Time will tell, but Patch, AOL’s platform of local news, information and engagement sites, yesterday announced that May of 2012 was its most successful traffic and revenue period in the company’s history.
Patch served a record 11.7 million users in May (comScore data), representing a 14% increase over April (10.3 million users) and an 11% increase over its previous traffic record (10.6 million users in August 2011). But 11.7 million users does not seem much, in terms of monthly internet traffic, and Patch has been a troublesome child for AOL. While it added 33 cities to its portfolio in May of 2011, but was burning through $40 million a quarter in October. Still, it endures, and news of Patch’s May performance follows the recent announcement by AOL Chairman and CEO Tim Armstrong that Patch will generate between $40 million and $50 million in revenue this year - quite a turnaround.And Patch has outlasted the Gannett Company’s hyperlocal offering, “Metromix,” which shuttered in January. Patch attracts national advertisers like Verizon and Walgreen’s, alongside local restaurants, realtors and law firms.
Some facts about Patch:
- This 14% month-over-month growth outpaced the comScore Regional/Local category as a whole, which grew only 3% over the same time period.
- Patch had a 12% increase in engagement (visits per unique visitor) from April to May. Within the top ten regional-local properties, this represents the highest increase in engagement month over month, and ranks Patch as the second highest in engagement among those properties.
- With an average site age of just over 18 months, Patch is now the #5 regional/local property on the web, from #10 when it first entered the rankings in December 2010.
- Patch’s total revenue was 14% higher than its previous record (November of 2011). This represents a 17% bump in revenue over April of 2012. Patch has already booked for 2012 130% of its total 2011 revenue.
- Patch also recently announced the launch of Patch Partners, a program to offer exclusive benefits to its local advertisers and resources for business owners at large.
“We are extremely gratified to see these measures of the traction we have gained in our communities and in our business since our launch just over 3 years ago,” commented Jon Brod, CEO & Co-Founder of Patch. “We are laser-focused on continuing to serve our users and advertisers with high-quality content and impactful products, and building upon our success to date in innovative and engaging ways.”
Launched in 2009, Patch is managed by professional local journalists, photographers, and salespeople who live in the regions they serve. The hyperlocal platform is designed as an online destination for residents to get involved in their communities. Patch is now in over 850 communities in 23 states plus Washington, D.C.
Ace Metrix, which bills itself as “the new standard in television and video analytics,” has announced the completion of an $8 million round of financing from WPP, Hummer Winblad Venture Partners, Leapfrog Ventures, and Palomar Ventures. Ace Metrix will use the new funds to further accelerate its rapid growth, continue its focus on innovation and product development, and expand into new markets.
The company claims 25% of national television advertisers as clients, and is aggressively pursuing 100% growth through 2012. Just a week ago, Ace Metrix added Samsung to that client roster: Samsung has subscribed to the company’s Ace Metrix LIVE platform, which provides immediate delivery of Ace Scores and the 12,000+ associated data points for every ad in the competitive mobile devices category. Samsung also signed on to use the Ace Metrix PRE service to test ads prior to release, which gives Samsung the ability to adjust creative or media placement using detailed demographic, ethnographic, and psychographic data.
Just two weeks ago, Ace Metrix introduced Ace Metrix TARGET, which allows advertisers to identify specific key audiences and access creative ad performance data for their ads and their competitors. Ace Metrix TARGET adds a layer of granular intelligence to Ace Metrix LIVE. TARGET leverages the same methodology and scoring dimensions of Ace Metrix LIVE, but augments it with specific demographic, ethnographic, and psychographic profiles. As Peter Daboll, CEO of Ace Metrix described, TARGET provides “Exceptional detail and surprising degrees of comparability about how ads perform among critical targets such as technologists, automotive intenders, gamers, and business travelers– for their ads and their competitors’.”
“Ace Metrix continues to impress us with their ability to push the envelope on innovation,” said Pete Sinclair, Managing Director, Leapfrog Ventures, and Managing Director Ann Winblad of Hummer Winblad Venture Partners remarked that “Ace Metrix delivers highly valuable and actionable analytics to the $71B TV advertising sector and the emerging video advertising segment. This is a substantial market opportunity and Ace Metrix has taken the leadership position.”
ur services by many of the most respected brands in the industry – a list that represents the top 25% of national television advertisers," said Peter Daboll, CEO of Ace Metrix. "We are on track to continue our 100% growth rate through 2012 and this new financing will allow us to further extend our portfolio of products and services to key adjacent markets while scaling our business infrastructure and sales and client services teams to meet the demands of our clients.”
