Female Writers Success

Post-Pilot Season, Measuring the Success of Female Writers in 2012

By Daniel Lehman

The major networks have revealed their 2012-13 primetime television schedules at this year's upfronts, so we now know that only a handful of the 96 pilots that were produced this year will debut as new series in the fall. Even though this is certainly bad news for many hopeful actors, directors, and writers, there is reason to believe that 2012 looks more promising for women in television.

Neely Swanson, an adjunct professor at the USC School of Cinematic Arts and former SVP of Development for David E. Kelly Productions, has analyzed each of the half-hour and hour-long comedy and drama pilots that were created for the networks this year, to determine whether female writers are finding more success than in past years. While gender inequality obviously remains, is it at least time for people to stop referring to the writers' room as a "boys' club?"

Overall, women were responsible for 32 percent of the pilots produced in 2012. According to Swanson, this is a decrease of three percent from the highs of 2011, but represents solid growth after 2010's low point of 20 percent.

Swanson points out that, conforming to an industry standard, these numbers include pilots from women writing alone, a woman writing with another woman, or a woman writing with a man. The data also includes pilots that have not been picked up to series, such as projects from Roseanne Barr, Sarah Silverman, and Rebel Wilson.

The CW, the smallest of the major networks, has consistently been a leader in its employment of female writers. For the last three years, about 50 percent of the CW's pilots have been written by women. NBC is also close to reaching gender equality, with females responsible for writing 42 percent of the peacock's 24 pilots. The ratio of women working on drama pilots increased 16 percent from 2011 to a total of 36 percent, while their participation in comedies dropped 12 percent since 2011 but remains close to 50 percent.

Meanwhile, 36 percent of ABC's 25 pilots were written by women, who were responsible for 42 percent of the network's comedy pilots and 31 percent of its dramas.

In a significant decrease from last year, female writers worked on only 24 percent of the 17 pilots produced for CBS, including 11 percent of the comedies and 38 percent of the dramas. FOX fared even worse in this analysis. Only 19 percent of FOX's 16 comedy and drama pilots were written by women, a decrease of 17 percent from last year. Yet at the same time, almost 50 percent of the pilots that 20th Television produced for all the networks were written by women.

COMEDY TAKES TV

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Season's biggest trend: comedy's rise

Reality veterans see ratings erode, however

By Rick Kissell

Primetime's top skeins suffered a more pronounced spring swoon than usual this year, but the television season that ends tonight produced a pretty good ratings story for the Big Four broadcasters -- especially CBS.

The Eye made Fox sweat for its victory in 18-49 this season, finishing close behind while prevailing in adults 25-54 and winning by a big margin in total viewers. CBS and NBC were the nets on the rise this season, with Fox down nearly 10% compared to 2010-11 and ABC flat or off slightly in most categories.

The biggest trends this season were the rise of comedy and the decline in popularity for most reality vets, notably Fox's "American Idol" and ABC's "Dancing With the Stars."

 From a big-picture standpoint, when full-week DVR playback viewing stats are included, the major networks combined to retain 99% of their year-ago audience in both adults 18-49 and total viewers. So while the ratings may not have always looked great the next morning, digital video recorders -- now in 45% of homes nationally -- continue to be a panacea for the networks.

As for bragging rights, Fox finishes on top in adults 18-49 for an eighth straight season, but a rising CBS held at second for a sixth straight year and had its most competitive finish yet, trailing by just two-tenths of a point. The Eye also won outright in its target demo of adults 25-54 for the first time in five years. CBS also logged its ninth total-viewers victory in 10 seasons, winning by the largest margin for any network in 23 years (nearly 3 million ahead of Fox).

NBC, benefiting from the Super Bowl and midseason hit "The Voice," appears to have finished ahead of ABC for third place in 18-49, leading by one-tenth of a ratings point. The two nets tied a couple of years ago, but this would mark the first time since the 2003-04 season that the Peacock has bested one of its Big Four rivals.

NBC saw the biggest growth in 18-49 (9%), while CBS was up 3%. ABC will finish down 4% while Fox figures to come in down about 10%.

(Final numbers, including the last two days of the season and then full-week DVR playback stats, won't be available until June.)

