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The purpose of this paper is to study consumer engagement as a dynamic, iterative process in the context of TV shows. A theoretical framework involving the central constructs of brand actions, customer engagement behaviors (CEBs), and consumption is proposed. Brand actions of TV shows include advertising and firm-generated content (FGC) on social media. CEBs include volume, sentiment, and richness of user-generated content (UGC) on social media. Consumption comprises live and time-shifted TV viewing.

The authors study 31 new TV shows introduced in 2015. Consistent with the ecosystem framework, a simultaneous system of equations approach is adopted to analyze data from a US Cable TV provider, Kantar Media, and Twitter.

The findings show that advertising efforts initiated by the TV show have a positive effect on time-shifted viewing, but a negative effect on live viewing; tweets posted by the TV show (FGC) have a negative effect on time-shifted viewing, but no effect on live viewing; and negative sentiment from tweets posted by viewers (UGC) reduces time-shifted viewing, but increases live viewing.

Content creators and TV networks are faced with the daunting challenge of retaining their audiences in a media-fragmented world. Whereas most studies on engagement have focused on static firm-customer relationships, this study examines engagement from a dynamic, multi-agent perspective by studying interrelationships among brand actions, CEBs, and consumption over time. Accordingly, this study can help brands to quantify the effectiveness of their engagement efforts in terms of encouraging CEBs and eliciting specific TV consumption behaviors.

Social Marketing, Entertainment Education Program.

Postgraduate program. Master in Strategic Marketing and Master in Business Administration.

In the midst of the many TV shows that do not provide enlightenment, Kick Andy TV Show appeared to provide answers to the public unrest. In the spirit of “Watch with Heart” Kick Andy serves Entertainment-Education and Social rarely glimpsed by the television station. Success of Kick Andy TV Show made this brand doing brand extension such as Kick Andy Foundation, Kick Andy Magazine, Kick Andy Enterprise and others. Challenge for this program is to maintain the right balance between social, entertainment and education.

This Case Study illustrates that Kick Andy TV Show filled the value gap that viewers experienced from existing TV show. This show is similar to the offer of Oprah Winfrey Show in the USA. Student is expected to understand social marketing primarily related to entertainment-education TV show.

Teaching notes are available for educators only. Please contact your library to gain login details or email support@emeraldinsight.com to request teaching notes.

This study aims to examine entertainment TV shows' social media accounts to theoretically and practically explore the relationship between social media engagement and the performance (represented by ratings) of such shows.

By using the data of a popular TV show in the USA, The Voice, the present study examined the messages on the Facebook fan page of the show and how these messages correlated with the ratings of the show. Social media usage data in the course of three seasons (Seasons 10–12, 82 episodes in total) were collected from Facebook (N = 1,192,722 messages). Both regression and sentiment analysis were performed.

Overall, the findings revealed positive relationships of TV show ratings with both passive social media engagement (Facebook likes) and the number of official posts. However, active social media engagement was not positively related to show ratings.

By enhancing understanding of audience engagement with social media, our research extends knowledge related to the nature and development of viewer involvement with entertainment across different media platforms. Our results also help clarify how interpersonal communication (social media comments) and mass communication (TV programs) intersect. Practically, the findings could be applied to improve the interaction of TV audiences with show content, provide insights into the future of social TV development and inform decision-making amongst TV industry professionals.

The purpose of this paper is to analyse the nutritional content of recipes prepared in popular children’s television (TV) cooking shows.

A cross-sectional analysis of 150 recipes focusing on calorie, total fat and carbohydrates, saturated fatty acids, fibre, sugar, protein and salt content was performed. Main course recipes were evaluated against the UK Food Standards Agency (FSA), and the proportions of energy derived from each nutrient were evaluated against the World Health Organization (WHO) recommendations.

While a significant proportion met the FSA and WHO recommendations for energy and salt, 58 per cent were above the FSA recommendation for total fat (χ²=5.598, p=0.01), 56 per cent failed to meet the recommendations for saturated fatty acids (χ²=4.551, p=0.03) and 60 per cent exceeded the FSA protein recommendations (χ²=12.602, p<0.001). Only 17 and 21 per cent of the recipes met the minimum recommendations for carbohydrates (χ²=30.429, p<0.001) and fibre (χ²=16.909, p<0.001), respectively. Only 37 per cent had adequate portion of fruits and vegetables. The nutritional content varied depending on the composition of the recipes; vegetarian recipes were more likely to meet the recommendations than poultry, meat or fish recipes.

Foods displayed by children’s popular TV cooking show fall short of the standards for healthy eating, thus warranting further research on how these shows affect eating behaviour.

This study is the first to consider children’s TV cooking shows as a platform of exposure to unhealthy foods.

The purpose of this paper is to explore the interrelationship between television (TV) consumption (viewing ratings), engagement behaviors of different actors on Twitter (TV programs, media, celebrities and viewers) and the content of engagement behaviors (affective, program-related and social content).

TV ratings and Twitter data were obtained. The content of tweets was analyzed by means of a sentiment analysis. A vector auto regression model was used to understand the interrelationship between tweets of different actors and TV consumption.

First, the results showed a negative interrelationship between TV viewing and viewers’ tweeting behavior. Second, tweets by celebrities and media exhibited similar patterns and were both affected mostly by the number of tweets by viewers. Finally, the content of tweets matters. Affective tweets positively relate to TV viewing, and program-related and social content positively relates to the number of tweets by viewers.

The findings help us understand the online engagement ecosystem and provide insights into drivers of TV consumption and online engagement of different actors.

The results indicate that content producers may want to focus on stimulating affective conversations on Twitter to trigger more online and offline engagement. The results also call for rethinking the meaning of TV metrics.

While some studies have explored viewer interactions on Twitter, only a few studies have looked at the effects of such interactions on variables outside of social media, such as TV consumption. Moreover, the authors study the interrelations between Twitter interactions with TV consumption, which allows us to examine the effect of online engagement on offline behaviors and vice versa. Finally, the authors take different actors into account when studying real-life online engagement.

Social media (e.g., e-WOM) and traditional media (e.g., media coverage) serve different roles in a firm's marketing activities and also interact with each other, which in turn affect the market outcome. In addition, how market outcome affects the two types of media in turn has not been examined, which brings the need for a holistic framework. The rare study that examines this relation mostly relies on the volume of media rather than the valence. This study examines the interdependent relation between the volume and valence of social media, the volume of traditional media and TV ratings.

Forty-one South Korean TV drama shows from October 2014 to March 2016 were analyzed using the 3SLS estimation to examine the interdependent relation between the variables.

First, the volume of traditional media has a negative effect on the volume of social media. Second, ratings negatively affect the valence of social media. Third, the volume of traditional media is found to have a negative effect on ratings. This is explained by the displacement effect.

This study is one of the very few studies that examine the interdependent relation between various earned media and market outcomes in one framework. In addition, it has originality in that it considers the valence of social media, which is an important dimension in analyzing earned media. Our results show negative effects of news media on TV ratings and e-WOM, which diverge from common intuition.

The purpose of this paper is to compare the effect of marketing communication techniques concerning product placement and TV commercials on brand recall and the purchase intention of consumers.

A sample of 420 participants randomly assigned to one of the four scenarios of an experiment watched a selected episode of a Sri Lankan TV show that consisted of commercial breaks. Then, their recall and purchase intention toward the advertised/placed brand were measured using a questionnaire and binary logistic regression was the analytical tool.

This research indicated that a combination of product placement and TV commercials forms the highest impact on both brand recall and purchase intention. The next highest impact is created solely by product placement, while sole TV commercials make the lowest impact comparatively.

This study is beneficial to brands and entrepreneurs looking for the most effective marketing communication methods to promote their brands and products to consumers.

As an initial study performed on a comparison between two commonly used marketing communication techniques, i.e. product placement and TV commercials, in the Sri Lankan context would also enrich the global marketing literature on the comparative effectiveness of both techniques, where studies are limited so far.

The purpose of this paper is to investigate the relation between average ratings (viewership) and the volume and valence of electronic word of mouth (e-WOM) for early episodes of TV shows.

Linear regression was performed in which the dependent variable is average TV ratings and main independent variables are volume and valence of e-WOM. The study used a Breusch–Pagan test to detect heteroscedasticity. Accordingly, the model is analyzed using heteroscedasticity-consistent standard error estimators.

The results show that the volume of the early e-WOM does not significantly contribute to explaining average ratings, but the valence does.

Because the advertising revenue of television broadcasters is determined according to expected TV ratings, the average ratings should be predicted as early as possible. This study shows that analyzing early e-WOM helps predict average ratings.

The author explores the contemporary logics of branding and authenticity among contestants in the reality television show, RuPaul’s Drag Race. In the chapter, the author points to the inherent tension in performing a drag persona that is perceived as authentic by audiences whilst at the same time looking to take advantage of any financial opportunities that being on the show may generate. This tricky balancing act is examined in relation to the case of the drag persona, Tina Burner, who was criticised for not being authentic enough and overbranding herself. The chapter highlights the competing demands that contestants on a high-profile reality show must deal with and the difficulty of deciding ‘when to keep it real in reality TV’.