An Audience Perspective on the Second Screen Phenomenon

De Meulenaere, Bleumers, and Van den Broeck, Audience Perspective on Second Screen

Jonas De Meulenaere Lizzy Bleumers Wendy Van den Broeck KeyWords: iMinds-MICT, Ghent University, iMinds-SMIT, Vrije Universiteit Brussel iMinds-SMIT, Vrije Universiteit Brussel iMinds-SMIT, Vrije Universiteit Brussel [email protected] [email protected] TV Audiences, Second Screen, means-end theory, lad- [email protected] dering, qualitative research

The Journal of Media Innovations 2.2 (2015), 6–22. DOI: http://dx.doi.org/10.5617/jmi.v2i2.909 Abstract http://www.journals.uio.no/index.php/TJMI © Jonas De Meulenaere, Lizzy Bleumers, and Wendy Van den Second screen applications are among the latest of the TV industry’s innovations to retain the TV viewer’s Broeck 2015. attention in a challenging multi-screen environment. These applications can be regarded as an exten- sion of TV content consumed on a TV set towards lightweight portable devices such as tablets. While numerous commercial instances are available internationally and the existing literature on the topic from a technical perspective is extensive, the audience side of this phenomenon has been paid far less attention to. Moreover, in the case of Flanders, the successful commercial implementation of second screen applications remains limited. In this research, we aim to elicit what TV viewers’ expectations and preferences are regarding second screen functionalities. By applying means-end theory and a laddering approach we were able to discern how these preferences subsequently relate to the TV show itself, the consequences for the viewing experience, as well as how second screen applications and usages are expected to fit in the viewer’s everyday life.

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Introduction their strategy focuses on following the viewers’ the intricacies of contemporary serialized drama by gaze, rather than trying to redirect them to the TV providing information on the characters, the rela- In contemporary Western society, we live in a multi- screen. tionships between the characters, but also salient screen environment. We interact with screens all Our aim is to grasp what TV viewers’ expecta- events. Plenty of commercial examples are avail- day long, considering it an almost mundane prac- tions are regarding second screen applications’ able today. Given the apparent success (of some) tice. Moreover, concurrent media consumption on functionalities. More in particular we will focus on of these applications as well as the existence of the multiple screens appears to be rising. Data shows how these link up to TV viewers’ expectations on viewer practices that we described above, second that contemporary TV viewing increasingly in- the consequences that these properties have for screen applications might become a successful involves simultaneous multi-screen usage (Internet their viewing experience and what they personally novation. At the same time, the failure of various Advertising Bureau, 2012). TV viewers seem to ef- value in their everyday life. The research question second screen start-ups (Poggi, 2014) indicates fortlessly divide their attention between Internet- we maintained was “How can a second screen ap- there is still a substantial need for research on the connected portable devices (e.g. smartphone or plication be relevant for TV viewers as a companion characteristics of and conditions for a successful tablet) on the one hand and the television set on application?” second screen application. the other. Second screen applications today exist in dif- Research on second screen currently unfolds In a context in which commercial TV networks ferent forms, aimed at enhancing the viewing ex- along two main lines of inquiry, including social are challenged in their advertisement revenues perience, stimulating the viewer to search for ad- TV and media experience. The social TV cluster in- (e.g. ad skipping, multitasking, etc.), these shifting ditional and related content, and reviving the idea vestigates what motivates audiences to engage in user practices may pose an additional threat (Jen- of social TV by integrating existing (e.g. Twitter online commenting via social media and how these nes & Van den Broeck, 2014). Especially because hashtags) as well as new social media streams in audiences are internally diversified (Doughty, Law- most of the content accessed using these additional the application. Cesar, Bulterman & Jansen (2008) son, Linehan, Rowland & Bennett, 2014), and on devices is not related to the content displayed on created a framework for second screen applica- how online conversation patterns can vary across the TV screen (Internet Advertising Bureau, 2012; tion development in which they discern four types various types of TV shows (Mukherjee, Wong & iMinds-iLab.o, 2014). At the same time, we do see of second screen usages. From a user perspective, Jansen, 2014) or within TV shows (Giglietto & Sel- that the industry tries to turn this threat into an these usages are controlling, enriching, sharing, va, 2014). The media experience cluster studies to opportunity by targeting these lightweight devices and transferring television content. Murray et al. what extent the TV viewing experience is impacted via interactive applications: the so-called second (2012) developed a concept for an application that by the additional second screen (Kusumoto, Kin- screen applications or TV companion apps. As such serves as a companion guiding the viewer through nunen, Kätsyri, Lindroos & Oittinen, 2014; Murphy

