Ad recollection grows over past year in key 18-34 year old demographic
Regular viewers of original digital video programming have grown to 63 million in 2016 from 45 million in 2013, according to the “2016 Original Digital Video Study,” a comprehensive survey of over 1,900 consumers from the Interactive Advertising Bureau (IAB). This audience has seen a significant increase in median household income (9%) over a year ago. In addition, younger adults (18-34) are twice as likely as adults 35+ to watch this type of made-for-digital content, with males in the age group leading the way. The research, produced by GfK as an update to the IAB annual original digital video study, also shows that across all viewing devices today’s viewers of original digital video decidedly prefer this type of content to all TV programming—even surpassing primetime television for the first time.
The study was released during the second week of the 2016 Digital Content NewFronts, an annual marketplace managed by IAB that connects brands and media buyers with the latest in made-for-digital video opportunities. It shows that half of younger males (18-34) say they tend to remember ads in original digital video more than they did a year ago (31%). The same holds true for a greater percentage of the overall original digital video audience (38% vs. 29% a year ago).
Specifically, among 18-34 year old cord-cutters/nevers, a larger number of original digital video viewers also say they are more likely to remember ads shown alongside original digital video content (48%) than a year ago (27%). Moreover, 18-34 cord-cutters/nevers are inclined to find the ads shown during this type of programming to be “more interesting” or “fun” (49%), and they are not alone – a third (36%) of the general original digital viewing audience is in agreement about the likability of the ads shown within this sort of content.
Cord-cutters/nevers across the board are more prone than pay TV subscribers to stream video overall – especially original digital video and TV programming available online. More than half of cord-cutters/nevers say original digital video was an important reason for cancelling or not having pay TV.
“Considering these research findings, there is ample reason for advertisers to want to take advantage of original digital video,” said Anna Bager, sr. VP and general manager, mobile and video, IAB. “This growing format not only attracts a valuable young demographic, but also appeals to the notoriously hard-to-reach audience of cord-cutters/nevers. So, it is no wonder that marketers and media buyers are crowding NewFronts presentations to see the latest in premium original digital video programming.”
The top reasons consumers cited for watching made-for-digital video programming are viewing flexibility and exclusive, original content. In addition, positive perceptions of original digital video remain strong and steady year-over-year compared to regular TV, with consumers associating the format with attributes like “innovative,” “younger,” “for anywhere,” “unique,” and “new.”
To download the complete “2016 Original Digital Video Study,” click here.
Review: Writer-Director Coralie Fargeat’s “The Substance”
In its first two hours, "The Substance" is a well-made, entertaining movie. Writer-director Coralie Fargeat treats audiences to a heavy dose of biting social commentary on ageism and sexism in Hollywood, with a spoonful of sugar- and sparkle-doused body horror.
But the film's deliciously unhinged, blood-soaked and inevitably polarizing third act is what makes it unforgettable.
What begins as a dread-inducing but still relatively palatable sci-fi flick spirals deeper into absurdism and violence, eventually erupting — quite literally — into a full-blown monster movie. Let the viewer decide who the monster is.
Fargeat — who won best screenplay at this year's Cannes Film Festival — has been vocal about her reverence for "The Fly" director David Cronenberg, and fans of the godfather of body horror will see his unmistakable influence. But "The Substance" is also wholly unique and benefits from Fargeat's perspective, which, according to the French filmmaker, has involved extensive grappling with her own relationship to her body and society's scrutiny.
"The Substance" tells the story of Elisabeth Sparkle, a famed aerobics instructor with a televised show, played by a powerfully vulnerable Demi Moore. Sparkle is fired on her 50th birthday by a ruthless executive — a perfectly cast Dennis Quaid, who nails sleazy and gross.
Feeling rejected by a town that once loved her and despairing over her bygone star power, Sparkle learns from a handsome young nurse about a black-market drug that promises to create a "younger, more beautiful, more perfect" version of its user. Though she initially tosses the phone number in the trash, she soon fishes it out in a desperate panic and places an order.
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