How Twitter Is Changing TV

When Twitter launched in 2006, many people—including the New York Times— didn’t even know how to describe the network. The concept of micro-blogging, or constant updating seemed like it could be a fad, and many wondered how long Twitter would last. Others thought that it was just a network for people who liked to tell everyone what they were eating and doing every second of the day. In the last seven years that has all changed, and Ypulse’s most recent research (fielded in November 2013) found that 47% of Millennials 14-29 use Twitter, with 22% of those reporting that they actively post and comment on the network. With Twitter rivaling Facebook in popularity with Millennials it has become a cultural force, changing the way that they get their newstell stories, and even mourn loss. But Twitter is also beginning to alter a place many never expected it to: the television landscape. Millennial’s definition of entertainment is a fluid one, and in the fractured entertainment world technologies are merging and affecting each other in surprising ways. Twitter, a platform not even a decade old, is changing the way we talk about, interact with, and watch TV. Here are three ways it’s happening:  

1. It made the water cooler virtual, and put it in hyper-drive: 

With more shows to watch than ever before thanks to streaming originals, the explosion of award-worthy cable players, and access to a seemingly endless amount of previously aired shows, not everyone is watching the same thing at the same time. Discussing the latest plot twists of your communal favorite shows isn’t necessarily a workplace pastime in this new environment, but thanks to Twitter (and other social media) the water cooler lives on, online. The circle discussing television events might not know one another, but they are…

 
 

Want to talk to us about the article
or dive into a custom study?


The Newsfeed

“I eat [Pizza Hut] least two times per month; it's one of my favorite places to go to eat pizza.”—Male, 35, VA

More Millennials are asking for cash wedding registries, and it’s bad news for stores like Bed Bath & Beyond and Williams Sonoma. Increasingly, young couples are asking guests to contribute towards their nest egg, travel, or anything they feel like buying themselves. Companies like Zola and Honeypot have boomed in popularity, offering a personalized platform for their cash registries. However, their success with wedding registries is taking “a key customer acquisition tool” away from home décor stores. (Insider)

The beauty industry is catering to Customization Nation, as more companies crop up to blend unique beauty products for each customer. But can the trend scale? Truly personalized products, like the ones offered by hair care start-up Function of Beauty and makeup company Bite Beauty, take time and resources. But companies that offer base products with just a personalized element or two could be the future of the industry. And big-name brands are getting their feet wet too: Lancôme and CoverGirl have both offered custom-made foundations. (Glossy)

Nordstrom is taking risks to survive retail’s big shifts. Instead of shuttering stores, they’re opening experimental retail locations, revamping their department stores, and making their mark in Manhattan with their first store openings. The long-standing brand also bought ecommerce site HauteLook and the subscription service Trunk Club. So far, their risk-taking hasn’t proved to be a boon to their bottom line—but only time will tell. (WSJ)

Hollister is teaming up with AwesomenessTV to reach Gen Z with a YouTube series. “The Carpe Life” will be a part of a broader campaign, which includes influencer marketingand appeals to young consumers’ love for active, adventurous lifestyles. "The Carpe Life" follows Hollister's first YouTube series, “This is Summer” which “boosted key brand metrics by double digits,” adding on to their overall positive impact on Abercrombie & Fitch’s rising bottom line. (Marketing Dive)

Netflix is switching its strategy, putting less money into “prestige films” for the Post-TV Gen. Instead, they’re churning out more direct-to-video releases. Last year, they bought ten titles at Sundance while this year they had none. While they continue to create original content like the recent The Cloverfield Paradox, they’re betting on less-than-award-worthy films to maintain their hold on Millennial viewers. (The Atlantic)

“Basically if I found out any brand was supporting causes I do not support and actively oppose, I will avoid buying their products.”—Female, 27, CA

Sign Up Now

Subscribe for premium access to our content, data, and tools.

Already a subscriber? Sign in.

Upgrade Now

Upgrade for full access to the best marketing tools for understanding the next generation.

View our Client Case Studies