The hottest show of the 2011-12 campaign was CBS' Thursday anchor "The Big Bang Theory," which finishes just a smidge behind ABC's "Modern Family" as TV's No. 1 scripted show in 18-49 and is tops among laffers in total viewers. The Eye's other big returning comedies -- "How I Met Your Mother," "Two and a Half Men" (with new lead Ashton Kutcher) and "Mike and Molly" -- also spiked, as did ABC's "Modern Family" in its third year.

Overall, comedies accounted for six of the top 10 programs in 18-49. CBS' "2 Broke Girls" is the season's top-rated newcomer in 18-49, while Fox's new half-hour "New Girl" finished as TV's No. 2 scripted show overall in 18-34 (close behind "Modern Family"), and ABC's "Suburgatory" had a solid rookie run.

The nets are certainly more confident about comedy these days, readying 28 half-hours for fall -- up from 20 a year ago and 16 just two years ago.

As for reality shows, "The Voice" on NBC and "The X Factor" on Fox were nice additions to the lineups, helping the genre compensate for significant ratings tumbles for "American Idol" (down 30% in adults 18-49 from last season) and "Dancing With the Stars" (down 27%).

 Also down by double digits were ABC's "The Bachelor" and NBC's "The Biggest Loser." CBS' "Survivor" and "Amazing Race," older than the rest of the current unscripted pack, continued their more gradual declines (each off 7%).

NBC's "Sunday Night Football" ended "American Idol's" eight-season streak as the No. 1 program in 18-49, though "Idol" still stands as the No. 1 entertainment series. The Fox vet, whose finale is tonight, was tied through Sunday with NBC's "The Voice" (whose average included its post-Super Bowl airing) as the No. 2-ranked program in the demo.

How crowded did the reality field get this season? The song-and-dance competition genre alone (six series) accounted for 226.5 hours of primetime real estate on the Big Four this season, more than double the volume of just three years ago, when "American Idol" and "Dancing With the Stars" were the only offerings. Not surprisingly, both "Idol" and "Dancing" are wrapping their lowest-rated seasons in a year in which they also produced their most hours of programming (61.5 for "Dancing" and 58.5 for "Idol").

Spanish-lingo broadcaster Univision also had an eventful season. It solidified its standing as the No. 5 broadcaster in all categories, beating CW in both adults 18-49 and 18-34 on every night they went head to head. It also beat NBC in 18-49 on more than half the nights (128 of 245).

Other positives for Univision include its young median age (36) and the fact that 94% of viewing for its programs is done live.

 Here are some other notes for the Big Four and CW:

Fox

"Idol" may have lost a step this season, but it and newcomer "X Factor" made for a powerful seasonlong Wednesday-Thursday tandem for the net. Also helping was "New Girl," which tied ABC's "Once Upon a Time" as the No. 2 new scripted show in 18-49 and became the biggest DVR gainer among all rookies.

Biggest need for Fox is in the scripted hour department, as "House" has exited after eight seasons, "Glee" has faded, and rookie dramas "Alcatraz," "Terra Nova," "The Finder" and "Touch" all underwhelmed.

CBS

 In a year when auds were looking for laughs, the Eye dominated in comedy with six of the top 10 half-hours in 18-49. And overall, CBS claimed more top 25 shows in both 18-49 (nine) and 25-54 (11) than any other network.

CBS introduced the season's No. 1 new show in 18-49 ("2 Broke Girls"), while "Person of Interest" emerged as the No. 1 newbie in total viewers.

But perhaps the best news for the net was the performance of its returning shows. Along with the vet comedies, core dramas "NCIS," "Hawaii Five-0" and "Criminal Minds" all virtually matched their year-ago deliveries.

"NCIS" handily beat Fox's "Glee" in 18-49 on Tuesdays, after the reverse was true just last season. It also will likely finish just a bit behind "American Idol" as the most-watched entertainment series -- the third straight year that it's led all other scripted shows in total viewers.

NBC

 "The Voice" provided a much-needed boost and helped launch drama "Smash," which did well enough to earn a sophomore season.

 But NBC still needs more help. "The Office" was its No. 1 scripted series, but it finished outside the top 25 for the season and was down 15% year to year.

One plus for NBC was its overall younger skew, aided by an infusion of 18- to 34-year-olds for "The Voice." NBC was the only Big Four net up in adults 18-34 and, as a result, finished the season second to Fox in the demo.