ESPN presented its annual upfront yesterday, with a heavy emphasis on authentication, apps and delivering advertiser value. While the networks struggle to create social TV experience, CNN will likely be the first to make it a norm.
At the same time, ESPN Films announced that it will resurrect its 2010 hit series of sports-oriented films 30 for 30.
As Ad Age reports, Eric Johnson, ESPN's exec VP-multimedia sales, promised advertisers more targeted reach through its digital properties including the espnW platform for female sports fans; a new ESPN radio app for both the iPhone and iPad; ESPNFC, a global soccer destination; and a partnership with Twitter that will start with the NBA Finals.
Johnson claimed as well that with the Watch ESPN authenticated TV Everywhere app (introduced last year), ESPN now reaches 40 million homes, a number it expects to double before 2013.
Of course, few networks have the budget of ESPN, and "Modern Family" fans are hardly as rabid as NBA fans. But ESPN sets the bar for cross-media convergence.
30 for 30 Vol. II
ESPN Films has announced the return of the Emmy-nominated and Peabody Award-winning 30 for 30 film series. As with the first series, which included collaborations with acclaimed filmmakers such as Peter Berg (“Kings Ransom”), Barry Levinson (“The Band That Wouldn’t Die”), Ice Cube (“Straight Outta L.A.”) and Academy Award-winner Barbara Koppel (“The House of Steinbrenner”), ESPN Films will once again partner with a wide array of filmmakers to tell inspirational sports stories. 30 for 30 Vol. II is scheduled to premiere in October.
“30 for 30 was conceived as a finite collection and when the original series ended in December of 2010 with ‘Pony Excess,’ we had underestimated the strength of the connection fans had made between sports documentaries and the 30 for 30 brand,” said Connor Schell, vice president of ESPN Films. “We’re proud to have created a brand that has become synonymous with quality sports storytelling and we see value in bringing back a second collection of 30 films.”
In addition to a second slate of 30 feature-length documentaries, ESPN Films will broaden its scope to support a whole new crop of stories with the creation of 30 for 30 Shorts – a 30-part digital short film series. 30 for 30 Shorts will be similar to the feature-length films in that each piece will represent a specific point of view of the filmmaker and will be a reflection of how they blend the narrative with their own visual style. Beginning in September, a new short film will debut monthly on Bill Simmons’ Grantland.com. A 30 for 30 Short entitled “Here Now” about Pete Rose is currently online as preview of the series.
Volume II of 30 for 30 will have a much more defined multimedia component through closer integration with Grantland.com by featuring filmmaker podcasts with Bill Simmons, topical oral histories, in-depth features and more. Each feature-length film and digital short will be complemented with a long-form written piece on Grantland.com that deepens the experience with additional context.
Films scheduled to air as part of 30 for 30 Vol. II include:
- “Benji” about 17-year-old NBA prospect Ben Wilson whose life was tragically cut short;
- “Broke,” a documentary about pro athletes sucked into bad investments, stalked by freeloaders, saddled with medical problems;
- “Bo Knows,” another documentary about the marketing of pro athletes like legendary sports figure Bo Jackson;
- “The Season of Their Lives,” about the 1982-83 North Carolina State Wolfpack basketball team.
Social TV Via Twitter
ESPN announced a strategic collaboration with Twitter that it believes offers fans and advertisers unique, interactive programs around major sporting events, beginning with the upcoming NBA Finals. The effort will be promoted across Twitter, ESPN networks, ABC and ESPN’s broad array of digital assets, including ESPN.com and ESPN Mobile.
Each program will be co-created by ESPN and Twitter, beginning with GameFace – the first effort, which will be focused on the NBA Finals. GameFace will be seamlessly integrated throughout the live ABC broadcasts and ESPN’s NBA Tonight programming with a dedicated Twitter hashtag #GameFace.
Fans will be encouraged to tweet photographs of their “game face” throughout the finals. At the conclusion of each game, NBA Tonight analysts will highlight the competition and reveal the best photographs on-air. The best photos will also be featured in a photo gallery on ESPN.com/NBA.
