‘It’s All About Screens.’ This is the Daily Diary of Screens. Friday, April 22, 2016.
CBS finished #1 broadcast network as ‘Hawaii Five-0‘ was the top program.
In the UK, ratings have been delayed. Will be posted when available.
‘Seven‘ finished #1 in Australia as ‘Seven News‘ was #1 newscast and ‘Better Homes & Gardens‘ was the top non-newscast program.
‘The Jungle Book‘ #1 box office in the U.S. weekend 15-17 April 2016.
‘The Jungle Book‘ #1 at the International box office weekend 15-17 April 2016.
Sales of movie theater ads jumped 13.4% in 2015 as it reached $716 million in advertising sales. There are 3.734 Billion Unique Mobile 68% Social Ad Clicks Are Now Mobile. Users as of this quarter, account for a 51% worldwide penetration. Direct uploads of user videos to Facebook now exceed YouTube. Facebook has 1.59 billion monthly users. Instagram has 77.6 million users. 88% of Twitter users are on mobile. An average of 500 million tweets are sent every day. The Google+1 button is hit 5 billion times per day. 80% of Internet users on Pinterest are female. Pinterest has 54.6 million users. LinkedIn has 347 million registered members. Weibo has 100 million daily users. 600 million users on Whatsapp. Facebook has 1.55 billion monthly active users. 60 billion messages are sent via Facebook Messenger and WhatsApp every day. Netflix now has 75 million streaming subscribers. Cliptomize continues to grow as it has 66,530 users and 94,679 clipbooks with 482,278 visitors with over 2.333 million page views. 5 minutes 06 seconds average time spent on spent on site since the beginning. 5 minutes 54 seconds average time spent on site in March. SATURDAY AUSTRALIAN OVERNIGHT TV RATINGS (*SEE BELOW)
Today, traditional TV still accounts for the lion’s share of video viewing, but online and mobile are where the growth is. When managed together, TV/digital/mobile hold the potential to drive real impact for advertisers—enabling them to maximize the customers they reach and/or reinforce key messaging across screens. After all, ‘It’s all about screens’. See ‘The Death Of Television Is Under-Exaggerated‘ @ http://bit.ly/DeathofTelevision.
The Home Of #dailydiaryofscreens
For Friday, April 22, 2016 (Posted on April 23, 2016)
The Tiffany Network was powered by McGarrett as the the Hawaiian Islands finished #1 on Friday.
8P ‘The Amazing Race‘ finished #1 in the second half hour with an average 5.457 million viewers
9P ‘Hawaii Five-0‘ finished #1 overall with an average 7.861 million viewers.
10P ‘Blue Bloods‘ rerun finished with an average 7.642 million viewers.
The Alphabet Network
8P ‘Last Man Standing‘ finished #1 in the time slot with an average 5.907 million viewers.
830P ‘Dr. Ken‘ finished with an average 4.638 million viewers
9P ‘Shark Tank’ finished with an average 5.339 million viewers.
10P ‘20/20‘ finished with an average 5.735 million viewers.
The Peacock Network
8P ‘Caught On Camera with Nick Cannon‘ finished with an average 3.418 million viewers.
9P ‘Grimm‘ finished with an average 4.006 million viewers.
10P ‘Dateline NBC‘ finished with an average 4.032 million viewers.
The Animal Network of Broadcast had Gordo getting beat like a kettle in the first hour then barely served in the second.
8P ‘Hell’s Kitchen‘ rerun finished with an average 1.771 million viewers.
9P ‘Hell’s Kitchen‘ finished with an average 2.999 million viewers.
The #1 Hispanic Network in America
8P ‘Un Camino Hacia El Destino‘ finished with an average 2.100 million viewers.
9P ‘Pasión y Poder‘ finished with an average 2.393 million viewers.
10P ‘El Hotel De Los Secretos‘ finished with an average 1.880 million viewers.
The Little Network That Couldn’t
8P ‘The Vampire Diaries‘ finished with an average 1.416 million viewers.
9P ‘Containment‘ rerun finished with an average 1.167 million viewers.