 ABC

The net has TV's top comedy ("Modern Family") and drama ("Grey's Anatomy") in 18-49 but needs to fill in more of the blanks on its sked to compete with Fox and CBS.

Among new shows, Sunday rookie "Once Upon a Time" finished as the top rookie drama in 18-49 on any net in the past four seasons, while Wednesday series "Suburgatory" and "Revenge" were renewed after good first seasons. "Revenge" helped ABC stand as the only net to improve upon its 10 p.m. weekday perf of last year in 25-54 (the key demo for late local news).

A less heralded success was Friday's "Shark Tank," which spiked nicely from last year and was the night's top show in 18-49 down the stretch.

 And "Modern Family" again set DVR playback records, adding an average of 2.5 demo ratings points and 4.8 million viewers overall when comparing same-night to full-week numbers.

CW

It was a struggle for the netlet, with all five nights seeing declines.

 Echoing the dropoffs for the Big Four reality vets, "America's Next Top Model" was down sharply, and Friday suffered without "Smallville," which wrapped a year ago.

Vet "Supernatural" is still doing well, and among new shows, "Hart of Dixie" showed some spark and will return to anchor CW's Tuesday this fall.

Ratings Dip Cable

Why Cable Has Become More Like Broadcast TV

TNT, MTV, Nick Ratings Dipping Amid More Original Programming Competition

By Jeanine Poggi

Cable TV has enjoyed more than three decades of growth at the expense of the big five broadcasters. But the tables are turning.

Some major cable networks, including TNT, MTV and Nickelodeon, have seen double-digit declines; others, such as USA, have posted uncharacteristic downward blips. Out of the top 20 cable networks, eight have experienced declines season-to-date, according to Nielsen, with double-digit drops at ESPN, TNT, MTV and Nickelodeon.

Even so, cable as a whole isn't suffering -- its ratings overall remain steady to up as the pressure at bigger networks is offset by hefty gains at smaller channels such as Investigation Discovery (22%), National Geographic (17.9%), BBC America (19.5%), Animal Planet (7.8%), IFC (29.4%), Style Network (17.9%) and NFL Network (15%).

In many ways, this is a product of maturation. The audience that migrated from broadcast TV to cable is further fragmenting as a result of a concerted effort by cable programmers to increase investments in original content, which is ultimately creating more competition. Cable networks with a small base have more room to climb, and distribution has played an important role in recent growth. Investigation Discovery, for example, expanded its household base by 10 million subscribers in the last year, and is now in nearly 80 million households.

Moreover, networks such as AMC and ABC Family have generated cultlike fan bases with original breakout hits "The Walking Dead" and "Pretty Little Liars," respectively, said Billie Gold, VP-associate director of programming service at Carat. On the flip side, some of the faltering networks are relying on older shows that are losing steam, such as "Jersey Shore" at MTV and "SpongeBob SquarePants" at Nick.

"Audiences are aligning their loyalties more with specific programs than specific networks," said Noah Everist, associate director-media investments at Campbell Mithun's Compass Point Media unit.

That could lead advertisers to shift money to some midtier cable networks to leverage CPM increases. "Smaller networks could become more desirable, and if budgets don't go up, advertisers could buy niche networks with money coming out of big networks," said Gerri Donini, senior VP-broadcast at RJ Palmer.

But while the ratings pressure has sparked a debate among industry executives and media analysts about what's to blame -- cord-cutting, unseasonably warm weather, Nielsen flubs—that is somewhat meaningless at this point. More to the point is how juggernauts like MTV, USA, TNT and Nickelodeon will finesse the forecasts to set audience guarantees during upfront negotiations.

"If you are Nickelodeon, do you promise advertisers ratings will recover?" asked Todd Juenger, analyst at Sanford C. Bernstein & Co. (Nickelodeon's ratings plunged about 20% for the season among children 2 to 11. In March, for the first time, rival Disney Channel passed the network in average daily viewers. In an effort to halt the slide, Nickelodeon will add 650 hours of programming, it said at its upfront.)

"If they forecast a ratings recovery, and they are correct, then revenue will accelerate significantly," said Mr. Juenger. "If they don't deliver the promised audience, they will be stuck with significant make-goods."

"Networks will always try to sell on the potential of upside," said Mike Rosen, president-investment and activation at Starcom MediaVest Group. "They will project guarantee numbers higher than they are tracking at the moment and compensate if they fall short."

