Watching my France stats very slowly die down on the last blog...
France has been STEADILY beeping my stats every so many hours since 2017 on 2 different blogs, and it is refreshing not seeing them here yet. With no feedback at all, I have no idea why and whether it's intentional (possibly even paid), and whether it's meant to bug me, but since it started specifically on June 7, 2017 and I was able at the time to get coords on the hits to a posh golf course, I can only imagine what the heck they thought I might be hinting at.
Although... I did bring up their history a little bit on August 1, 2016. I think I'll just pull that over here.
Pinky's aspienado obsessions in triplicate
This was my favorite tweet out of the entire Sharknado marathon yesterday.
In case that disappears, here is the time stamp.
Sharknado is good for my klout score, lol. They're in cahoots. Neither one is worth anything without the other saying "Good job!"
If you are not familiar with live tweeting and why it's considered important in some of the business world, this is what a live tweet does with my twitter analytics. The shortest bar up there is 59 impressions. The tallest bar is 6,999. This isn't bragging, I have friends who get way higher spikes and even higher regular activity, but they also get better engagement because they interact all the time. Some never interact and get ten times the engagement (retweets and link clicks) because they've discovered gimmicks that pull people in, however, and quite sadly, there are automated bot accounts that do exactly the same thing, so c'est la vie. Fine tuning presence is like a game, or maybe like learning to drive or fly, and there are a variety of vehicles. Klout is comparable to Google, it's been tightened up and lets you know where to tweak for more visibility.
Why Your Klout Score Matters, and Why It Doesn't
~~~~~wild gear changing~~~~~~
Note- I am not a professional journalist, reviewer, or historian. This post is my opinion and doesn't represent anyone else mentioned. Please do your own research and don't quote me as a source. Media watching is my 'aspie train obsession'.
I don't know if I'm the first to suggest this, but Syfy is fascinating me with what kinda looks like an evil plot to own the world in the guise of the Sharknado series. It hit me when I saw this tweet come through during the #Sharknado4 live tweet.
One of the things (I'm guessing) holding up a Lexx franchise reboot is Syfy owning the featurettes that appear on the original print, and thereby retaining a toehold on character license. It doesn't matter who else owns distribution rights or whatever, as long as the franchise is sectioned out under several contracts, no one can touch it going forward. I can't help wondering now whether "Christine" being secured via Sharknado 4 into the Syfy contract fold will do the exact same thing, along with all the other licensed rights they purchased into.
Syfy is worldwide. I've been watching them since the late 90s, watched Vivendi court ordered to split down into smaller company families so that they wouldn't become a media monopoly. Syfy is part of the Universal, MGM, NBC family spawned through Vivendi (how many of you didn't know American news was owned by a French company?), putting it way too simply, and now they're all over Ubisoft, and I won't go on, but pay attention to that because it explains a LOT going on out there that confuses us little casual viewers and gamers who wonder why it can't be simple. (The Time Warner list is also impressive. Here, this.) But I will say that Syfy (originally during Friday Prime on SciFi) was the first network to include web links in its viewer advertising, and I know this because the store I worked in was the first retailer to contract into this new wave of crossing social media streams.
Syfy has worked very hard for a long time to procure, produce, and rebroadcast shows from around the world. Lexx wasn't an American made show at all, but a Canadian-German production also filmed in Thailand and Namibia. Several scifi and fantasy shows have been migrated over to the U.S. from the UK and Australia exclusively through Syfy before dropping back off the American radar. Americans really had very little awareness of the scope of film outside the U.S. until it could be contracted in as import, and it seems suddenly (over the last ten years) we've become very aware of shows we're missing. The UK was the first to world-sync a live broadcast around the globe with Day of the Doctor, but Syfy was the first network to stumble onto a mass trending live tweet completely changing sales, scheduling, and production projections in 24 hours flat. Up until the first Sharknado movie, everyone had to wait until 'release' dates on however their show was contracted. Syfy threw that in the trash. 'Available NOW' became a thing overnight. (Yes, you have Sharknado to thank for that!)
While reviewers go crazy over the writing, acting, and filming, and fans go crazy over cameos and salvaged careers, a few of us are watching Syfy carefully collecting everything it needs for the winning hand. They've bided their time, carefully injecting money here and there, looking like they were wasting Fridays on sports (WWE is owned by Universal, and so is Syfy- that is a really interesting corporation history) instead of their actual programming description, rerunning Mansquito until we were all sick of seeing the title, but all along, they were collecting other properties, investing nickels and dimes, and now look at them- owning red carpet parties like they just bought out Hollywood. Quoting Star Wars and everything else under the sun like it's no big deal. Anyone who makes money on other people's stuff knows you don't just glibly rip things off as you please. I'll lay bets they had lawyers going over every jot and tittle they could do with Star Wars and everything else they could parody in Sharknado 4. And once those jots and tittles were in place... Well, I'm guessing it becomes part ownership. Not the same way they own the Lexx featurettes, but licensed to partake, as it were.
Syfy saved Lexx from a one-off season when it moved from Showtime to Syfy. The same thing happened with Sliders. FOX was going to let it go, Syfy picked it up and they kept filming. Because that's the kind of thing Syfy does, I have always been a huge Syfy fan, not because I'm a crappy film fan (I'm a huge Raimi brothers fan, along with the original Princess of Mars kind of stuff), but because I'm a Syfy network fan. I've been watching the money since the very beginning, and particularly since Friday Prime, back in the Lexx/ Stargate SG-1/ Farscape days. Lexx and SG-1 were both Canadian owned, and Farscape was Australian. Syfy was the only network (besides PBS) bringing out of country properties to American viewers for a long time. Now it's no big deal, seems like everyone is dipping toes into world film, although the big Brexit thing across the pond put a serious dent in film production lately, but Moffat announced he's passing the Doctor Who torch 6 months before it happened.. Maybe he was paying attention.
Did Doctor Who predict the Brexit fallout 6 years ago?
I could go deep, but I'm not going to. I just wanted to say I appreciate Syfy's brilliance in ways regular viewers might not be noticing. I live tweeted Sharknado 4 because I think viewers are fantastically witty and make watching the show way more fun. I feel the same way about Walking Dead and several other shows, I simply don't watch them without watching tweet feeds. The best part of Sharknado 4 being so ridiculous is the hilarity and emotional roller coaster that comes through in the live reactions, the real time feed straight from the viewers. Watching pop sensation TV without twitter has become rather flat for me, a little too one-dimensional. TV writers for Syfy shows have clearly geared up and stepped up for real time viewer enhancement and takes real time viewer interaction very seriously. What do you think inspired the sudden super competitiveness in Netflix and Hulu investing? Syfy spent years setting the standard for the new business model while the world adjusts to streaming. I imagine in another ten years the next gen won't even know what a broadcast schedule is, and will think it archaic that we used to wait 8 months to see something in one country that was made in another, because of scheduling.
For any kind of context, I do have a solid history of interesting filming areas showing up in my stats since I've talked TV so much, and some of those did trace straight to real buildings on a paid statcounter, so I was able to verify a few visitors. I kept it to myself because I believe in lurkers having anonymity, and before covid even started I had already let go of paying for trackers. I can't see you guys much any more. But yeah, I musta poked a bear or something in the 2017 post.
At this writing, I still have yet to see a single France hit even though 5 countries are showing up here, pretty sure it's all friendlies so far. No weird spam or hack stuff showing up.
Now that I know way more about stuff than I did in 2016, I could probably write a thesis on the way medias are contracting and controlling, but I have a real life and I'm not paid, lol. The Disney mess is amusing, stuff like that.
If you guys really want to know what is going on in media, start digging into ownership history. It's easy enough, loads on wikipedia, articles everywhere. No one seems to notice that kind of stuff so it's not being removed or changed yet.
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