For The Record
CBS finished #1 on Friday with an average 6.987 million viewers.
ABC finished #2 with an average 5.449 million viewers.
NBC finished #3 with an average 3.819 million viewers.
FOX finished with an average 2.385 million viewers.
UNI finished with an average 2.124 million viewers.
The CW finished with an average 1.292 million viewers.
TEL finished with an average 800,000 viewers.
Today In Communication History
On this date in 1989, NBC aired the pilot episode of ‘Baywatch’.
NOTE: We have entered a new era in screen ratings. Nielsen is expanding its sample of TV viewers to include new
homes with meters that record the channel being watched—but not the demographics of the people watching. That will be estimated using data modeling and an algorithm Nielsen has developed, and added to the current sample that does include people meters that measure demos. The Panel Expansion (NPX), in which 12,900 households have been added to the national sample, is at the center of this change. The household ratings in these homes are measured by meters on each television in the home, while the demographic ratings in these homes will be assigned by Nielsen using a statistical algorithm. This is the first time since 1987 that homes in the national sample are not equipped with PeopleMeters, which measure both the program viewed and the people watching it.
Quote Of The Day
‘Great art picks up where nature ends.’
Social Media Research
Want To Reach The Teens? Snapchat!
Snapchat Now Tops Instagram As “Most Important” Social Network.
Teens continue to shift their perceptions of their “most important” social network. First it was Facebook (early 2013), then Twitter (late 2013), and then Instagram (early 2014). The latest flavor du jour, taking over after a 2-year run from Instagram, is Snapchat, according to the most recent biannual teen survey from Piper Jaffray, reported here by FORTUNE. Some 28% of teen respondents named Snapchat their “most important” social network, narrowly ahead of Instagram, which was cited by 27% of respondents. It was the first drop for Instagram, suggesting that Snapchat’s popularity is increasing at least somewhat at the expense of the Facebook-owned network. Facebook, meanwhile, saw its first increase in perceived importance in some time, while Twitter continued its multi-year decline on this measure.
The Piper Jaffray findings – based on a survey of 6,350 US teens with an average age of 17 – come on the heels of separate survey results from Edison Research and Triton Digital supporting the growing popularity of Snapchat. In that survey, more 12-24-year-olds reported using Snapchat (72%) than Facebook (68%) or Instagram (67%). Worth noting, though, was that respondents said that they use Facebook the most often, a finding also corroborated by other research into teens and social media.
Separately, in a recent study, comScore revealed that almost half (47%) of Snapchat’s adult (18+) users are aged 18-24. By comparison, Vine, the platform with the next-largest youth skew, had a much smaller 28% of its users in the 18-24 bracket.
Meanwhile, in other results from the Piper Jaffray survey:
◎ Video game spending reached an all-time high for male teens in this latest edition of the survey, occupying 13% share of their spending, behind only clothing (15%) and food (20%);
◎ Some 51% of teens surveyed report that their household subscribes to Amazon Prime; and
◎ Netflix (38%), YouTube (23%) and Hulu (5%) now together account for almost two-thirds of teens’ TV content time, compared to just 26% for cable TV.
VOD Viewers Don’t Mind Watching Ads For Free Content
According to those fine folks at Nielsen, the rise of video-on-demand (VOD) programming choices is not only a great benefit to viewers—it also opens more opportunities for advertisers and content creators to reach them. But advertising strategies should be navigated carefully, as viewers are looking to cut through the clutter.
Many consumers see value in ads, but the value proposition must be right.
In fact, more than half of global respondents who say they watch VOD (51%) programming also say they somewhat or strongly agree that ads in VOD content give them good ideas for new products to try. And importantly, nearly six-in-10 (59%) say they don’t mind getting advertising if they can view free content. This sentiment is particularly strong in North America, where 68% are willing to trade their time and attention for free programming.
What’s clear, however, is the need for more relevant ads that speak directly to consumers. Two-thirds of global respondents say most ads in VOD content are for products they don’t want (66%).
“In a crowded media environment, relevant ads and brand experiences are critical for engaging consumers,” said Megan Clarken, president, Nielsen Product Leadership. “Just as technology has made it easier for consumers to control the amount of advertising they see, it has also made it easier for advertisers to reach the right consumers at the right time and in the right place. The advertisers with the greatest brand and sales impact will naturally be those that connect messages about products and services with the people who want them.”
Other findings from the global video-on-demand report include:
◎ Nearly two-thirds of global respondents (65%) say they watch some form of VOD programming, which includes long- and short-form content.
◎ VOD is becoming a part of daily viewing habits for many. Among those who watch any type of VOD programming, 43% say they watch at least once a day.
◎ More than three-quarters of global respondents (77%) who watch VOD programming agree that they do so because they can view at a time that is convenient for them.
◎ Among those who watch VOD programming, Millennials and Gen X respondents are the most likely to agree that they like to catch up on multiple episodes at once.
Pulitzer Prize Winners For 2016
Public Service: Associated Press
Breaking News Reporting: Los Angeles Times
Investigative Reporting: Leonora LaPeter Anton and Anthony Cormier of the Tampa Bay News and Michael Braga of the Sarasota Herald-Tribune
Explanatory Reporting: T. Christian Miller of ProPublica and Ken Armstrong of the Marshall Project
Local Reporting: Tampa Bay Times
National Reporting: the Washington Post
International Reporting: Alissa J. Rubin of the New York Times
Feature Writing: Kathryn Schulz of The New Yorker
Commentary: Farah Stockman of the Boston Globe
Criticism: Emily Nussbaum of The New Yorker
Editorial Writing: John Hackworth of Sun Newspapers, Charlotte Harbor, Florida
Editorial Cartooning: Jack Ohman of the Sacramento Bee
Breaking News Photography: Mauricio Lima, Sergey Ponomarev, Tyler Hicks, Daniel Etter of the New York Times; and the photography staff of Thomson Reuters
Feature Photography: Jessica Rinaldi of the Boston Globe
Letters Drama and Music
Fiction: Viet Thanh Nguyen for ‘The Sympathizer’
Drama: Lin-Manuel Miranda for ‘Hamilton’
History: T.J. Stiles for ‘Custer’s Trials: A Life on the Frontier of a New America’
Biography or Autobiography: William Finnegan for ‘Barbarian Days: A Surfing Life’
Poetry: Peter Balakian for ‘Ozone Journal’
General Non-Fiction: Joby Warrick for ‘Black Flags: The Rise of ISIS’
Music: Henry Threadgill for ‘In for a Penny, In for a Pound’
Smartphone Owners’ Openness to Transactional Messages Surprising by Industry
More than 8 in 10 smartphone owners claim that service-based messaging has at least some impact on their decision to choose one company over another, according to a Vibes report. The most important features of service-based messaging, per respondents, are basic information such as time, date and tracking information (80% extremely important) and immediacy of the message (73%). Respondents are most open to receiving service-based messages from banking/financial companies (67%) and retail stores (64%), reflecting the frequency of transactions conducted with these types of companies.
With the speed of the messaging and the channel used both important to smartphone owners, the report also notes that more than 3 in 4 respondents believe that text-messages are a fast way to be reached for important service updates on purchases. Fewer than half felt the same way about emails on their phone (48%) or push notifications on their phone (32%).
Live+ 7 Day DVR TV Ratings (Week 28)
So, what does all of this mean? It suggests that there is a lot of time shifting in viewing habits. Much of it has been chronicled as the Millennial Affect, that being this groups watches when they want to watch on whatever platform they want to watch it on.