Though none of that should drastically change how advertisers allocate their budgets, it could skew the scatter market. "If ratings stay the way they are now and networks don't recognize this during the upfronts, they will have a lot to pay back, which means less scatter inventory that will cost more," said Ms. Donini.

TNT, whose prime-time ratings among 18- to 49-year-olds have dropped 23% season-to-date, must decide how bullish it will be on ratings recovery, based on upcoming summer originals.

"In a note of irony, USA and TNT positioned themselves with advertisers to be like the broadcast networks," said Marion Hamilton, senior analyst at CableU, which studies the cable industry. "Now they are experiencing broadcast-like erosion."

WHY TV DYING

DVR may be behind primetime ratings woes

New study notes dramatic C3 increases

By Andrew Wallenstein, Variety

The theory that growing DVR usage is to blame for the mysterious ratings malaise gripping primetime got some new credence from a Nomura Equity Research analysis issued Thursday.

A comparison of audience figures in the 18-49 demo drawn from live and C3 viewing over the first quarter of 2012 versus the same period the previous year revealed a dramatic difference. The 22% plunge registered by the Big Four in live shrinks to just 8% when the first three days of DVR usage is factored into the rating. And even that level of decline is likely overstated largely because of the sizable dropoff this season in TV's most watched series, Fox's "American Idol."

In recent weeks, many of TV's most popular series, from "Modern Family" to "NCIS," have been experiencing either series or season lows. While everything from daylight savings time to warm weather have been cited as factors, increased DVR usage has also been mentioned as a factor.Fox was feeling the live downturn most of all with a 46% drop in live viewing compared with the first quarter of last year due to both the decline of "Idol" and the absence of the Super Bowl, which it aired in February 2011. With C3 accounted for, that loss drops to 33%.

Given the Super Bowl aired this year on NBC, which is also surging with the success of the second season of "The Voice," NBC is up 32% once C3 is calculated--but still down 3% on live alone. ABC and CBS demonstrated less dramatic single-digit declines in both live and C3 over the same period.

When measured on a season-to-date basis instead of a quarterly one, the increases remain dramatic when compared with full seasons past. Fox's C3 numbers through March, for instance, are 35% higher than its live ratings, followed closely behind by ABC (34%), CBS (33%) and NBC (23%). Those totals are significantly higher than the differentials the Big Four registered in the 2007-08 season, which were all in the low teens.

While it's hardly surprising that broadcast's live numbers declined in the first quarter considering that trend has been in motion since 2008, the discrepancy between those numbers and C3 in the first quarter are greater than ever. "Note that broadcast's first quarter 17% lift in C3 ratings vs. live is the highest level of lift we have ever seen," wrote Nomura analyst Michael Nathanson.

In the fourth quarter of 2011, the live-C3 difference was 13%, which itself was a sizable leap from the third quarter, then 8%.

When broadcast's decline is combined with cable, which was down 4% in the first quarter, the overall decline of TV was 10%. But C3 shrinks cable's loss to just 1%, and TV overall by 4%.

All in all, broadcast has a one-third share of live viewing, but a 50% share of C3 viewing.

While C3 is technically a measurement of viewing of the commercials in a program over the three days following live, as opposed to the program itself, the ad-skipping on DVRs is actually declining. The "skip rate" for the Big Four in the 2011-12 season is 46%, down from 51% the previous season.

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On Sundays, the DVR Runneth Over

By BRIAN STELTER, NY Times

LIKE a lot of television fans, Kelly Foster had a problem last Sunday. Too much TV — and not enough time to watch or hard drive space to record it all.

So it was a two-DVR day for Ms. Foster, 46, an event producer in New York. The digital video recorder in her living room taped “The Good Wife” on CBS, while she watched the broadcasts of “Nurse Jackie” on Showtime and “Girls” on HBO; meanwhile, the DVR in her bedroom backed up “Oprah’s Next Chapter” on OWN and “Mad Men” on AMC. By Thursday, she still hadn’t caught up with “Mad Men.” And she’s practically dreading “Veep,” an HBO sitcom that has its premiere on Sunday.

“Obviously the various networks think this is the best time to capture the viewers’ attention, and Sunday nights are really the only night I watch ‘appointment’ TV,” she said. “But at some point it’s just too much!”

