Starting today, Burger King is encouraging players of the. FIFA 20 game to play with the Stevenage club and complete a series of in-game. Challenges (each of which has names in reference to the brand’s universe and. Football like “A Nutmeg for Nuggets”, understand. “Un Petit Pont pour des Nuggets” or “Impossible for Impossible Whopper”). Gamers who complete these challenges. Will then have to upload the content for proof on Twitter. And will be eligible for free meals at Burger King restaurants. This activation, which capitalizes on a personality trait of gamers,
their exploits to as many nomor telepon singapura as possible, is actually a Burger King branded content operation on social networks through content created by gamers. users (from UGC) supporting the sports partnership. Agencies David and LOLA MullenLowe designed this activation and the spot below supporting it. This activation is fun and innovative on several levels, which is why we present it to you today. First, it convincingly blurs the line between online and offline. It’s almost 2020 and the internet community is still surprising me ,
Referring to Fans Already Sharing Stevenage’s New Uniforms Online.
“The ‘Stevenage Challenge’ is here to accommodate everyone. Because thanks to technology, it could also be everyone’s team. Hopefully Stevenage’s various virtual squads will have more. luck and success than the real Stevenage squad which has had a tough. Start to the 2019-20 season. Indeed, having won just two of their first 17 games. They currently sit 23rd among the 24 teams in League Two.Following the successful launch of the Ligue 1 Uber Eats account on. TikTok (more than 1.1M followers in 9 months), the Professional. Football League (LFP) has formalized its association with TikTok, the short-format video application , as part of a partnership.
“Hashtags challenges” with filter and special effects in the colors of Ligue. Uber Eats, In-App contests where users can win and many gifts and finally. Filters in the colors of each Ligue 1 Uber Eats club . Officially launched on September 30. This partnership begins with the posting of a first hashtag challenge #jouelacomme (#BendItLike in English) which will invite the. TikTok community to reproduce and share the celebrations of their favorite players. In addition, they will be able to enhance their creations with a filter specially developed for the occasion and available on the application. This first challenge will therefore be accessible to Ligue 1 Uber Eats fans around the world, and will be featured in the app in Europe.A digital hierarchy which is not so far from the usual sporting hierarchy,
Despite the Notable Absence of Kimi Raikkonen and Sebastian Vettel
the drivers of the red car not being followers of the blue bird. Unsurprisingly, we find the stars of the discipline at the top of this ranking, with a little further, pilots who shake up the Twitter hierarchy like Sergio Perez (5th) and the rookie Rio Haryanto(10th), both being very popular in their respective countries, Mexico and Indonesia, which may explain such a “performance”. Let’s add that the top quartet of drivers who tweet the most is made up of: Carlos Sainz Jr (6,100 tweets), Jenson Button (4,920 tweets), Fernando Alonso (4,110 tweets) and Lewis Hamilton (3,550 tweets). The “rock star” Lewis Hamilton, champion on the track and champion on Twitter!
We will note all the same the “perf” of Manor, which, for once, is not a red lantern. F1 in the 2.0 era Informative, interactive, participative, reactive, instantaneous, exciting, sometimes quirky, sometimes delicate and controversial, often creative, the Twitter tool is proving essential and strategic today in F1: it is now part of the teams’ communication plan. and pilots. This link between the fans and the pilots allows the sharing of information and content with the idea of reaching the public in a context different from that of a presence in front of the television screen. A communication and promotion tool, Twitter allows F1 to meet fans, but also a complementary audience that spends less time in front of the television. Nevertheless, this vector of dialogue remains very insufficient,