“Working together, ESPN and Twitter are giving marketers a clear and powerful way to link on-air and online social conversations around sports,” said Joel Lunenfeld, Twitter’s Vice President of Global Brand Strategy. “It’s the first time advertisers can engage the audience around ESPN’s premier content across screens and where the conversation is happening on Twitter.”
Added Ed Erhardt, president, ESPN Global Customer Marketing and Sales, “Advertisers and marketers have been asking for meaningful opportunities that tap into the power of social media. We know fans use ESPN and Twitter as their main source for content and connectivity. By taking that scale and combining it with the passion of sports fans, this program answers the value equation of social media while providing a new way for fans to engage with ESPN.”
On Twitter, #GameFace will be supported through Twitter’s Promoted Products suite (including a Promoted Trend during the Finals), and the experience will be plugged on the @NBAonESPN Twitter handle.
The latest version of the ESPN Radio app for iPhone, iPad and iTouch provides both live and on demand content, and includes a new feature that allows fans to build their own sports stations. Versions for Android and Windows 7 smartphones are slated to launch later this summer.
“This latest version of the ESPN Radio App builds on our promise to deliver the best sports audio content across any device,” said Marc Horine, Vice President, ESPN Digital and Print Media. “With this update, fans now have complete control over their listening experience as the app provides the functionality to customize specifically by sports, teams and athletes they care most about.”
Beginning today (May 16), fans can download the premium version of the app at no cost for a limited time. After that, for a one-time fee of $4.99, fans can access the full experience of the app, complete with the new personalization features and enhancements. The premium app will continue to give millions of ESPN Radio listeners access to live radio streams from more than 35 ESPN Radio stations, fan favorite shows like “Mike & Mike in the Morning,” “The Herd” with Colin Cowherd, “Waddle & Silvy” (Chicago) and “The Michael Kay Show” (New York), plus select play-by-play broadcasts, live scores and text messaging.
ESPN Radio launched its first app in September 2009 and has since been one of the top paid sports apps in the marketplace. Additionally, it was named Best Radio App by Radio Ink Magazine at the Digital Convergence Awards in May 2011. The ESPN Radio App is available from the App Store on iPhone, iPad and iPod touch or at www.itunes.com/appstore.
ABC News and Univision News today have announced an agreement “in principle” for a far-reaching, multiplatform joint venture dedicated to “informing, empowering and inspiring Hispanic Americans in English while providing all audiences with uncompromising coverage of current events with a unique perspective.”
The agreement would capitalize on Univision’s news leadership and expertise in reaching U.S. Hispanics and ABC’s global news leadership to serve over 50 million Hispanics, which the companies agree is the youngest and fastest-growing demographic in the U.S. The presentation in English is in response to the 2010 U.S. Census, which revealed that U.S. born Latinos represented about 60% of growth in the demographic over the last decade. Currently, Hispanics represent 16% of the total population in the United States (U.S. Census data), a number that is projected to double to 30% by 2050. Hispanics wield considerable spending power of over $1 trillion, and have an increasing impact on social, economic and political trends.
The new 24/7 network will include America’s first English-language channel for English-dominant and bilingual Hispanics as well as integrated digital and social platforms. It will deliver news content focused on issues, lifestyle interests and culture of importance to Hispanics and will feature a combined pool of journalists from both ABC News and Univision News.
This is good news for advertisers who are looking for another Hispanic-oriented outlet (which soared in 2011). According to Kantar Media, Spanish language TV ad spending surged 19.1% in fourth quarter, paced by higher sell-out levels at over-the-air networks. For all of 2011, the segment increased 8.3%. But, there were few Hispanic-oriented, English-language outlets.
Huffington Post first leaked the ABC/Univision talks in February, citing unnamed “sources close to the negotiations.” The goal at the time was to begin broadcasting before the U.S. Presidential Elections in November. Hispanics are considered influential swing voters in numerous states, including Florida, new Mexico and Arizona.
As HuffPo observed, this announcement is part of a strong trend: Fox News also added a Fox News Latino website in 2010 and Huffington Post itself created a Huffpost LatinoVoices site. NBC Universal as well increased the cross-reporting between its news division and its Spanish language Telemundo network.
Three years ago, the Christian Science Monitor “began a jump-in-the-deep-end version of digital transformation,” describes the Poynter Organization. The daily newspaper went to a weekly print edition, maintaining daily news online. If that sounds like a surrender, guess again: The Monitor garners about 42 million page views a month and 8 to 10 million unique visitors, which is five times what it was before the transformation. Plus, ad revenue and content sales have grown more than 50% for the fiscal year closing April 30, “The best we’ve done financially since 1963,” writes editor John Yemma.