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& Hughes, 2014; Van Cauwenberge, Schaap & van Second screen and the multi-screen As the aforementioned definition indicates, this Roy, 2014). Our study is however more concerned TV viewer “first screen” does not necessarily need to be a (TV) with the design aspect of second screen applica- screen. For instance, the primary narrative can be tions. As such, this study falls within Human-Com- Given the novelty of second screen, both academic a live concert or sports game while the “second puter Interaction (HCI) research, which is more literature and business reports offer various defini- screen” provides contextually relevant information in line with the studies of Geerts, Leenheer, De tions, descriptions and approaches regarding sec- to this primary narrative. The key factor is the hi- Grooff, Negenman & Heijstraten (2014), Cesar et ond screen, differing in what aspects and practices erarchical relation between the first and the second al. (2008) or Murray et al. (2012). are included or excluded in the phenomenon. For screen, with the first being the primary point of at- In the remainder of this paper we first situ- Walley (2012), for instance, second screen consists tention, while the second provides the companion ate and define second screen. Subsequently, we of all types of TV related practices possible using experience: an experience that is intrinsically relat- elaborate on the applied Means-End Theory (Sub- a mobile device, including content interaction, but ed to the first screen narrative and that delivers an ramony, 2002; Zaman, 2007; Bleumers, Van den also remote consumption (e.g. watch TV content on augmentation of that experience. Broeck, Lievens & Pierson, 2012), hereby indicat- a tablet on the bus). For the sake of our own re- Currently, we see various instances of how the ing how we investigated the potential relevance of search, this definition is far too inclusive. We chose second screen idea is implemented. Examples of second screen for contemporary TV viewers. Next, to adopt the following more narrow approach of the such second screen apps include Beamly (2015), our method and sample are elaborated upon, and 2nd screen society (2012) as a starting point, which tvtag (2014), Viggle (2014), Eurovision (European our results discussed. defines second screen as Broadcast Union, 2013), Flanders Classics (Flan- ders Classics NV, 2013). These applications allow A companion experience in which a consumer en- viewers to, for example, interact with other view- gages in relevant content on a second device, such as ers via custom-made or existing social platforms, a smartphone, tablet or laptop while watching (TV ) to receive contextual information about the events content on the “first screen” (typically a television but deployed in the main narrative, and to consult ad- not limited to the living room) (Lexicon section, para. ditional camera angles or discover new things that 1). are related to the main narrative. Some of these applications are specifically developed for one or a Second screen thus aims to deliver a companion ex- series of events (Eurovision or sports events) or a perience that taps into the “first screen” narrative. specific TV show. Others overarch different types

The Journal of Media Innovations 2.2 (2015) 8 De Meulenaere, Bleumers, and Van den Broeck, Audience Perspective on Second Screen of content and TV channels, for instance by relying screen as a product appears to be industry-pushed in the usage of smart devices to consult informa- on meta-data (cf. Beamly), focusing on the social as a way to capture the viewer’s attention by deliv- tion sources such as Wikipedia, IMDB or YouTube aspect (tvtag), or rewarding viewers for watching ering the “narrative” through different channels in that provide additional information on the content TV shows (Viggle). various formats. This way the industry exploits the that is being watched (De Meulenaere, Van den Although neither “first screen” nor “second presence of a variety of Internet-connected devices Broeck & Lievens, 2012). Specifically in the context screen” is tied to a specific device or situation, con- in the domestic environment together with the ex- of second screen, research has indicated that view- sidering the aforementioned applications, the main isting multiscreen uses. ers appreciate additional information concerning application domain for second screen appears to be Despite this industry-push, various existing use the TV show that is watched (Geerts, et al, 2014), the domestic context. TV content watched on the practices can be interpreted as a consumer inter- especially if it is related to current affairs or sports large screen is supplemented by consulting infor- est. The simultaneous usage of multiple screens is broadcasts (Kusumoto, et al, 2014). With respect mation or engaging in on line conversations on not uncommon. Data on Flemish TV viewer shows to sports, Anstead, Benford & Houghton (2014) lightweight Internet-connected devices such as that about 70% of TV viewers tend to use Internet found that viewers appreciate the additional sta- tablets or smartphones. With respect to these com- at least once a month while watching TV. Interest- tistics, which were perceived as an enrichment of panion devices, previous research indicates a high- ingly this is mainly motivated by reasons that are their experience that the first screen by itself could er interest in second screen among those viewers not related to the TV show being watched (iMinds- not afford. Conversely, the second screen can also using tablets at least once a week while watching iLab.o, 2014). A possible explanation for this resides be used to counter boredom TV viewers may expe- TV (Courtois & D’heer, 2012). Therefore we focus in the idea that the availability of multiple screens rience during some parts of a TV broadcast (Kusu- in this research on the specific situation in which allows viewers to create a type of “micro moments” moto, et al, 2014). Nevertheless, viewers’ interest the TV set is considered the first screen and a tablet in which different activities can be combined in a in second screen should not be overestimated. For the second screen or companion device. spontaneous fashion. In these simultaneously cre- instance in the case of Flanders, research has indi- From a political economic perspective, the sec- ated moments, viewers engage in looking for addi- cated that the current adoption potential of second ond screen phenomenon seems to show similarities tional info, online shopping, communication and screen applications in Flanders appears to be low; with the longer tradition of media franchises that entertainment. This stimulates a new sense of time at the same time, what potential exists is relatively may involve other media texts such as books, films, for the user, namely “found time” (Google, 2012). underexploited by industry (Courtois & D’heer, TV shows, social media platforms such as Twitter Although the main share of the multi-screen 2012). (hash tags and profiles) or Facebook (fan pages) activities may be unrelated to the TV show being These findings provide us with some glimpses (Brooker, 2001; Grandio & Bonaut, 2012). Second watched, it is known that viewers have an interest of the current second screen, how second screen

