How viewer social media control is the future of television14 years

Posted on:01/02/2015 By:admin

How viewer social media control is the future of television

14 years later, reality TV still strong

For better or worse, reality TV has became a real staple of our viewing diet since the explosion of Survivor on TV in the year 2000. Each new attempt goes after a different market segment and ideas to capture the viewers imagination. To be fair, the format is based on the Chilean series Mundos Opuestos (2012 however Syfy added all the interactivity to it.

I watched the first couple episodes before I dug in to this story, and the first episode was pretty darn intense, with one guy, a military vet who had his leg broken in the first competition and was out of the game. A girl on his time had her finger broken and some other damages. This is no Brother I don know where they are filming it, but I have a sense it isn in the US. I had the opportunity to do an email interview with researcher Kalev H. Leetaru, a fellow and adjunct faculty at Georgetown University, will utilize cutting edge approaches christian louboutin outlet to measure the sentiment around the contestants on the show culminating in a "Twitter Popularity Index" determining who is most and least popular among viewers each week. As well as executive producer JD Roth ( The Geek, Biggest Loser

Social media meets reality TV

Shawn Gordon: How are you trying to change the reality TV paradigm with Worlds

Kalev Leetaru: Social media has become such an integral part of our daily lives, it is almost an extension now of our physical existence, in which people live post what happening around them and how they feel about it, moment by moment. This extends to entertainment, where people take to Twitter to rave and rant about the television shows they watch and what they think of the latest developments and the characters involved.

If you think about it, this is an incredibly rich source of interaction with fans that we never had before, where they are literally having a public discourse about what they want to see happen on the show and what is resonating with christian louboutin clearance them, all in real time. The problem today is that we have all of this incredibly rich discussion online, but that rarely, if ever, makes its way back into the show: people tell us online what they want to have happen, but the show proceeds in isolation from that.

Opposite Worlds to me is really about prototyping what it would look like if we actually gave the audience a partial remote control over the show, where they could actually tell us what they want to have happen and we actually do that, live, on the show. The technology is all there, it just took a channel like Syfy to ask might the future of television look like and to take the leap, and I think it is so perfectly fitting that it is the Syfy channel that is bringing us what I think is going to be the future of television and entertainment more broadly.

JD Roth: Exploring the "haves" and "have nots" has always been a part of pop culture; this show feeds on that notion. It is a strategic game, as well as a science experiment, that the audience christian louboutin pigalle 120 can watch unfold before their eyes. The game also gives the viewer power to make big decisions based on how they feel about each contestant. The line is blurring between social media and terrestrial.

SG: Reality TV is a pretty established format, can you dig in to some more of the distinguishing characteristics for me and my readers and how you got involved? What has intrigued me so far is if the desire to maintain a privileged lifestyle is stronger than the desire to get out of a primitive one. It is pretty obvious that no one wants to live in the past.

KL: What attracted me most to this project was the opportunity to prototype what I think will be the future of interactive television one in which we move beyond the short duration promotions of the past towards constant 24/7 interaction with shows, where the online discussion around a show directly influences and controls what happens to its characters. To me Opposite Worlds is really the first big step in this direction where we looking not just at how cheap christian louboutin often characters are mentioned, but at a much richer synthesis of that discussion that includes the emotional resonance of each character and his or her actions, in real time, and using that to actually directly drive the show actions on an ongoing basis. I think social media presents some really incredible opportunities for television to become so much more interactive and in doing so, in making the characters respond and react to the online discussion, television will become even more and more compelling, as shows literally come to life.

JD: Opposite Worlds explores the "social experiment" of how people react when put under different stimuli, including living in different periods of history. In this show, the idea that half of the contestants live in a "medieval" era, and the other half live in a "future" time is something we haven seen in this genre. We even go one step further in that each side can see the other! So imagine living in squalor and seeing people less than 20 feet away living in opulence. As the christian louboutin wedding shoes suffering worsens, it becomes like "Lord of the Flies" and you will do anything to get over to the other side. The bigger question is whether comfort and security can make you "soft" in a game like this; or, does living in an environment of pure survival make you hungrier to win?

SG: What was one of the harder challenges in getting this show together?

JD: The biggest challenge in developing this show was how to really deliver on the "past" world, and to create a living space in the "future" world, without knowing what that actually will be like. We also wanted to make the people in the "past" world suffer a bit, as people from past eras did, but how much suffering is fair? We tried to find a balance somewhere between pure misery and livable.

SG: Can you tell me more about the tech running the social media for Opposite Worlds? I been especially intrigued by Twitter Personality index as Twitter out of the box is really not well oriented towards this.

KL: "The Twitter Personality Index" Past christian louboutin london attempts at integrating social media into television have largely been short duration promotions, in which the audience is given a short period of time to tweet the name of their character as many times as possible and the one with the most tweets wins. With Opposite Worlds we really wanted to go beyond that, to enable the audience to engage with the show on an ongoing 24/7 basis so. This requires being able to separate out the characters being rooted for from those fans want booted, meaning we have to look at the emotional resonance around each character, not just the total volume of tweets mentioning each.

When a character does something really bad or really heroic, we need to be able to separate those, so that one gets a reward while the other is punished. This was a really exciting process for me personally in that it really required rethinking how we measuring emotion and we conceptualize that online discussion into some kind of measure that we could use to create a board ranking characters by popularity. The christian louboutin sale final form that the audience sees is a scoreboard similar to what they are familiar with from computer games, sporting events, etc, in which the characters are ranked in order from most to least popular, and this is updated in real time 24/7.

As characters do things the audience likes or dislikes, you can actually see their position on the board move in real time, while under the hood incredibly sophisticated algorithms are synthesizing the intensity of discussion around each player with the range of commentators and the emotional resonance and bringing that all together. The final system that powers the leader board engine features over 1.6 million words, phrases, and common misspellings, a spelling correction engine, hashtag expander, and even colloquial expressions, all running in real time to power the show.

SG: What evolution in media do you see this project sparking?

JD: Social media aspect Maybe the most fun part of this format is including the audience in the decisions each week. Imagine mulberry outlet the shooting schedule it has to be "day and date" to keep current with the audience requests. It is a Herculean task to produce two episodes each week, essentially live. The social media control over the game is the future of television. Viewers today have virtually no passive media experiences: they control what they watch, when they watch, and where they watch.

Controlling the content is the new customization of television. It goes along with consumers customizing everything: their phones, cars, even their shoes, and interfaces with nearly everything they come into contact with. If you don provide this for TV viewers, and in an interesting way, they may turn their back on the show. There are some cool surprises coming up, so jump in now, and get caught up on the couple episodes that have already happened. I found that the more I actually engaged with the program and system, the more interesting and compelling it got. This is just the tip of the iceberg folks, and you can literally help shape where it goes.

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