What the Monitor did which, for example, the New York Times and Wall Street Journal have not, is to largely surrender its print edition—a gamble, but a strategy that has worked arguably as well as the NYT and WSJ strategies. And it placed more of an emphasis upon online advertising.
The challenge for the Monitor is somewhat like that of the Corporation for Public Broadcasting: It is funded largely by endowments (The First Church of Christ, Scientist for the Monitor, government and corporate endowments for CPB). But endowments expand and contract, and have not held the Monitor above water any more than they hold up public broadcasting, else there would be no semiannual “pledge drives” on public television. “You might see the systematic decrease of our longstanding subsidy as similar to the erosion of print ad revenue at a locally based newspaper,” wrote Yemma.
And like newspapers, the Monitor is going digital, treading water until the digital strategy pays off. The Monitor has an operating budget of $18.6 million, and is down $4.5 million for this fiscal year, and budgeted for $3.3 million next: but it counts on the digital transformation to turn it around by 2017. (“Trading print dollars for digital dimes,” as Digiday describes the dilemma.) And those dimes are coming from high-end brands like Infiniti and Nokia.
Quit Crying Over Print
Digiday summed up the challenge by digital to print media: “$40 billion evaporated with little likelihood of return [but] rather than waste more time pointing fingers, publishers need to get on with figuring out what’s next.” For years, the news industry depended upon classified ads which Google, Facebook and Craigslist now own. “This market dynamic continues to move so quickly that its last owner, Yahoo, has already faltered into a lesser tier.”
The solution for publishers is, simply, to carve a niche and own the distribution. “A marketplace where buyers have multiple channels to reach the same audience only leads to a race to the bottom.”
The Monitor is somewhat like the Huffington Post—it is the demographic that differs. Both have a distinct audience, Scientologists (among others) for the Monitor, a younger-and-progressive skewing demo for HuffPo. Both endeavor to provide high-end first-hand content: Both have global and U.S. correspondents monitoring world events, the campaign trail, the Supreme Court, tech, science, and the environment. And the Monitor wins the occasional scoop: CSM on April 9 covered the reversal of immigration from Mexico, hitting the presses a week before a Pew report confirmed the trend. But HuffPo was a digital-only product that never had to throw off the shackles of a print edition and make the transition to digital.
Both Monitor and HuffPo skew to an educated late 30s-early 40s wage-earning demographic—a sweet-spot for digital reading. That’s what works for them: They meet the readers.
Similarly, Penton Media’s Technology Media Group in February announced that, in response to audience and marketer demand, it would transform all of its brands to all-digital beginning this month. “We conducted research amongst our audience and advertisers and found that they were really looking for an enhanced digital experience and were becoming less reliant on print magazines,” said Peg Miller, Penton technology market leader. Miller noted that the Penton audience is largely one of IT professionals and developers working in a digital environment. Penton had double-digit gains in digital edition subscriptions FY 2011-2012, and “We’re finding that our audience prefers to learn about technology through multiple channels – whether it be printed words, videos, audio, screencasts and in-person events.” Penton Technology Media Group brands include Windows IT Pro, SQL Server Pro, DevPro, System iNetwork and The VAR Guy, among other titles.
Penton is hardly stepping raiding Monitor or HuffPo’s readerships: but the lesson is the same. Successful publishers meet the readers where they are and with a unique value proposition. And that in turn means value for advertisers.
“Advertisers in the travel industry need to increase their online footprint in order to keep up with this ever growing audience,” wrote the online ad team at Yahoo! Their 2011 data revealed that travel-related searches begin climbing in May and peak in July, suggesting now is the time to optimize online ad accounts for the season. Yahoo! offers these tips
Yahoo! offered some specific tips from its search-ad experts:
- Ensure your keyword coverage: Analysis of travel keywords used by adCenter advertisers reveals that the highest click-through rates (CTR) are found in longer keyword entries that include the destination and an offer (e.g., "Hawaii all inclusive vacation packages"). Even if the destination was not included, terms like "all inclusive vacation" or "last minute vacation" still have strong CTRs.
