Twitter was pretty much wall-to-wall Games of Thrones this weekend. Though the show does still have a marketing budget, it's safe to say the buzz is now mostly self-sustaining, unlike most of its competitors. Walking Dead did that. As did the Voice. Possibly the Americans.
GoT's impressive social media presence got me to thinking about this post from a few years ago.
As previously mentioned
Certain business models limit you to certain marketing approaches.
For example, the standard model for scripted cable series is to run
weekly for about three months usually following long story arcs with
start dates varying from show to show. This model lends itself to
promotion through blogs and social media and it may not be a coincidence
that original, scripted shows have increased greatly in popularity and
influence over the past dozen years along with social media. When it
works well, these shows can create a powerful weekly cycle of buzz and
feedback starting with Twitter traffic during the actual broadcast and
building from there.
The sheer volume of tweets, posts and podcasts we're talking about is
astounding and it's made even more valuable because it bypasses our
normal anti-advertising filters. These are people we know recommending a
show. What's more, there's a tremendous social norming aspect. Watching
the show become part of what's expected.
Keeping that in mind, think about
the Netflix direct-to-binge model. Social media thrives on having a critical mass of people sharing a common experience. With a shows like
House of Cards,
the kind sustained build-up you see with a Game of Thrones is
impossible and even an ordinary discussion requires you to find a group
who are at same point in the viewing.
Ted Sarandos, Chief Content Officer of Netflix, responds to this concern with a truly extraordinary
statement:
“No one has ever watched anything on Netflix that they couldn’t watch
all at once,” Sarandos said. There was no interest in changing that
model for a new group of originals. But that not only meant changing
consumer behavior, it also meant dealing with the realities of today’s
social network environment.
Sarandos called it a “different style of watercooler etiquette.” Rather
than having to deal with the weekly conversation that is produced,
viewers need to ask each other which episodes they’re watching and
dealing [sic] with that. Still, the strategy seems to be paying off, as
viewers are continuing to tune in.
(quick aside: "paying off" implies improvement over what would have
happened otherwise. By this standard you could argue that having
disgusting bathrooms "pays off" for a filling station as long as someone
still buys gas there.)
Sarandos is saying that part of the company's strategy is to get viewers to engage in
less
word of mouth promotion. That's an amazing position, hoping that people
will refrain from conversation until everyone has had a chance to catch
up on all thirteen hours of a show. Of course, by the time that happens
(assuming it ever does), the show will be an old topic for the people
who watched it when it first came out.
In an age where social media is generally considered the inevitable wave
of the future, Netflix is launching a programming model based on people
talking less about their shows. It's possible that there's some method
to the madness here.
Of course, it's also possible these people haven't thought this through.