traders, marketers that use predictive modeling technology can accurately project which specific ad slots will drive the desired consumer response.
And who wouldn’t want this Holy Grail of television advertising? A fully accountable media strategy that enables brand marketers to funnel ad spend where it drives the best response and redirect dollars that aren’t generating sufficient ROI. None of this would have been possible just a few years ago, but with predictive modeling technology [ed. which I’ve only just become aware of having attended conference like eMetrics and Predictive Analytics] , it’s not only feasible – it’s affordable. And given what’s at stake in terms of television ad spending, brand marketers would be wise to explore predictive modeling.
This contributed article was written buy was written by Jill Draper, President of Marketsmith Inc.
NBC's Community regularly pays tribute to its characters' pop culture obsessions, but it still came out of left field when the last episode focused on protagonist Jeff's love of G.I. Joe.
Not a knockoff legally distinct from G.I. Joes, either, but the actual Joe toys and cartoons themselves, both owned whole cloth by Hasbro, which is apparently totally cool with integrating its product into a really good episode of an extremely dark comedy (Jeff was hallucinating about children's toys after mixing anti-aging pills and alcohol).
Update: Hasbro's Mike Vogel says he loved the episode. "They made all the toys and did all of the designs and animation themselves," Vogel told us. "However we did work with them every step of the way to ensure authenticity. The Community team sent us the script, all of the character designs, props, backgrounds, etc. It was actually a very easy process. The Community team are all clearly such hardcore G.I. Joe fans that they made sure everything was 100 percent authentic before they sent it to us. Their love for the brand was apparent in everything they did and we couldn't be more thrilled with how it all turned out!" (Who wants to bet Jeff mixes less funny meds with his booze in draft 1?)
One of the best things showrunner Dan Harmon and his team managed to do was include some slightly too real advertisements for toys based on the characters:
It's all series accurate, too. Overly earnest feminist Britta is "Buzzkill," uptight Annie is "Tight Ship," motherhood-crazed Shirley is "Three Kids," meta Abed is "Fourth Wall," and Jeff Winger is "Wingman." Each sold separately. And if the show taught us one thing, it's that collecitng 1980s military toys is a perfectly reasonable obsessi … er, hobby for an adult man and there is nothing unusual about it.
And of course the episode had to include one of G.I. Joe's "Knowing Is Half the Battle" PSAs featuring characters from the show:
We'd post more of the ads, but they seriously make up about a third of the episode, so just check out the whole thing below:
An entrant in the growing field of devices and services to stream media, the Fire TV is likable but falls short of some rivals, a reviewer says.
Executives suggested they would seek healthy increases in advertising rates when the upfront market for the 2014-15 season begins.
Alternative broadcasts of N.C.A.A. tournament games feature hometown announcers with a brash but entertaining subjectivity.
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