The Journal of Media Innovations 2.2 (2015) 9 De Meulenaere, Bleumers, and Van den Broeck, Audience Perspective on Second Screen applications can be of interest to (certain segments Means-End Theory and laddering or quantitative data processing phase. During the of) TV viewers and how this relates to variations in laddering interview, participants are triggered to TV shows. In this research we aim to deepen the Means-End Theory originates in consumer re- express particular product preferences. By means understanding on this first screen – second screen search (Reynolds & Gutman, 1988) and fits within of a series of why-is-that-important-to-you-ques- relationship. the broader rational choice research tradition. Cen- tions, participants are asked to explain this prefer- tral to this approach is that people are considered ence. They are required to point out what product to act rationally and goal-oriented based on the be- attributes lie at the basis of this preference and liefs they maintain (Little, 1991; Grunert & Bech- how these are related to perceived consequences Larsen, 2005). Specific for Means-End Theory is of purchasing and consuming the product and per- that these beliefs are anchored to three levels of sonal values (Reynolds & Gutman, 1988). In the abstraction, and the linkages between them are data processing phase, the transcribed interviews related to an object or product. These three levels are coded with bottom-up categories following the of abstraction are (a) the low-level attributes of the attribute-consequence-value hierarchy, and may object, (b) the consequences of these attributes in be further analyzed quantitatively, resulting in the the application or consumption of this object and construction of visual maps. These maps, called (c) the high-level values relevant to the consumer hierarchical value maps, reveal the dominant link- as end-goals that are met by the consumption of ages between the elicited attributes, consequences the object. The idea within Means-End Theory is and values within the aggregated data set (Reyn- that people select objects with specific character- olds & Gutman, 1988). istics or attributes, for instance consumer goods, While laddering was initially applied in order because they believe those to aid them in attaining to uncover and understand consumer behavior, it particular desired consequences that, subsequent- has been adopted in the field of HCI (Subramony, ly, serve the values they hold (Subramony, 2002). 2002; Zaman, 2007; Bleumers et al., 2012). The To uncover these so-called means-end chains, application of laddering in HCI differs from mar- laddering methodology can be applied. Ladder- keting applications in terms of research aim and ing typically exists of a qualitative data collection the nature of the studied artefacts (Vanden Abeele phase (an interview), followed by a qualitative and/ & Zaman, 2009). First, in a HCI context, the pri-

