Facebook took initiative to answer post-congress lingering questions in this blog post: What Data Does Facebook Collect When I’m Not Using Facebook, and Why?
Don’t worry, marketers. Privacy may be a reason for the Boomers and Yers and other groups seasoned with life intelligence to edge away from the Book, the Gram, the Tube. But from the POV of a Millennial, we’ve been putting our CC#, SSN, and GPS coordinates on the web since before we hit puberty. Lack of privacy is a way of life for us, and most of us haven’t established the life savings to really care. As it goes, it will take studying abroad in Europe to learn– when this age group comes back wearing scarves and discussing GDPR (sorry third-party YouTube advertisers) over espressos, beware. But right now, our convos are still revolving around the new Instagram Focus Feature (wait, who’s the “camera company” again?) & the latest Bustle Insta Story.
The latest in my ongoing series of Global Digital reports for We Are Social and Hootsuite shows that the number of people around the world using social media grew by more than 100 million in the first three months of 2018, reaching almost 3.3 billion by the end of March.
We’re following up with Congress on these directly but we also wanted to take the opportunity to explain more about the information we get from other websites and apps, how we use the data they send to us, and the controls you have. I lead a team focused on privacy and data use, including GDPR compliance and the tools people can use to control and download their information.
Creators can expect to retain significant control with blockchain sites because there are few barriers if they decide to leave, says LBRY Chief Executive Officer Jeremy Kauffman. Like email, he says, it’s relatively easy to switch to a similar site if you don’t like his. And because of the decentralized nature of blockchain networks, tech-savvy users can find ways to post controversial material, even if he tries to block or ban it.
Advertisers who aren’t using DoubleClick Campaign Manager (DCM) to host video are asked to “retraffic their ads” by May 21 “to avoid any downtime in delivery,” according to the memo. Google owns YouTube and DoubleClick. YouTube will also greatly limit third-party pixel tracking as of that date. The company first announced it would be limiting the use of pixels and cookies last January, the same time it announced YouTube’s access to Google account data for ad targeting.
How ABC Has Used Social Video to Help Build Buzz Around Its Megahit ‘Roseanne’ Reboot [Broadcasting & Cable]
B&C has teamed up with social video analytics company Tubular Labs for a recurring look at how various content creators are deploying video to reach audiences online. In this edition, a look at the return of ABC’s Roseanne and how the network is using social video to help build and sustain the buzz around the TV ratings smash. We took a close look at the performance of Roseanne-related videos on ABC’s Facebook and YouTube channels over the past 90 days to analyze the hype before and after the sitcom’s return to TV. Only two of the top 10 were actually specifically produced by/for Roseanne itself; the rest were segments about the show that aired on other ABC shows including Jimmy Kimmel Live and 20/20.
A big factor is whether there’s enough audience to sell. As of January, Hulu with Live TV had around 450,000 subscribers, and YouTube TV had around 300,000, according to CNBC.
Bustle posted its first Instagram Story show within a week of the Facebook-owned app’s replication of Snapchat’s Story format in August 2016. Since then, Bustle has produced 11 episodic series, and its sibling sites, like Romper and Elite Daily, have produced nine. Airing those 20 shows all at once would clog the publications’ Stories feeds, so Bustle splits them up into seasons, the way TV networks do. Now, Bustle is applying the strategy to how it pitches its shows to brands.
Top partner NBCUniversal (also a Snap investor) won’t discuss profitability, but said it’s making “real money” on the app, including tens of millions from its Olympics-related content and more than a million dollars from E!’s “The Rundown,” its first show. Aside from the fact that NBCU sells the ads itself, a key to its results is that it develops the shows centrally from the NBCU Digital Content Lab, a group that NBCU formed a year ago to fuel its broad partnership with the app. The lab, which ranges from 12 to 30 people depending on production needs, develops Discover content based on existing NBCU shows and original concepts and is an outlier among Snapchat partners in taking this centralized approach.
Together, Singh and Auritt will develop a slate of series across the comedy, animation, horror and unscripted genres. Among the projects they will work on is an adaptation of Singh’s New York Times bestselling memoir, How to Be a Bawse, and a family-friendly animated series based on Singh’s Unicorn Island brand. They will focus on working with diverse and female voices.
Fuse Media will increase its offerings for brands with the new in-house branded entertainment studio, Fuse Collab, which will create branded content, experiential opportunities and custom events. In addition to aligning brands with “A-level talent,” it is also “giving brands access to the country’s most important musical festivals and events,” said Miller. Fuse Collab will work with the Fuse Digital Content Studio and the company’s new audience development division to optimize that branded content across digital platforms.
NAB: FCC Chairman Recommits to Modernizing Media Rules [The Hollywood Reporter]
Viacom Promising More Ways to Connect Brands and Viewers [Broadcasting & Cable]
YouTube’s Michelle Slavich Jumps to Warner Bros. to Head Movie Publicity [The Hollywood Reporter]