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What would Robbins be doing if he was in charge of Nickelodeon in 2013, for example, to respond to changing habits of their audience, and disruptive competition from the YouTube world? "The one thing that I would do: I don't think they make enough content. If you look at the primetime schedule on most of those networks, there are three to four original shows on, and it's not enough. It used to be enough when there were only two channels, but now with a mobile and a tablet, I have so many choices," said Robbins.

"That's the big problem: the model is broken. Their shows are relatively expensive to make, so they can only afford to make a certain number of them. So they are sort of stuck, and until they figure out how to change that model, you're going to see the audience keep eroding."

children are still sitting on their sofas watching videos, but the source is now YouTube and the devices are smartphones and tablets. "It's not just my kids, or kids in the US. It's kids everywhere," said Robbins, adding that half his company's views come from outside the US, and that half its views and comments come from mobile devices.

on the TV front – we work with connected TV ecosystem companies like Shazam, Cisco, and others that are building Automatic Content Recognition (ACR) into HD and 4K displays. In the increasing model of TV/mobile co-viewing/browsing, a sponsor could deliver a message that is first seen on the TV but is also sync’d to become a Call-To-Action (CTA) on the mobile device of the viewer.  And as the ad will know the location of the user, they could tailor the message to direct the customer to the nearest retail location of the brand advertiser.”

In 2011 we worked with Fox TV and our member company Loopt on the show 'Bob’s Burgers.' They approached us with an LBM idea –they wanted to build a fanbase as the show was just starting.  So, we partnered with the California-based chain Fatburger in 64 locations to rebrand them as Bob’s Burgers.  On one of the episodes, one of the animated characters checked-in on their mobile device.  We’re also worked with Bravo on shows like Real Housewives and Top Chef – to drive viewers to real-world retail locations that the characters on the show frequent.”

Let’s take a big retailer like The GAP – they spend $$$ on great TV ads with great music.   Instead of The GAP saying 'Check in on Foursquare today at the GAP and save 20% on a pair of jeans'  – essentially giving their margin away, wouldn’t it be better if I could say 'Hey, you know that great commercial you saw that got you into the store? Let me give you a free copy of that song as a download right now.'  So we’re seeing a shift from just discounts and coupons and moving toward an exchange of valuable content.  The producers and broadcasters of that content have a huge opportunity to participate in that.”

Regarding the potential for backlash against location-based marketing, Khan is optimistic:  “The way we look at it is, if you can demonstrate real value and relevance to an individual user, they will be willing to share their location data. It’s almost a mathematical equation.  You have to articulate opportunities around the value exchange.   Four years ago, the stats for Foursquare showed that more than 82% of the location data (check-ins) were driven by men.

just five apps, including Netflix, YouTube and Pandora, get the majority of use on all connected devices.

There are going to be more audiences watching more video on more screens, a lot of new business models, a lot more people watching more stuff and being able to pay for it

right now content providers may be too concerned with content protection, at the expense of viewer engagement.

However, Forbes points out the longer-term effect. “Cable companies get paid for the ads that consumers are no longer watching. Since ad rates are determined by eyeball counts, those rates will decline as more viewers opted-out, so cable companies will need to figure out new ways to make money.” 

Most TV services also lag the Web and mobile apps in helping discover new content.

Microsoft is also promoting voice recognition as it positions its videogame consoles and companion Kinect controller for a broad role in home entertainment. The company's Xbox One, due out this fall, allows customers to turn on multiple living-room devices by simply saying "Xbox On,"

Microsoft has experimented in other areas—including offering an Apple TV-like set-top box without videogame capability, building Xbox circuitry into TVs and adding DVR capability to Xbox models, people familiar with its prototypes have said.

One feature Intel has decided not to pursue for now is a camera equipped with facial recognition software to help personalize offerings for each user in a household. Mr. Huggers says the technology didn't work well enough in the low lighting common when watching TV and raised privacy questions.

Aereo relies on tiny antennas located in the company’s data centers that pick up local channels’ signals and beam them over the Internet to customers. For a monthly membership of $8 to $12, Aereo customers can watch the channels streaming live online or save them on virtual digital video recorders for later.

TV networks have responded: ABC, CBS, Fox, NBC and PBS are suing Aereo, claiming that its service violates copyright law by selling access to their content without their permission. A federal appeals court ruled in Aereo’s favor earlier this year,

two most-watched Roku apps are Netflix and Amazon Instant Video, according to Roku's website.

The set-top box, which would pit the online retailer against a host of established rivals, is a small device that resembles a Roku Inc. player and is similarly styled as a platform to run apps and content from a variety of sources, these people said. It would also serve as a delivery vehicle for Amazon's existing streaming video service—available as part of its Prime membership

tations must recalibrate the way they think about how they put stories together, Bowditch said. Rather than focusing on creating a news story to fit a certain timeslot in a newscast rundown, they must shift to a “story-centric” model of news production and take advantage of their websites and social media posts where time is not a limiting factor, he said.

“What it tells me is that Twitter is going to be a player in video distribution,” said Erik Flannigan, executive VP of multiplatform strategy and development at Viacom Entertainment Group

For Twitter, the advertising opportunity has come in an area that skeptics early on thought was inviolate territory: inside the stream of tweets from each user’s followers.

While Twitter has always been an effective springboard for TV, the platform previously strictly sent users to the TV set or to a link in another browser or app via retweet. That changed in June 2012, with the introduction of Twitter Cards, which essentially expanded a space once restricted to 140 characters to accommodate anything from a still photo to a video player — all without leaving Twitter.

For Twitter, Cards also paved the way for Amplify. Twitter first tested the initiative with ESPN last December during telecasts of BCS college football games. Thirty-second game highlights were targeted at sports fans in the Twittersphere just moments after they occurred in real time as a means of drawing more viewers from that segment of the audience most interested in the content, as well as to retain those already watching.

Twitter began bringing together other networks and advertisers for Amplify campaigns, including Turner Broadcasting with AT&T and Coke Zero for the NCAA men’s basketball tournament; and with Sprint, Taco Bell and Sony Pictures for NBA postseason games.

To wit, BBC America used Amplify for the season premiere of “Top Gear,” seeding Twitter with all sorts of video extras synched to the show’s airing but not available in the broadcast itself.

Having introduced TV Ad Targeting in beta mode in May, last week Twitter touted engagement metrics that should help encourage more advertisers to sign on. Among the first brands to experiment included Jaguar, Samsung and Holiday Inn.

Video can be intertwined with photos and text. It’s not entirely different from the model of so-called alternative reality games, but it is rooted on the social network instead of an array of websites. “I call it ‘disembodied media,’ ” said Mark Ghuneim, founder and CEO of social media tracking service Trendrr. “It’s a disembodied TV show taking place in disparate parts, times, and sources. It’s crazy in a great way.”

Interactive or participatory TV has been on the margins of the business for so long that it seems like it’s never going to happen. But Twitter may be just the soil where a long-delayed germination could actually take root. Let’s not forget that the average member of any audience has a device in their pocket capable of transmitting quality video — how can that not disrupt the traditional understanding of what programming is?

If a media channel doesn’t offer an enhanced array of fresh new experiences to reinforce its value exchange, it will be potentially regarded as spam. The only way mass media can respond to this is either by a) reducing their direct costs to consumers or the advertising load or b) increasing the depth and variety of experiences.

ad clutter appears to undermine TV effectiveness by up to -25% compared to digital video alternatives.

All media that fail to offer an enhanced value exchange will soon become spam.

Mass media are based on old models of communication. If anyone still doubts this, they only have to look at the aggregate declining audiences and revenues of magazines, newspapers and radio over the last ten years. Television’s threat comes in the form of its ageing process. In the last quarter of 2008, the average age of the TV broadcast primetime viewer was 49, in the same quarter last year it was 51. About 50% of TV viewing is now among the over 50s.

study found that people who use Twitter while watching TV are more engaged with shows and advertising, and therefore more valuable to marketers, than people who watch without Twitter.

or brands that used Twitter alongside their TV advertising, the study found on average a 6.9% increase in awareness for exposed audiences and significant increases for exposed and engaged audiences across awareness, intent and favorability measures.

sales increases of 4% on average in households exposed to ads on Twitter and TV vs. just TV ads alone.

3. The Twitter / TV Multitasker is Here – and TV Ad Recall is High for them. Only one quarter of tweeting occurs during the ad break, and it was highest during reality shows (27%). This supports existing Twitter research that found viewers who are actively engaging in social media while viewing TV are genuinely paying attention to both screens as TV show tune away is less and ad recall was higher for TV Twitter multitaskers.

Netflix is using its massive collection of consumer data to learn what users want to see and generate personalized recommendations for everyone.

In a more personalized, unbundled world, advertising would also need to evolve. "Internet TV is divorced of the need of advertising revenue because we can develop direct relationships with the consumer," Mr. Hunt said, calling the subscription, ad-free model is very popular with consumers.

Marketers will "need to find a different place to advertise,"

he same technology that lets Netflix personalize recommendations could also allow streaming services to select the right commercial for the right consumer. This would mean viewers see fewer, but more relevant ads, and marketers would be better able to target very specific consumers.