The Journal of Media Innovations 2.2 (2015) 10 De Meulenaere, Bleumers, and Van den Broeck, Audience Perspective on Second Screen mary focus lies on enhancing the user experience, Similar to Bleumers and colleagues (2012) we ap- Procedure and Sample and laddering findings are used to formulate de- plied a card sorting exercise as the basis for a lad- sign recommendations. Second, whereas consumer dering interview. Our approach differed, however, Procedure research can focus on existing consumer products, in that we restricted the implementation of lad- We conducted fourteen one-hour interviews with the artefacts in HCI research are often less devel- dering to the interview technique and qualitative 22 respondents using card sorting and a ladder- oped or even just an idea, requiring additional analysis. The choice to omit further quantitative ing procedure. Eight of these interviews happened methods to make participants acquainted with the analysis was based on the fact that this study was one on one, while in the remaining six interviews research object and concept under investigation. focused on identifying and understanding the dif- two people were interviewed in the same session. In 2002, Subramony studied users’ web-site ferent ways in which a second-screen application Before the interview started, all respondents were preferences and, as such, successfully demonstrat- can be deemed relevant, not on establishing how introduced to a variety of local and international ed the applicability of the means-end theory and dominant these beliefs are. second screen applications in order to familiarize the laddering methodology in a HCI context. Jans them with a range of possible applications across & Calvi (2006) applied laddering in a user-centered TV show genres (phase 1 in Figure 1). In that sense, design study that aimed to evaluate a mobile city we complied with the guidelines of contextual lad- application under development. In that study, laddering. Next, we also explained the laddering in- dering was complemented by a preceding associa- terview technique because it is known that respon- tion phase. This combination of methods allowed dents may react uncomfortably to the sequence of them to grasp usability issues as well as aspects re- “why-questions” that is central to laddering (Haw- lated to the attitude towards the application. Lad- ley, 2009). dering was then further adapted to HCI research The laddering phase started with a card sorting needs into contextual laddering (Zaman, 2007). exercise, in order to uncover the mental connec- This was implemented in a study on the opportuni- tions between second screen and TV show attri- ties for omni-directional video (ODV) in TV shows, butes (phase 2). As the aforementioned findings of Bleumers et al. (2012) combined a demonstration Kusumoto et al. (2014) show, different types of TV of ODV with a card sorting exercise to facilitate the shows induce different types of interactions with laddering interview. Our study is in line with some, the second screen. We had 21 cards, with one for but not all, aspects of the aforementioned studies. each different TV show genre mentioned (cf. able

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Table 1. 1. TV Genres used for card sorting exercise).1 These cards were presented to the respondents in a tri- TV Genres used for card sorting exercise adic fashion and participants were asked the following questions: News shows Hobby program Stand-up comedy Drama series For which of these three types of TV shows do you Current or public affairs Action series think second screen is more suitable? Reality show Soap opera Weather forecast Consumer magazine What are the characteristics of this type of TV show Sitcom Docudrama that make it more suitable? Or what makes the other Documentary Human interest TV show types less suitable? Quiz-show Talk show Debate Touristic program The composition of these triadic sets was random- Music Film ized, reducing the chance respondents would have Sports the same set of cards as another respondent. The rationale behind this was that the presented genres Figure 1. Interview procedure merely served as a means to elicit and discuss preferences in terms of TV show attributes, rather than considering these genres as unambiguous categories. During the card sorting exercise, these attributes were written down on sticky notes by the in-

1 We used the same set of genres Bleumers, et al (2012) had derived from Geerts, Cesar & Bulterman et al. (2008), based on the European Broadcasting Union (2007) list, re-adding film as a genre.