- Book Insurance for your Ads: Like travel insurance, a robust list of negative keywords will, for example, prevent your ad from being shown for searches related to cruise ship accidents or other such incidents.
- Know what's popular: Yahoo's Search Query Performance Report shows exactly what queries a Bing or Yahoo! Search user entered in relation to a keyword. The report helps you identify additional keywords to bid on and provides a list of potential negative keywords to exclude unwanted traffic.
- Go Mobile: Analysts estimate that the number of U.S. mobile users booking via mobile will nearly double from 2010 to 2012, from 8.7 million to 15.1 million. Duplicate your search campaigns to target mobile devices, and reach these searchers while they are on the road.
- Plan ahead: In a 2011 survey commissioned by the Mark Travel Corp., 19% of respondents booked trips six or more months in advance, compared with 16% in May 2010. That type of traveler has already made summer plans, but are booking their fall and winter trips now.
Nielsen Company released some intriguing demographic data, from part 2 of its “State of the Media Spring 2012” report—this part presenting an in-depth look at usage by demographic (ethnicity, gender and age).
White TV viewers use their DVRs at twice as much as any other group on a daily basis for time-shifted viewing; yet Asians watch the most timeshifted content as a share of overall TV time.
Among the online destinations for streaming TV content, Hispanics are most likely to watch on Netflix (still no advertising opportunities), where Asians are most likely to watch on Hulu and black viewers on YouTube (both ad friendly).
- Teens used a gaming console for an average of eight minutes during primetime, more than twice as much as the general TV population.
- When watching TV and using their tablet computers simultaneously, male tablet users were more likely to look up information related to a TV program, and females were more likely to up look info related to a TV ad.
- Females spend 61.2% of timeshifted viewing during primetime to watch dramas.
- Females spend 46.9% of real-time viewing watching drama, versus 34.5% for men.
- Females spend 13.5% of their time viewing sports, versus 32.7% for me.
- Online adults aged 25-54 are 23% more likely than the average U.S. Internet user to follow a brand via social networking and 29% more likely to purchase a product online that was featured on TV.
That eight-minute figure for teens and gaming seems low, frankly. Few games can be played in eight minutes. Presumably, that average is dragged down because teens who spend zero minutes on gaming outnumber those who spend hours at a time.
NBC Owned Stations will begin selling national advertising for four Comcast SportsNets cable channels, reports the Washington Business Journal. Those channels include Comcast’s New England, Mid-Atlantic, Northwest and Philadelphia networks.
Comcast Sports Group test drove the model in a trial run at New England Cable News (part of the Comcast Sports Group), and “It worked so well that we decided to expand this relationship to more markets,” Ray Warren, executive VP and chief revenue officer for Comcast Sports Group told Broadcasting & Cable.
Warren went on to describe that Comcast’s regional sports networks “have delivered a lot of value to advertisers because of the hard-to-reach male demos we attract.” Through combining selected regional sports networks with the NBC Owned Stations, Warren sees Comcast as “able to create a complete local package with compelling cross-demo appeal for advertisers that is unprecedented in its reach."
Comcast Sports Group and NBC Owned Stations (there are 10 stations in the group, nationwide) will roll out the model over the next four months, beginning in New England.
“There is hardly a program or ad on TV these days that doesn’t ask its viewers to like its Facebook page or tweet about it,” opined Frederic Lardinois of TechCrunch. But what do they get out of accepting that invitation? Therein lies the rub, found Accenture.
The industry analyst group surveyed 1,000 U.S. TV viewers, to find that nearly two-thirds (64%) recall seeing social media symbols such as Facebook "Likes" while watching television, and one third (33%) interacted with social media, after seeing a social media symbol on their TV screen.
This is good news for advertisers, believes Robin Murdoch, Accenture’s global Internet segment managing director. "This has huge revenue growth potential as social media applications build program viewer loyalty and drive online advertising opportunities."
That one third who interacted with the symbols while watching TV did so by "liking" the TV program on Facebook (20%), scanning a QR code (11%), searching for the Hashtag on Twitter (7%) or scanning the Shazam symbol (5%).
But what do viewers want out of it?