However, what if we are actually living in a ‘New Viewing World’ set on a new standard for a group of people who have been affected by the Great Recession who found a new ‘Linus’ Blanket’ in watching inexpensive entertainment? It is the art of watching the most favored program first. In 2015/16 season, CBS has dominated the total viewers schedules. Thus, on a Tuesday, when ‘NCIS’ leads off the night, viewers in large numbers tune into that program. Anything up against it that is favored by the audience, is put into DVD mode for future viewing. This could be the explanation for popular programs such as ‘Blindspot’ delivering huge DVD playback delayed numbers. It is up against more immediately popular programs on Thursday. Thus if a person watches CBS’ ‘Criminal Minds’ LIVE, then ‘Blindspot’ is played later. Going to Monday evenings, in the ‘Monday Battle @ 10P’, there are three popular programs which battle on a regular basis. On CBS is ‘NCIS:Los Angeles’, usually the #1 show in its LIVE time period. On NBC, there is ‘Blindspot’. And on ABC, ‘Castle’ is the opponent. For one that likes all three programs, the audience is tuning into ‘NCIS:LA’ then DVDing ‘Blindspot’ and ‘Castle’. (Note: On this particular week, ‘Castle’ was on an unusually long hiatus, thus it does not show up.)
What does this mean for advertisers? If you are in retail, only buy the LIVE TV Ratings. Your sale on Saturday may not get to the viewer in time. Insist on only buying for the value you will receive, not what the total value of the station or network is. After all, we live in an age of direct engagement via digital/mobile.
2016 Peabody Award Winners For Entertainment and Children Categories (judges remarks listed below each winner)
“Beasts of No Nation” (Netflix)
Red Crown Productions, Participant Media, Come What May Productions, New Balloon
A superbly acted, strikingly photographed film about an African warlord training an orphan child to join his guerrilla army, it never loses sight of their humanity, brutal acts notwithstanding.
A bright, boisterous, big-hearted comedy about an affluent African-American family working overtime to keep it real, “Black-ish” doesn’t let jokes get in the way of insights about race, class, guns and other hot-button topics that most popular entertainment shows scarcely mention.
“Deutschland 83” (SundanceTV)
Fremantle International/Kino Lorber
A suspenseful, well-acted spy drama that takes place a few years before the Soviet bloc cracked and told from the perspective of East Germans and West Germans, it reheats Cold War conflicts in surprising ways.
“Marvel’s Jessica Jones” (Netflix)
Marvel Television in association with ABC Studios for Netflix
This one part superhero saga, one part neo-noir program asks unpopular questions about power and consent, while constructing vivid and compelling characters. Krysten Ritter helps us to discover the strengths and vulnerability of Jessica, a hard-boiled private detective who has rejected the role of superhero but must still figure out how to overcome the evil that threatens her, her friends and her community.
“Master of None” (Netflix)
Universal TV, Oh Brudder Productions, Alan Yang Productions, Fermulon
By turns profound and mundane, ridiculous and deadly serious, this imaginative, shape-shifting comedy chronicles the misadventures of Dev (series creator Aziz Ansari), a 30-year-old Indian-American who’s still trying to figure out what to do with his life. To say it resonates with young-adult viewers is an understatement.
“Mr. Robot” (USA Network)
Universal Cable Productions
A riddle wrapped in a mystery shrouded in a hoody, “Mr. Robot’s” hero, Elliot, is a tormented, anti-social cyber-security whiz caught up in techno-anarchy conspiracy. The series’ twisting, turning, Rubik plot is almost as startling as its overtly anti-corporate stance. Occupy Prime Time?
“The Leftovers” (HBO)
HBO Entertainment and Warner Bros Television in association with Damon Lindelof Productions and Film 44
After an inexplicable global cataclysm – a massive random harvest – thins Earth’s population by 140 million, the survivors in this challenging, deeply philosophical, boldly imagined drama are left to figure out how to get on with life in a world that’s stopped making sense.
“Transparent” (Amazon Video)
Jeffrey Tambor’s transsexual Maura is not just the lead character of this bold, honest dramedy, she’s the catalyst for her typically dysfunctional modern family’s ongoing reevaluation of itself. Its broadened scope and lively sense of self-awareness, along with irreverent wit and poignant moments, made “Transparent’s” second season even stronger than the first.
A spot-on, behind-the-scenes send-up of ersatz “reality” shows like “The Bachelor,” “UnREAL” makes viewers care about venal producers and petty contestants even as it skewers them.
