The way we access content is fundamentally changing. Shorter-form content continues to grow apace and, at the same time, viewing is fragmenting across myriad devices and screens. Helping drive this change has been the emergence of a new generation of distribution platforms that blend professional video, user generated content and social media.
The Voice UK is one of BBC One's biggest Saturday evening 'shiny floor' shows, with a particular emphasis on engaging its loyal audience through social media, across platforms, before, during and after every episode.
The consequences of being pushed into the spotlight so suddenly is the main focus of the drama and tells the story of Billy (Tom Brittney), a young man who gets a shot at fame when he impresses the producers of a fictional reality show.
Billy is excited for his life to change, but a year after the show has aired he is struggling to balance his newfound fame, social media pressures and tabloid kiss and tells.
With his other co-stars enjoying thriving careers, Billy has to deal with strangers making assumptions about him and deeply buried insecurities coming to the surface.
Navi Lamba, Digital Commission Exec for E4, commented: “It’s been so brilliant harnessing all the creativity the lockdown has inspired in our indie partners.
“We’ve commissioned across a number of genres and a mixture of animation and live action, hearing the stories of real people across the country and those of well-known faces in comedy, music and TV and all are tailored to work best for our young audiences.”
Kelly, who covers technology both on air and online for the Independent Irish radio station, said that social media, while you “might not agree with what it has to say, never sleeps and is always engaging”.
She went on to outline what the multitude of different social media, including Facebook, Twitter, Instagram, and Snapchat, has to offer in TV and radio. As with many things in life, she added, posts offer “the good, the bad and the ugly”.
In a short time Facebook Watch has come a long way. Rarely a week goes by without its parent, Facebook, attracting negative publicity for allegations that someone, somewhere is using the social media behemoth for nefarious purposes, with or without the possible involvement of the Russian state.
By contrast, the video-on-demand service Facebook Watch appears to be immune to such criticism. One of its first scripted shows, the 10-part Sorry for Your Loss, starring Elizabeth Olsen, won the kind of reviews that most commissioners would die for.
“Building a buzz 3: social media masterclass” in late September was the third in a series of linked events run by the RTS centre over the past 18 months, following “Building a buzz: what makes a good PR” campaign and “Building a buzz: what makes a good promo”.
Join our panel of experts as they discuss, step by step, how diverse platforms including Facebook, Twitter and Instagram work to boost audience engagement, along with the latest tools available for creating high quality shareable content.
This session is not to be missed if you want to: build your fan-base, engage your audience, and most importantly increase your viewing figures.
Then with the advent of 24-hour news channels and the internet, news became more immediate. The only delay between a story breaking, and you being able to read about it, was the time it took for a journalist to get on the scene and report.
My name is Richard and I used to be a social media evangelist. Yes, I know, it’s shameful and hard to believe. But, back in the 2000s, the infant social media held such promise for broadcasters and audiences alike. In those sun-dappled days, we used to talk about the promise of interactivity, empowering the audience, real connection and insight into their thoughts and ideas. All this and free distribution!