The Journal of Media Innovations 2.2 (2015) 12 De Meulenaere, Bleumers, and Van den Broeck, Audience Perspective on Second Screen terviewer. After the final genre was selected all of Sample Results the sticky notes were presented to the respondent. Our sample was recruited through an available The respondent was asked whether he/she agreed research panel, the researchers’ personal social Second screen use conditions with the listed attributes and whether any adjust- networks and snowball sampling. During this sam- Before discussing the results of the laddering in- ments should be made. Subsequently, the respon- pling procedure, we applied the idea of purposeful terview a number of general reflections our re- dent selected the most salient attributes (phase 3) sampling (Sandelowski, 1995) and aimed to have a spondents had with respect to second screen us- which were then used in the next step of the inter- varied sample in terms of socio-demographic char- age are presented. First, second screen is seen as view. acteristics (i.e. type of household, gender, age and supplementary to the first screen (i.e. the TV set) This final step involved the elicitation of the education) and variables directly related to the sec- and should therefore remain secondary to the first consequences our respondents anticipated a second screen phenomenon. With respect to the latter, screen in terms of attention. Attention is a major ond screen would have regarding the viewing ex- we aimed for respondents who are familiar with concern: a second screen should not distract from perience and, subsequently, how this might be tablets (cf. Courtois & D’heer, 2012). Therefore, we the first screen, because of two reasons: the fear of meaningful in their everyday lives (values). It is in specifically targeted respondents who owned both missing something important and the fear that it this final phase of the interview that the sequence a TV set with iDTV subscription and a tablet. will make TV viewing more cognitively demanding. of why-questions typical for a laddering interview Our sample was composed of twenty-two re- As one of our informants put it, was used (phase 4). The crude ladders built during spondents divided over fourteen households, with these interviews were listed in a spreadsheet fol- a more or less even distribution of men (twelve) Second screen feels like multitasking and simultane- lowing the attribute-consequence-value categories, and women (ten). On average, our sample is rather ously doing multiple things. Basically something I’m completed with the terms the respondents used, young, with more than half of the respondents be- doing all day. The thing is, when I plant myself on the and supplemented with the respondents’ justifi- ing thirty or younger, while the oldest was sixty- couch, I’d like to be brain-dead: just relax and forget cations. By aggregating these ladders, standard- five. In terms of households, we obtained a varied about all the rest. (Eva2, female, 28) ized categories for these three levels of abstrac- composition with 5% singles, about 60% couples tion emerged and were assigned to the individual without children and about 30% couples with chil- These concerns are not entirely unfounded. Re- ladders, allowing the construction of standardized dren. About 70% of our sample received a higher search by Van Cauwenberge et al (2014) indicates ladders. This enabled us to discern and understand education. the various ways in which a second screen could be 2 Pseudonyms have been used to maintain respondent relevant. confidentiality.

The Journal of Media Innovations 2.2 (2015) 13 De Meulenaere, Bleumers, and Van den Broeck, Audience Perspective on Second Screen that the factual recall and the comprehension of only relevant for those TV shows that viewers al- envisioned that the show should be sufficiently long the first screen narrative are affected due to an in- ready like to watch and to which they can relate, to fully exploit the second screen. The weather fore- creased cognitive load. This occurs regardless of but these applications are no incentive to explore cast, for instance, is too short. In addition to dura- whether the second screen content is related or un- other types of TV content. Yet, when viewers do tion, participants also referred to the pace in which related to that first screen narrative. This does not have an interest in the TV show, the second screen various topics in the TV show are presented. A slow necessarily imply, however, that the overall viewing application might be an incentive to watch the TV pace, with only one or a limited number of topics, experience is reduced, as viewers may find the ad- show in a linear fashion, i.e., as it is broadcast (so- enables the viewer to explore the topics more in- ditional content gratifying (Kusumoto, et al, 2014). called “appointment TV”), instead of time-shifted depth on the second screen while not missing too In line with the previous, our respondents tend (usually by way of recording for later viewing) . much information on the first screen. On the other to agree that using a second screen turns watching hand, when a multitude of topics are presented TV into a more active practice. Therefore only TV TV show Attributes (e.g. the news), the possibility may arise that some shows that are already watched in an active fash- According to our respondents, the pivotal attri- of these topics are of lesser interest to the viewer. ion and with which viewers already actively engage butes of TV shows regarding second screen applica- This allows for second screen interaction, while the (for example by playing along or discussing the TV tions align with the temporal aspects of TV shows, viewer can rely on auditory cues to direct his or her show at home) appear to be regarded as suited. Yet, its content, and its ontological aspects. These attri- attention back and forth between first and second it is also important that people feel capable of pro- butes can either act as motivations to use second screen. cessing the two (related) information streams. screens or be conditional regarding second screen A fast pace may also stimulate second screen us- Considering this more broadly, viewing prefer- usage as a whole. Before discussing how these at- age, because it may be joined with a more shallow ences play an important role. Second screen ap- tributes link up to the higher-level consequences discussion of the topics at hand. Respondents indi- plications will only be used in those instances in and values, we first elaborate on these TV show at- cated that a topic presented quickly, without much which the viewer is already interested in the TV tributes and their motivational or conditional func- background information, might stimulate them show itself. In other words, a TV show will not be tioning towards second screen. to search for more information using the second watched because of the second screen application. Temporal aspects include attributes that stimu- screen. So one commented: This is in line with previous research results on the late as well as enable/ constrain second screen us- use of interactive digital television services. The age. Enabling/constraining temporal attributes are News shows always have a large variety in topics. research by Van den Broeck, Bauwens & Pierson the duration of the TV show and the pace of the TV Obviously one is not always as acquainted with some (2011) showed that interactive TV applications are show. In terms of the duration of the show, it was topics or particularities of topics as to others. And it