“Wolf Hall” (PBS)
A Playground Entertainment and Company Pictures Production for BBC and MASTERPIECE in association with BBC Worldwide, Altus Media and Prescience
Based on Hilary Mantel’s celebrated novels about the intrigues of Henry VIII’s court, “Wolf Hall” is an intimate, humanized history, told from the viewpoint of the king’s main man, Thomas Cromwell. Enhanced by literate scripting and superb acting with historic-location and natural-light filming, this exceptional series sets a new standard for the genre.
“Katie Morag” (CBeebies)
Move on Up
Mairi Hedderwick’s popular books about a feisty, wee, red-headed girl (the splendid Cherry Campbell) and the Scottish island community she’s growing up in are exquisitely realized in this series. Timeless, perhaps old-fashioned, but never precious or blindly idyllic, “Katie Morag” deals honestly and gracefully with death, loss, rivalry and other serious themes.
‘Castle’ To Be Without Beckett If Season 9 Is A Go
Stana Katic’s contract has not been renewed by ABC while negotiations are ongoing with ‘Castle’ co-star, Nathan Fillion. The fate of Katic was in the mirror as last season’s disastrous arc featuring the two co-stars separated most of the season as it was the last by ‘Castle’ creator Andrew Marlowe, who left the series in a shamble as fans departed because the two were often seen at odds on the screen. Tamala Jones, who played medical examiner, Lanie Parish who was Kate Beckett’s close friend, contract was also not renewed.
Box Office Weekend 15-17 April 2016 (Domestic)
#1 ‘The Jungle Book’ $103.56 million in 4,028 theaters
#2 ‘Barbershop:Next Cut’ $ 20.21 million in 2,661 theaters
#3 ‘The Boss’ $ 10.17 million in 3,495 theaters
#4 ‘Batman v Superman’ $ 9.01 million in 3,505 theaters
#5 ‘Zootopia’ $ 8.24 million in 3,209 theaters
#6 ‘Criminal’ $ 5.85 million in 2,683 theaters
#7 ‘My Big Fat Greek Wed’ $ 3.26 million in 2,297 theaters
#8 ‘Miracles From Heaven’ $ 1.90 million in 2,082 theaters
#9 ‘God’s Not Dead 2’ $ 1.71 million in 1,585 theaters
#10 ‘Eye In The Sky’ $ 1.56 million in 891 theaters
Box Office Weekend 15-17 April 2016 (International)
#1 ‘The Jungle Book’ $136.1 million in 50 territories
#2 ‘Huntsman’ $ 17.6 million in 25 territories
#3 ‘Batman vs Superman’ $ 15.1 million in 68 territories
#4 ‘Zootopia’ $ 10.8 million in 54 territories
#5 ‘London Has Fallen’ $ 9.0 million in 38 territories
#6 ‘Kung Fu Panda 3’ $ 7.5 million in 51 territories
#7 ‘My Big Fat Greek Wedd’ $ 4.6 million in 22 territories
#8 ’10 Cloverfield Lane’ $ 4.0 million in 55 territories
#9 ‘Visiteurs:LaRevolu…’ $ 3.5 million in 4 territories
#10 ‘Divergent Series’ $ 3.0 million in 30 territories
‘Jason Bourne’ starring Matt Damon, Alicia Vikander, Julia Stiles, Tommy Lee Jones and Vincent Cassel.
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Across The Pond
UK TV Ratings delayed. Will be posted when available.
Seven finished #1 Friday in Australia with a 34.0% share of the available audience.
Nine finished #2 with a 27.4% share.
Ten finished #3 with a 17.4% share of the available audience.
ABC finished #4 with an average 14.9% share.
SBS finished #5 Friday in Australia with an average 6.3% share of the available audience.
Top Ten Non-Newscast TV Programs on Friday in Australia
#1 BETTER HOMES & GARDENS Seven 648,000 viewers #1 in Perth
#2 A CURRENT AFFAIR Nine 631,000 viewers Sydney top market
#3 AFL:FRI NIGHT FOOTBALL Seven 608,000 viewers #1 in Melbourne & Adelaide
#4 GRANTCHESTER ABC 579,000 viewers Sydney top market
#5 THE CHASE AUSTRALIA Seven 575,000 viewers Sydney top market
#6 HOT SEAT Nine 568,000 viewers Melbourne top market
#7 FAMILY FEUD TEN 522,000 viewers Melbourne top market
#8 THE LIVING ROOM TEN 504,000 viewers Sydney top market
#9 FRIDAY NIGHT NRL LIVE Nine 476,000 viewers #1 in Sydney & Brisbane
#10 THE PROJECT 7PM TEN 474,000 viewers Sydney top market
Top Newscasts in Australia Friday
#1 SEVEN NEWS Seven 981,000 265,000 294,000 162,000 111,000 149,000
#2 NINE NEWS Nine 928,000 315,000 324,000 157,000 88,000 44,000
#3 NINE NEWS 6:30 Nine 900,000 314,000 321,000 137,000 83,000 46,000
#4 SEVEN News/TodayTonight Seven 894,000 248,000 262,000 152,000 94,000 138,000
#5 ABC NEWS ABC 629,000 183,000 220,000 107,000 55,000 63,000
#6 TEN EYEWITNESS NEWS @5P TEN 537,000 138,000 165,000 85,000 60,000 89,000
SATURDAY AUSTRALIAN OVERNIGHT TV RATINGS
Saturday Australian Overnight TV Ratings
SATURDAY AUSTRALIAN OVERNIGHT TV RATINGS
Seven again finished #1 Saturday in Australia with a 33.7% share of the available audience on a slow television viewing evening in the Land Down Under.
Nine finished #2 with a 27.1% share.
ABC finished #3 with a 18.4% share of the available audience.
Ten finished #4 with a 13.2% share.
SBS finished #5 Saturday with a 7.7% share of the available audience in Australia.
Top Ten Non-Newscast Programming Saturday In Australia
#1 FATHER BROWN ABC 693,000 viewers #1 in Sydney & Brisbane
#2 DCI BANKS ABC 593,000 viewers Sydney & Melbourne top markets
#3 GARDENING AUSTRALIA ABC 464,000 viewers Melbourne top market
#4 SATURDAY NIGHT FOOTBALL Seven 404,000 viewers #1 in Melbourne
#5 IRON MAN 3 Seven 386,000 viewers #1 in Perth
#6 HOW TO LOSE A GUY IN 10 Nine 345,000 viewers Sydney top market
#7 BRIDE WARS Nine 336,000 viewers Sydney top market
#8 GETAWAY Nine 318,000 viewers Melbourne top market
#9 AFL:SAT NT FOOTBALL–PRE Seven 312,000 viewers #1 in Adelaide
#10 BONDI VET TEN 298,000 viewers Melbourne top market
Top Newscasts in Australia Saturday
#1 SEVEN NEWS – SAT Seven 839,000 viewers #1 in Sydney, Adelaide & Perth
#2 NINE NEWS SATURDAY Nine 761,000 viewers #1 in Melbourne & Brisbane
#3 ABC NEWS-SA ABC 716,000 viewers Melbourne top market
#4 TEN EYEWITNESS NEWS SAT TEN 320,000 viewers Melbourne top market
#5 WEEKEND SUNRISE – SAT Seven 307,000 viewers Sydney top market
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Media Notes Briefs: ‘eMail Loved But Click-Thru Dropping Badly‘ While eMail is vastly preferred by consumers for brand communication, North American eMail click-through rates continue to drop except with one platform- http://eepurl.com/bXUWlL 🆕💡💭🌎💬 It’s Free!
New This Week: Do Consumers Really Know What They Want? 💬 – http://sophis1234.tumblr.com
Weekly Retail Media Notes. This week: ‘Do Your Customers Use Digital/Mobile?’ http://bit.ly/1U0M979💡
Why Don’t You Use Mobile Now? http://goo.gl/wlnJ8o
Today’s featured ‘Music To Read overtheshouldermedia By’ down at the bottom of the page