The Needle or the Pipe

Last month the CW decided to pull episodes of Gossip Girl off the internet, arguing it cannibalizes the network broadcast. What a backward and stupid thing to do.

That kind of behaviour punishes people for evolving. It also betrays a lack of creativity. But worst of all, the CW is suggesting TV and the internet cannot viably coexist.

One day these platforms will merge. Until they do, there is room for both: each boasts a benefit the other currently lacks. People with the money and the choice will, more often than not, opt for both.

Accenture's Global Broadcast Consumer Survey recently found that consumers are loyal to favourite programs regardless of medium. At this point in the development of media -- where new shows are online and on TV, but streaming broadcasts are generally a day late -- how consumers want to experience their vice (pipe or needle?) will determine how they consume it.

For the latest episode of a favourite show, or maybe just for an undemanding escape, they'll turn to television.

To fill holes in the plotline (that is, to watch extras or episodes missed) or research past seasons of a show they're thinking about following, they'll turn to the 'net.

Benj and I follow Lost and Desperate Housewives with the perseverance normally reserved for cause-oriented marathon runners. It was a pleasure to find we could stream them from the 'net because it meant we wouldn't need to get a TV.

Two weeks ago, while I was away on business, Benj bought one.

"It's just for DVD watching," he said casually. "Don't you think it'll be nice to have a big screen for movies?"

The logic made okay sense. To celebrate, we had a Lord of the Rings marathon with a friend. The bigger screen definitely brings new dimensions to Hobbiton.

The week I left for Manhattan, Benj suggested we get cable.

"Why do we need cable?" I asked, perplexed. Online TV aside, we have whole seasons of shows we haven't even begun watching.

"Because then we can watch new Desperate Housewives episodes THE NIGHT THEY AIR instead of the next morning!" Benj said brightly. "Come on. It's only $15 a month."

I'm still not sure why (curiosity? His daily harangues?), but I ultimately gave in. Since then, it's impossible to get our asses of the couch. I have never experienced anything as magnetic as TV -- with the exception of the internet, which has rather lost luster now that I depend on it for financial survival; and my BlackBerry, which feels more like a leash than a Pandora's box of vice-ridden treasures.

On TV, even the ads are more exciting.

We're back to where the spendy advertisers want us, thanks mostly to the internet. So who says the 'net and networks can't survive in tangent?

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*I think I'm sort of into Tyra. And Benj? He's definitely into Oprah. His word for her show, uttered fresh today, was "soothing."

Multi-Platform Advertising: An Out-of-Body Experience?

First ad:tech session of the week: Media & Entertainment: Programming, Distribution and Advertising in a Multi-Platform World.

Moderator Ira Rubenstein kicked things off by cutting to the chase. Observing that the "old media model" revolved around scarcity, he asked how panelists make media buying and planning decisions for a show like Heroes when you can watch it on NBC, Hulu and Joost.

What followed were a bunch of really good-sounding quotes if you happen to be a fan of Seth Godin's literary masterpieces: Understand your audience! Follow the good content! What is your consumer looking for?

But then the wind changed. And the boys ran with it!

Drew Reifenberger, Senior VP and GM, Superdeluxe, Turner: "Generally consumers are OK with advertising and accept it as a reality. We should just try a lot of [different ad models]."

He emphasized sponsorship models versus CPM-based models. Good examples - in my opinion - include tasteful product placement, online web dramas (like what Tide did with Crescent Heights, only watchable), and maybe episode-spanning ad buys for feature shows on sites like NBC, ABC or Hulu.

I'm a big online TV watcher, and I don't generally mind repeated ad messages too much if they're good. (Strangely, Australia's tourism department does this quite well.)

What won me was when Ted McConnell, director of interactive relations for P&G, remarked, "Brand equity is expensive to build, and it builds over time. It's sacrosanct."

Sacrosanct. For six seconds, I believed again. But he went on!

"The content of your message reflects on your equity. It gets harder every day as content gets slung around -- who knows where it's going to land? That's an issue."

No, that's a takeaway if I ever heard one.

In every panel there's always one super-quotable person. In this case, that person was McConnell.

McConnell went on to say channels have different levels of intimacy. If you want to succeed in the digital era, you have to learn to balance the intrusiveness of your message against the intimacy of the channel.

He elaborated by observing you can say what you want in an outdoor ad without hurting a user's experience of "outside" (unless you live in Sao Paolo), but you oughtn't ruin a private dinner party by knocking on the host's door and trying to sell Tupperware.