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disturbs me if I cannot situate the topic reported on. or that its content can be light or entertaining with- second screen application. Thirdly, from the afore- (Marc, male, 65) out requiring much cognitive effort or vice versa. mentioned fear of missing important information With respect to the former, editing implies a selec- while interacting with the second screen it follows This implies however that other information on the tion in what is included in the image or story and that second screen applications are considered to first screen may be missed, as the viewer is engaged what is not. This, in turn, leaves room for perceived be more suitable in the context of TV shows that with the content on the second screen (cf. Van Cau- manipulation and half-truths. On the other hand, allow viewers to “pause” their attention to the first wenberge, et al, 2014). One way to deal with this viewers may also perceive that they have informa- screen (e.g. reality shows that feature a mix of is to explore certain topics more in-depth after tion needs that differ from the TV show producers. quests or contests and background stories). So one watching the TV show, for example, during com- As another informant noted, interviewee observed: mercial breaks. Attributes related to the content of the TV show, In sports broadcasts the viewer is tied to what the Some shows just have boring parts. Or parts that particularly factual information and games/quiz broadcaster or the director decides is important, yet some people like while others don’t. For instance Ex- shows were found to stimulate second screen us- sometimes you just want to see a replay of an earlier peditie Robinson [a Flemish reality-show] spends a age. The factual information refers to news and event that you’ve missed or need to understand what lot of time on the election round, which I am not in- current affairs but also to (consumer) product dis- is happening later. (Stef, male, 26) terested in. With a second screen one could provide cussions, instructions, guides and discussion of diverging content to keep it interesting for everyone. holiday locations, and finally TV shows that have As this quote illustrates, the viewer is stimulated by (Bastiaan, male, 32) various parallel events going on at the same time, the expected presence of non-disclosed informa- such as sports. With respect to games, quizzes were tion to use a second screen app. This might include Consequences and Values very often selected during the card sorting exercise. additional information, additional camera view- In this section, we focus on those attributes that It was voiced that a second screen would be perfect points or behind the screen information. This find- operate as motivations toward the anticipated use to compete with both on-screen contenders as well ing resembles the expectations respondents had practices. These practices are discussed in terms of as peers, either with a direct link to the TV network regarding ODV (Bleumers et al., 2012). the anticipated consequences regarding the view- or not. Next, stories are often told episodically, with a ing experience, and how these consequences relate The TV show ontology refers to the idea that a once-a-week broadcast, which means that viewers to TV show attributes on the one hand and the re- TV shows’ content is the result of an editing phase, may miss an episode or may forget about (pivotal) spondents’ values on the other hand. that stories can span several episodes of one show information. This gap can be bridged by means of a

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Improve the understanding of the first screen As a consequence, depending on the genre of the As this quote indicates, sports are about the narrative TV show, the viewing experience and the overall ex- experience, yet it requires sufficient background A first anticipated second screen use practice re- perience is expected to improve. Viewers anticipate knowledge to be able to fully appreciate and enjoy volves around improving the understanding of the feeling more involved or engaged with the content it. Moreover, with this information, it was indi- first screen narrative. It was envisioned that the and thereby enjoying themselves more while con- cated that it is easier to predict future actions or second screen could be helpful in understanding suming TV content. However this conflicts with the events within the game, which contributes to un- the first screen narrative by providing background fear of experiencing cognitive overload, the overall derstanding, appreciation and enjoyment of the TV information. Often TV shows require background experience may still be gratifying, as Kusumoto content. The same mechanism is believed to apply knowledge to fully understand what is going on. et al. (2014) shows. This can be illustrated using to complex drama series. This is attributed to those genres that entail many the example of sports events. These typically in- A second perceived consequence is a higher re- and/or complex “storylines”, characters, topics volve many separate events, for instance, Olympic tention of information because of the more intense and/or parallel events. Games, track and field, cycling races, but require interaction with it. Subsequently, it is expected that Viewers tend to lose the overview of what is also a significant amount of background informa- this information can be used in other circumstanc- happening and/or fail to connect all the separate tion that is not always easily communicated given es, for instance during discussions with friends or events to one overarching narrative. Similar to the constraints of the TV medium. Depending on colleagues. In turn, this may establish or reinforce the application Murray et al. (2012) developed (cf. the existing knowledge, the understanding of why social ties but also one’s social status within this so- supra), a second screen can assist viewers by fur- and how one result or event affects another event cial environment. Another interviewee makes this nishing them with an overview as in relevant back- can be higher or lower, which can thus be mitigated clear: ground information and live updates, but also by by the usage of a second screen. So one informant providing the viewer with the means to control (to commented, I like it when I can contribute to a conversation, to some extent) the information stream. This is tied talk to friends about these trivial facts which I have to the knowledge that a TV show is the result of an Sports are about the emotional experience that oc- picked up watching TV, browsing the web. This is not editing process, complying with the constraints in- curs because you lose yourself in it. Without the emo- something deliberate, it just happens, it sticks. (Je- herent to AV-products. tional connection sports are just plain boring. But roen, male, 28) The idea is that, when this is implemented well, this is only possible if you understand what it is all the understanding of the first screen will improve. about and who is who. (Koen, male, 34) Thirdly, second screen usage may allow for a (grounded) opinion regarding the topics discussed