These are the predicaments of “the 43 percent”: the proportion of households in the United States with DVRs: minor and silly-sounding, yes, but frustrating for viewers who feel they have to assemble their own menu of time-shifted TV.

Right now Sundays are the hardest to piece together. The pileup of must-see shows on Sunday seems to have hit a breaking point this spring, with the return of “Mad Men,” the return of “Game of Thrones” to HBO, and the start of “Girls” and “Veep.” On the same evening, there are the new dramas “GCB” on ABC and “The Client List” on Lifetime, among others.

“That whirring sound you’re hearing in the background is your DVR crashing,” the media trade magazine Adweek declared in a recent article on the long list of quality Sunday shows.

Sure enough, complaints about too much of a good thing popped up on the Web last weekend, as viewers contemplated which shows to save and which to sacrifice. Even the best DVRs typically allow only two shows to be recorded at the same time. And dramas like “Mad Men” regularly run a few minutes past the top of the hour, creating havoc with DVR programming. Some viewers wind up watching their third- or fourth-string show via cable’s video-on-demand feature or Hulu, the online streaming Web site. (Those services can be frustrating, however, because episodes sometimes don’t appear for hours or days after their original telecasts.) And sometimes shows are skipped altogether.

“I think the current crop of shows on Sunday night is the biggest glut of great TV that I can remember,” said Gary Lee Webster, 62, a radio announcer in Fort Scott, Kan. Lately he’s had to bypass “Family Guy” on Fox in favor of dramas like “The Killing” on AMC and the sitcom “The Big C” on Showtime. It wasn’t as much of a problem last fall, since networks tend to avoid putting too many big shows up against Sunday night football games.

Cable and broadcast programmers take the end of the weekend so seriously because the percentage of households watching television is higher on Sunday night than any other night of the week. So the potential audience for new and returning shows is bigger than on other nights.

HBO helped to form the Sunday night strategy with shows like “The Sopranos” over a decade ago. (That network already had a Saturday night film franchise, so it wanted to seize the second half of the weekend by adding an original show.) Now even low-rated cable channels like OWN, run by Oprah Winfrey, try to stake out Sunday night turf. Ms. Winfrey’s show “Oprah’s Next Chapter” has gained traction on Sundays at 9, though the audience size varies from week to week.

Underlying the Sunday pileup are two trends: time-shifting, on one side, and the tendency to chat about shows online in real time, on the other.

Katie Perry, 25, a marketing manager in New York City, said the conflicts between her favorite Sunday shows created her own “personal Bermuda Triangle.” She typically watches “Celebrity Apprentice” at 9 p.m. but stops halfway through so she doesn’t miss “Mad Men.”

“Draper always wins,” she said.

Some viewers ask themselves: Which Sunday shows are most likely to come up in conversation at work or while surfing the Web on Monday? Conversely, which ones can wait a few days on the DVR?

Last weekend Meredith Dropkin, 41, a public relations executive in Syracuse, picked “Mad Men” over the premiere of “Girls,” but queued up “Girls” on the DVR. Forgoing sleep, she then squeezed in two others — “The Good Wife” and “Chopped” on the Food Network.

“I went to work tired, but ready for the water cooler,” she said by e-mail.

By the time the DVRs have cooled down on Monday mornings, the most popular Sunday shows typically include “The Good Wife,” “60 Minutes” and “The Amazing Race” on CBS; “Harry’s Law” and “The Apprentice” on NBC; and that stalwart “America’s Funniest Home Videos” on ABC, according to the overnight Nielsen ratings. But broadcasters and cable channels alike keep a close eye on the ever-growing amount of viewing that happens after those initial ratings results come in.

“Sunday night, though synonymous with HBO original series, is simply the starting line for us,” said Richard Plepler, a co-president of HBO. “We often generate over two-thirds of our viewing on other platforms,” including cable video on demand and HBO Go, the channel’s streaming service.

Those other platforms help viewers assemble their menu of shows. Mr. Webster has noticed that the cable channels repeat their original shows an hour or two later, so he sometimes rearranges his DVR schedule accordingly.

“Sunday is the night you stock up your DVR for the week,” the Time magazine television critic James Poniewozik mused on Twitter last weekend. “It is the Costco of television.”