A good illustration always wins the day.

Not to say McConnell was the only star. EVP and CDO Curt Hecht of GM Planworks/Starcom Mediavest Group had his moments in the sun, too.

"Don't get fooled by shiny, blinky things!" he admonished. "They're just tactics looking for a home that are not really being driven by the consumer at the end of the day."

But to save us all from the slippery slope of fundamentalism, he added, "It's really easy to get excited by half the stuff that comes across my desk in a given day."

How do you know when the hype train is going to conceive a super star? At ad:tech in particular, you hear a lot of noise. (Just ask Craig Peters.) But hey, you have to sympathize with the "shiny blinky things" vendors. It's tough to get even a winning product to a catalystic point.

McConnell sent us home happy with a little philosophy (always a great closer): "In a world of infinite niches, I think there's going to have to be something that's more structural that's introduced. One example of that is widgets. What's a widget, really?"

I held my breath. Was he going rhetorical on our asses? No. As we've learned to expect from our P&G homie, he kept right on going.

"[A widget's] just a container."

And before we could go flying into speculation, he rapidly illustrated his point with a FedEx comparison: FedEx has done an excellent job of taking the emphasis off the interior and placing it on the container itself.

Sagacious.

But here's to hoping that whatever we use to stock our widgets, Facebook apps or direct mailing envelopes are just as compelling as the shiny blinky brands on the outside.

'Hulu' May Be the Last Sound Joost Ever Hears

With virtually no load or lag time whatsoever, I'm currently watching the feature film Sideways.

And I didn't need to pay for it, or illegally download it, or sacrifice any precious computer space for it. When I'm done, I might watch Arrested Development, or Heroes, or -- get this! -- Doogie Howser, MD. My whole day is officially down the drain.

And while the occasional :15 or :30 ad cuts through my experience, I'm willing to deal with it. The content is worth the wait.

This is all part and parcel of Hulu beta, a valiant joint effort between News Corp. and NBC Universal.

I was hesitant to pin Joost a YouTube killer, but I'm fast inclined to dub Hulu, and similar business models (think the ABC and NBC online sitcom players), Joost killers. It's all the convenience of Joost with better shows, better ads and no software downloads.

For someone who doesn't own a television but loves the sitcom -- and also happens to own a good-sized monitor -- this is very exciting. Brand me a Hulu addict.

Hulu avails you to:

• Popular shows and clips
• Current shows and clips (the two are not necessarily mutually inclusive)
  
• Netflix-worthy feature films
• Somewhat appealing advertising (no ballpark franks here -- I'm mainly seeing Axe Vice spots)
• (Apparent) universal platform friendliness. Unlike the Netflix player, Hulu doesn't seem to mind whether you operate on a Mac or a PC. (Not sure about Linux.)
  
• An "embed" and "share" feature
• A "lower lights" feature. If for some strange reason you don't want to watch your show in full-screen, you can opt to dim the website offerings (film information, related videos) above and below the player
• Pretty sophisticated toggling. You can check out film information, full-screen the feature, pop it out of its window, rewind or fast-forward, or opt to embed it somewhere without losing your place or having to stream the whole thing again. Most of the time, whatever you're watching just pauses and waits for you to push play again
  

Granted, Hulu isn't perfect, either. Some cons:

• I wouldn't call it laggage but every one in awhile the picture pauses. It probably has more to do with my RAM than Hulu, though. (I'm streaming a feature film while doing three other things at once, including writing this blog.)
• The ad breaks could be a little more graceful. Hulu hasn't quite mastered the art of easing into advertising without disturbing its audience. Sometimes breaks occur while feature characters are mid-sentence. o_O And after each spot, there's this jarring moment of silence and black screen. It's a little WTF?!-ish.
• No uploads onto iTunes, no episode-saving or downloading onto your hard drive
  
• Films cut to accommodate time slots and content restrictions. A scene in which Maya exclaims, "You wanted to fuck me first!" has been tastefully dubbed to a more morose "You wanted to fool me first." And when Miles sneaks into the trucker's house while he's in bed with his wife? No idea what's going on there. You get loud rock music and a stray bedsheet. First-time watchers of Sideways will have no idea why a naked trucker chases him back to his car.
  

In any event, congrats to a couple of old-timers for stealing the limelight from the new kid on the block -- and actually improving the value proposition (for the most part). How often do you see that happen?

Check out Sideways, courtesy of Hulu: