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ne thing is immediately clear: There is practically no overlap between the most-tweeted shows on TV and the highest-rated shows.

Seen through a Twitter lens, the No. 1 television show for the week of Sept. 23 to 29 was AMC’s “Breaking Bad” by a mile, with 9.28 million people seeing tweets about the show’s finale — but the episode wasn’t even among the top 20 in total viewership for the period, according to Nielsen primetime ratings.

But the divergence between the top shows Americans actually watch on TV and what they talk about on Twitter illustrates that there is not a strong correlation, today, between the two mediums. Only one show, two airings of NBC’s “The Voice,” appear in both top 10 rankings.

. In keeping with the company’s emphasis on being the go-to platform to collectively share experiences in real time, Costolo hinted, at a recent appearance at the Brookings Institute in Washington D.C., that Twitter is testing a feature that would allow users to essentially “replay” live events and pinpoint peak moments that can be viewed if missed the first time around.

Yet another form of video that will be coming to more and more Twitter feeds is TV Ad Targeting, a clever tool the company took out of beta last week that identifies someone who tweets about a show as likely to have just seen a commercial, and streams to them an accompanying digital promotion.

Twitter is also looking a lot like a venue for programming: Several innovative new episodic shortform series have used Twitter as a distribution platform in recent months.

ut Nascar's new page has a key new feature, which is the ability to pull in tweets related to a live event from a variety of sources. In the case of Nascar, tweets about Pocono 400 were being pulled in from drivers like Jeff Gordon as well as sports writers, and the curation was executed through an algorithm that searched for relevant content with the assistance of human editors, according to a Twitter blog post. It's further evidence of Twitter's desire to be the platform advertisers turn to when they're looking to execute promotions around major live events such as the Super Bowl or the Oscars. Last month, they announced a partnership with ESPN to create branded campaigns around tentpole sports events.

#Nascar page is the first of its kind and has a slightly different layout than the brand pages Twitter unveiled in December, which feature customizable header images and enable brands to keep a particular tweet -- often a photo or video that can auto-expand -- at the top,

Netflix is banking on getting on cable set-top boxes to hit aggressive growth targets in the next few years — but not every U.S. operator is eager to play ball with a company they view as a rival.

John Malone, whose Liberty Media owns a stake in Charter, has dismissed the notion that MSOs should pair up Netflix. At the company’s annual investor day this month, he said cable operators should team up to create a Netflix-like subscription VOD service, criticizing the industry for being slow to respond to over-the-top competitors.

Longer term, Netflix projects that it can be two or three times larger than HBO’s current linear base — with 60 million to 90 million subs in the U.S. Hitting those numbers would likely require pay TV deals, to reach consumers who don’t want a separate box for streaming Internet video.

So what’s to become of the dozens of startups that came out of the second-screen craze? “There’s definitely going to be a lot of consolidation that happens,” said Jesse Redniss,

According to i.TV, GetGlue will remain a separate product while letting it benefit from i.TV’s “broader platform of partners and services.” Provo, Utah-based i.TV claims 15 million people use its TV app every month. ”Together, i.TV and GetGlue will reshape the social TV and second screen landscape,” i.TV CEO Brad Pelo said in announcing the deal.

In a fight for survival, ConnecTV has pivoted its strategy. Last week the startup, whose investors include 10 broadcast station groups, released an overhaul of its app refocused on a simple idea: It lets users “clip” six-second video segments from among 400 live TV channels and share them on Twitter and Facebook, via a link in email or within the app.

Boxee rebranded its box from Boxee TV to Boxee Cloud DVR and changed the services it offers.

“Our pitch to them is if we move the DVR to the cloud, we can do dynamic ad insertion, so instead of losing the ability to monetize that audience if they’re watching a week later or binge viewing if they’ve recorded the entire season, if you could serve fresh ads whenever somebody is watching it … that is a better way to monetize DVR.”

ed us to believe the future of TV is not apps, it’s the experience and the content.”