Mobile Ad Spending Forecast

U.S. Mobile Ad Spend To Double In 2012

By Mark Walsh

A new forecast from Strategy Analytics projects mobile ad spending worldwide will grow 85% in 2012 from $6.3 billion to $11.6 billion. In the U.S., the technology research firm predicts mobile advertising will grow even faster, more than doubling (up 128%) to just under $4.2 billion.

If that projection proves accurate, the total would nearly triple the $1.6 billion estimate the Internet Advertising Bureau released last week for mobile ad revenue in 2011.

Advertising is expected to grow much faster than consumer spending in mobile. Strategy Analytics projects that consumer outlays on mobile media will grow 13.4% from $121.8 billion to $138.2 billion globally in 2012. In the U.S., the corresponding figure will increase 15.5% to $33.7 billion. The majority of consumer dollars (60.2%) worldwide will go toward carrier data plans and mobile Internet services.

But the study anticipates that strong, continued demand for apps will also play a key role in driving growth. The number of apps downloaded in 2011 surged 38% from 23 billion to 32 billion, making them the second-largest revenue category for both consumer and advertiser spending.

In-app display ad revenue, for example, has overtaken mobile Web advertising in the U.S. and major Western European markets by $1.7 billion, to $935 million.

Apps are expected to account for 18.9% of mobile consumer spend in 2012, rising 30.7% to $26.1 billion.

American mobile users are expected to spend $6.7 billion on apps in 2012, up 24.6%. That total would represent 20% of all U.S. consumers' mobile spend. At the same time, U.S. ad revenue on mobile apps is projected to more than double to $1.2 billion. That’s more than twice the $556 million that Strategy Analytics estimates for mobile Web display advertising.

Like apps, mobile video use is expected to rise sharply this year, with the number of videos watched almost tripling to 280 million. But unlike apps, the research firm found the uptick in mobile video viewing is translating into comparable revenue gains. Despite 23.8% sales growth, video is likely to account for just 2.4% ($3.6 billion) of total mobile media dollars in 2012. Of that amount, advertising will account for only about 20%.

David MacQueen, Strategy Analytics’ director of wireless media strategies, explained that mobile video is either often free and ad-supported (YouTube) or bundled without extra charge into services, such as Sky Go in Europe and AT&T U-verse in the U.S. So despite a global audience of 271 million users, mobile video only generated $223 million in ad sales last year.

Mobile music hardly generates any advertising either. But it is said to account for $16 billion in consumer spending on the strength of subscription revenue going to music streaming services like Spotify, Pandora and Deezer. Gains by the new crop of mobile music brands have come at the expense of ringtones, whose revenue is declining fast.

By contrast, social networking is a growing force on mobile devices. Just consider that Facebook has more than 400 million mobile users, and that more than a third (36%) of U.S. mobile consumers accessed a social networking site in February, according to comScore.

For its part, Strategy Analytics predicts that 125 million Americans will use their handsets to social network. But again, advertising and other types of revenue have yet to catch up with consumers. So related U.S. revenue will reach $412.7 million, or $3.48 per mobile user.

Globally, however, revenue related to social networking content, apps and services is expected to increase 16.1% to $17.6 billion, making up 11.8% of overall mobile media revenues.

Mobile Video on Pace to Surpass Web Video in 2012

By Daisy Whitney

The mobile video ad market will surpass the online video ad market later this year.

 That’s a bold prediction, but it’s one Tod Sacerdoti, CEO of ad network BrightRoll is making based on ad requests he’s seen. “It’s happening fast and people are not quite comprehending the speed. By the end of this year we are pretty confident that more than half of all digital video ads will be mobile,” he said.

In March alone, more than 40% of the global video exchange requests at BrightRoll were for mobile. A year ago that figure was less than 5%, underscoring the rapid trajectory for mobile video, especially in the last few months. Sacerdoti said the number of global mobile ad requests BrightRoll handles has grown 4000% in the last year. Web requests are still rising too, at about 645% year over year.

One of the benefits of mobile video ads is they are often brand safe from the get-go, and are served to us in popular apps like Angry Birds, Draw Something, and Pandora, Sacerdoti said.

As such, he expects the growth in mobile video advertising will spread well beyond the premium big name publishers. “You have an enormous influx of supply and this is almost universally good for marketers. For publishers this may be a different group though, and publishers who have a strong business online might not be as meaningful on mobile.”