Obtaining more information about a show, product or service was the greatest motivator for interacting with a social media symbol while watching TV; cited by 43% of the participants who have done so. Other motivations included:
- getting coupons and promotional codes (32%)
- entering a contest/sweepstakes (31%)
- watching another video (26%)
- interacting about the show or product on social media (26%)
- connecting with others with similar interests (21%)
- sharing or recommending video/program to others (20%)
- making a purchase (16%)
To put a pencil to it, of that 33% who interacts, 16% of them makes a purchase - so, just 4.8% of viewers, which is still a good figure. About 10% of viewers overall will go for coupons and promotional codes, or enter to win a contest, so the advertising/marketing/engagement possibilities are strong.
Surprisingly absent from the list is interacting with the show. They appear to enjoy interacting live with questions (e.g. through Twitter to interact with the “Walking Dead” and “Real Housewives” recap shows, voting on “American Idol”). But interaction does not drive viewers to watch lousy TV. The Ford Motor Company-funded unscripted show “Escape Routes” has tanked miserably on NBC on Saturday nights, with ratings shares as low as 0.3. “Escape Routes” is a broadcast/interactive mashup with six teams of two participating in a road-trip competition with real-world challenges, all while driving the new Ford Escape. Viewers can interact real-time with the teams through Google Hangouts, among other social methods; but so far, they haven’t.
Demographics play a role
As expected, the demographic of social-interactive viewers skews young. The majority of participants between the ages of 18 and 24 (63%) said they have interacted with social media symbols while watching TV. For older age groups, the numbers dropped to 46% among 25-34 year olds, 44% among 35-44 year olds, 19% among 45-54 year olds, 24% among 55-64 year olds and 11% of those 65 or older.
Both men and women participants who interacted with social media sites were most interested in getting more information about the show (39% and 48%, respectively). Women were also motivated by getting coupons or promotional codes (40%) and registering or signing up for something (34%). Males were more interested in interacting with social media to watch another video (35%) or entering a contest or sweepstakes (34%).
In terms of engagement, most viewers are just satisfied with what they get out of the social engagement. They are neither thrilled nor displeased. Nearly three-quarters (74%) of those who received content via social media symbols while watching TV (those coupons, recommended videos and so forth) said it just "met expectations," compared with 10% who said the content "did not meet expectations" and 15% who said it "exceeded expectations."
The survey also showed that the greatest barrier to adoption is lack of interest among consumers in the content available through social media interactions. When participants were asked why they had not interacted with social media while watching TV, 60% said they did not think they would be interested in the content they would receive. Fewer participants said they were not sure how to interact with social media symbols (23%); had not downloaded the necessary application for scanning social media symbols on their mobile devices (15%); or, did not have time to scan a social media symbol because it was not displayed long enough on the TV program (11%).
The survey pointed to dramas and comedies as the top genres where consumers would like additional information and interactivity. Asked what type of show they would be interested in interacting with, 35% of participants said dramas and comedies, compared to news programming (31%), sporting events (29%), reality shows (23%), lifestyle/cooking/home shows (20%), game shows (19%), talk shows (16%) and live non-sports events (15%).
"The challenge to providers unlocking this enormous growth is convincing viewers that interacting with TV programming is valuable to them," said Murdoch. "You do that by offering compelling content that enhances the viewing experience coupled with things that extend the value into other areas of their lives. In parallel, you might make social media easier for viewers to use by integrating these capabilities into your existing distribution infrastructure."
Ad Age is offering a “Peek at Which Shows Get the Most Love Around the Country,” on both broadcast and cable. Ad Age conducted research with Experian Simmons and
Patchwork to create two maps detailing top network and cable shows by county. The maps incorporate data gathered from 25,000 households in Q4 2011, and describe those counties with demographic-skewing labels such as "Evangelical Epicenters," "Emptying Nest," "Campus and Careers."
Young and more affluent urbanites are 34% more likely to watch “America’s Top Model”
- “Empty-nest” communities of baby boomers are 20% more likely to watch “Mike & Molly” (with its older and overweight stars) than other groups
- “The Daily Show” with Jon Stewart is most popular around campuses
- Nearly the entire Mormon population of Utah enjoys "Chuck"
Ad Age partnered with Patchwork Nation to “layer a ton of data through what is a demographic-segmentation tool with geo-targeting built in.” The value proposition is that the segments are more granular, as ratings tend to drill down to more inclusive, contiguous regions. These shows, therefore, can represent a cost-conscious way to target certain demographics. Whatever the show, be it “Daily Show” or “Bobby Jones Gospel,” Ad Age believes that these pinpoint demographics offer a “cost conscious way” for advertisers to target their key demos.