The Journal of Media Innovations 2.2 (2015) 16 De Meulenaere, Bleumers, and Van den Broeck, Audience Perspective on Second Screen on the first screen. Here, the second screen is seen Second screen as convenient access to related infor, the viewer could again focus on the first screen as something that provides the viewer with infor- formation without this disturbance, rendering TV viewing mation to make up his or her own mind. Typical ex- Respondents also considered the use of a second into a cognitively relaxed activity, complying with amples are current affairs TV shows or talk shows, screen as a means for easy access to relevant infor- what is expected of TV viewing. In addition, having where TV viewers may experience a lack of back- mation. Whereas the previously described practice access to this information in the relaxing environ- ground knowledge regarding invited guests and/ involves developing in-depth understanding, this ment of TV viewing, the second screen is expected or the discussed topics. This type of TV show can, envisioned practice is more pragmatic – i.e., using to contribute to an intellectual development while for instance, be stumbled upon while channel surf- the second screen to quickly satisfy one’s curiosity requiring little effort. In addition, it also serves as a ing. To stick to this TV show instead of to continue or to conveniently capture information that can be verification of one’s knowledge. channel surfing, a second screen can be helpful by put to use later in other activities (e.g. capturing in- Secondly, this easy access to information relates filling these gaps, as Anna (female, 24) observed: gredients for preparing the recipe shown on TV). also to TV shows that provide information that is Firstly, it is expected that a second screen can not easily remembered, such as reviews of products Often you stumble upon something like a talk show provide this information in a filtered, efficient and and travel destinations, instructables or guidelines. that looks interesting, but you can’t place the guests useful fashion when the viewer struggles with nag- By providing the information in a filtered, easily ac- or the topic they are talking about. Via a second screen ging questions triggered by either curiosity or dis- cessible way, viewers can learn in a relaxing fashion you can easily be updated about all this information. trust. For instance statements made by a guest in a and be inspired as well as informed. In addition, talk show or current affaires TV show, without (suf- the second screen can serve as a mnemonic that In this context, the improvement of the first ficient) reasoning may trigger the viewer to ques- can be used at a later, more relevant stage. During screen narrative may result in a deeper under- tion the trustworthiness of the statement. When the interview references were often made to cook- standing of the topic, the development of a per- watching TV, however, the interest in starting a ing or DIY-shows. Typically these type of TV shows sonal opinion, but also in a verification of the trust- search oneself is not always present. In that sense, offer tips and tricks, recipes, guidelines, and so on worthiness of the information provided by the TV a second screen can be the means to be provided that are relevant to the viewer, yet only at a later show. with the requested information in an easily digest- stage, away from a TV viewing situation. Further- ible fashion, either via sources offered via the net- more, viewers can get inspired by the content but work, a third party or through the social media. It are unable to find it when they really need it. So one is expected that when finding what one was looking interviewee noted:

The Journal of Media Innovations 2.2 (2015) 17 De Meulenaere, Bleumers, and Van den Broeck, Audience Perspective on Second Screen