A broad consortium of TV station groups have banded together for what may be the most ambitious effort yet to establish a dominant brand in the sprawling social-TV space.

second-screen experience bringing together consumers and companion content for Web browsers and tablet apps operating on both iOs and Android systems

The owner of the nation’s largest cable operator has begun preliminary discussions with both film and TV studios and other leading Internet service providers about employing technology, according to sources, that would provide offending users with transactional opportunities to access legal versions of copyright-infringing videos as they’re being downloaded.

The new approach would be an alternative to the Copyright Alert System, a voluntary initiative many leading programmers and distributors like Comcast have been utilizing since February. Other CAS participants include AT&T, Verizon, Time Warner Cable and Cablevision, as well as all studios affiliated with MPAA.

Using pirated content as a platform to drive legal transactions reflects an alternate philosophy regarding copyright infringement, one that sees the illegal activity less as a crime that requires punishment and more as lead generation to a consumer whose behavior is borne out of inadequate legitimate digital content options.

In the face of customer losses, cable and satellite TV operators say they’re focusing on higher-value subscribers, willing to sacrifice bargain-hunting consumers who at satisfied with over-the-top video options like Netflix and free broadcast TV.

data clearly shows that cord-cutting is picking up the pace as the cost of cable and satellite TV service continues to climb skyward.

The app takes an aggressive approach, blocking any tweet with the words “breaking” or “bad,” even if they may have nothing to do with the show, or are merely innocent comments on the show’s Emmy win. However, for those who have to wait to watch the finale, it may be better to be safe than sorry.

“Bad” fans can log into the website through Twitter and view a relatively normal version of their timeline, the only change being that tweets that could contain spoilers are blacked out with a spoiler warning. They have the option of clicking on the tweet to view it, if they so dare.

For Facebook, the new Premium Video Ads are an attempt to capture TV-size ad dollars with the lure of offering targeting capabilities — as well as reach — that television can’t match.

The video ads “autoplay” when a Facebook user scrolls through his or her newsfeed, but the sound is muted by default. As with any new form of advertising, the approach risks irritating users: NBC’s promos have already garnered a few negative comments (“Why can’t I get this crap off my timeline,” one commenter said) but generally reaction has been favorable.

Beatty said NBC will evaluate the effectiveness of the Facebook video ads in the short term on engagement and metrics like number of shares.

the biggest developer of addressable TV advertising technology, Invidi, is partnering with Clypd, a promising ad technology start-up that wants to create  marketplace for buying and selling TV that works just like online’s programmatic exchanges.

a wide variety of technology players have set their eyes on transforming the $60 billion-plus TV advertising marketplace, including big agency holding companies, their trading desks, and online video technology companies such as Tremor Video, YuMe and Adap.tv, which is being acquired by AOL and recently became the preferred video ad-buying platform for Interpublic’s Mediabrands.

the reason the deal between Invidi and Clypd is significant, is that Invidi is the only player to have built and deployed the kind of addressable TV advertising technology that will enable advertisers and agencies to target and buy audiences the way they buy online audiences -- at the individual level.

A key motivation for Amazon is boosting its Prime membership rolls, which may be bolstered by a set-top box.

Streaming video has been an increasing focus for Amazon, which has been racing to distinguish itself from rivals Netflix, Hulu LLC and others with exclusive content deals and a slate of television pilots that are set to become available starting later this year.

Based on the dizzying array of free and paid apps available on Roku devices--from the Yachting Channel to YogaGlo to Trigger Talk TV for gun enthusiasts—it is easy to imagine potential e-commerce tie-ins on an Amazon device.

The Advertising Platform Formerly Known as Mass Media Advertising communications channels have always offered their audiences a value exchange. For instance, TV provides entertainment experiences in return for advertising and indirectly a cable fee, magazines present an edited cornucopia of material on a selected topic in return for a cover price and advertising.

Social media and digital advertising are currently testing the limits of their value exchanges by expecting consumers to provide specific information about themselves or their behaviors, which the digital properties can subsequently leverage in targeted advertising.

now younger consumers’ growing sense of entitlement gained in the digital world (where information was often offered at low or zero cost) is shifting across all channels. We only have to look at the emergence of TV cable cord-cutters or the growth of services such as Bit Torrent for evidence of this. Bit Torrent has increased its audience by over +70% in the last two years to a monthly audience of 23 million users.