I often see interesting or tasty dishes on the TV and Second screen as tool for first screen narrative Moreover, this was also seen in the context of I really want to try that afterwards. But when the interaction improving the work/life balance. For instance moment is there, when I want to prepare it, I have Second screen applications are also seen as a means Steve, a 32-year-old male, indicates that he often forgotten what exactly it was or where I have seen it. to participate in the first screen narrative, espe- participate in these TV quizzes in a similar fashion (Felicia, female, 28) cially in the context of game shows such as quiz- to what Anna describes above. He specifically em- zes. This participation appears to be executable in phasizes the seemingly paradoxical relaxation you In this sense, second screen is envisioned to a number of ways, ranging from direct competition can experience after engaging in a mentally strain- contribute to the improvement of the viewer’s with the on-screen participants to offline competi- ing yet immersive activity: personal situation as in acquiring new skills and tion with co-located viewers. So Anna (female, 24) competences, but also by providing the means to commented: If you have made an effort, you need to relax. And it be able to make more deliberate, well informed, is my assumption that relaxing is far more effective hence better choices with respect to the allocation It would be so much fun to quiz against my partner when it involves immersion. I believe that you will be of one’s resources (time, money…). As such, the during a TV quiz. We always do this anyway when a more satisfied with an immersive experience. (Steve, time spent watching TV is considered to be more quiz is on. It would be cool to have your own score male, 32) useful: this recalls the finding of a Google study by the end of the show and see how well you have from 2012 mentioned above on “found time.” This performed, for instance compared to my partner or Second screen as diversion study indicated that finding time was one of the friends. Light-minded TV shows, providing entertainment main reasons for simultaneous but unrelated me- without an overarching story, are considered to al- dia usage. For instance, checking mails or planning A second screen in this context is perceived as low the viewer to let his or her attention slip away holidays while watching TV was considered more augmenting the existing offline participation with from the first screen from time to time. One of our efficient (Google, 2012). Moreover, the time that quizzes. From this follows that the viewing expe- respondents named this pausable content (cf. su- is saved using the second screen applications can rience will improve, making it more enjoyable to pra). Typically, the viewer’s interest in the various consequently be allocated to other activities, con- watch. What is interesting here is that in this case, topics that feature on the first screen varies. This tributing to an improved work-life balance. the existing co-located interaction of ‘playing along’ opens up an opportunity for a second screen ap- within the household while watching a quiz would plication that can diversify the content of the first be supplemented with a mediated interaction with screen narrative for those viewers who are less distant others. interested in the first screen at that moment. For

The Journal of Media Innovations 2.2 (2015) 18 De Meulenaere, Bleumers, and Van den Broeck, Audience Perspective on Second Screen instance, with social media streams, behind the Discussion and Conclusion we were also able to find explanations for these ex- scenes content, etc. viewers can be entertained pected use practices. Through the convenient, in- while the content presented on the main screen In this study we aimed to investigate how a second stant, complete, yet concise nature of the compan- continues. Again, this appears to correspond with screen application as a companion application on ion experience, viewers expect to retain a relaxing the idea of making TV viewing more worthwhile. a tablet device could be relevant to TV viewers that TV viewing experience. It is anticipated that new The second screen can ameliorate the idea that the regularly use a tablet by applying means-end theo- skills are acquired, grounded opinions can be de- viewer is wasting his or her time by providing con- ry and the laddering method. We found that the ex- veloped, and limited resources (such as time) will tent via the second screen within the broader first pected use of second screen is contingent upon TV be more efficiently allocated, while the viewing ex- screen narrative that is closer to one’s interest com- shows’ temporal, content-related and/or ontologi- perience is at least maintained or even improved. pared to the first screen. cal qualities. These qualities can either stimulate In that sense, it seems that our respondents ex- second screen usage or function as a precondition. pect to gain something more from the TV viewing In relation to the first screen narrative, four activity by using a second screen application. TV types of anticipated second screen practices can viewing in itself can be perceived as wasting time. be discerned. A first practice considers the second This is expected to be alleviated by means of sec- screen to complement the first screen by filling in ond screen. In the concept of found time (Google, the gaps necessary to fully comprehend the first 2012), the resource time is (perceived to be) allo- screen narrative. Secondly, the second screen can cated more efficiently by performing multiple tasks function as a library to draw information that sur- simultaneously. Looking at our findings in the passes the first screen. Thirdly, the second screen same vein, these also suggest that combining two can function in parallel to the first screen, diversify- activities (first and second screen use) is seen as ing the content within the same broader narrative. a more efficient or worthwhile employment of the And finally, second screen can provide the means time allocated to TV viewing. Thus, the concept of to interact with the content, the content provider found time also holds true when the multiple ac- and/or (remote) others. tivities being involved are related. These findings largely corroborate the exist- The purpose of this study was to uncover the ing literature (cf. supra) in terms of what viewers various ways in which second screen applications (may) appreciate in second screen applications, yet can be relevant. To attain this end a stratified sam-

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