“Yellowstone” Most-Watched Cable TV Series of the Summer, Drives Millions of Digital Views

John Dutton (L- Kevin Costner) spends some quality time with grandson Tate (R- Brecken Merrill), but it also leads to a close call.

Paramount Network has hit a goldmine with scripted series Yellowstone, drawing the second-highest number of viewers of any cable TV show in 2018 and racking up more than 20 million digital views.

The Kevin Costner-led drama, which aired its season finale last week, is now the most-watched series not only in Paramount Network’s brief history, but also in nearly 15-year run of predecessor network Spike TV. Yellowstone reached an average of 5.1 million viewers weekly throughout its nine-episode first season, garnering the largest audience for an ad-supported new cable series since FX’s The People Vs. O.J. Simpson in 2016 and earning a 1.47 rating among the coveted 18-49 demographic. Among ad-supported cable dramas, only The Walking Dead has attracted a larger audience in 2018.

On the digital front, the summer hit from the seven-month-old network mirrored Viacom’s larger success across digital platforms. Season 1 content generated more than 12 million streams across Paramount owned-and-operated platforms and received over 9 million transactions on video-on-demand — the highest consumption for any Paramount Network series in channel history.

The success proves the newcomer network made a smart decision by recruiting big-name talent such as Oscar-nominee Taylor Sheridan — who wrote and directed the series — to drive its premium scripted lineup.

“When we launched, we wanted to build two nights of scripted entertainment,” Paramount Network President Kevin Kay told The Hollywood Reporter. “Now we know Yellowstone can anchor one of them.”

Yellowstone follows the Oscar- and Emmy-winning Costner as John Dutton, owner of a prominent and enormous Western ranch that has been passed down through generations in the Dutton family while he tackles the obstacles of keeping up with his adult children and making sure his land remains safe.

The finale of Yellowstone brought in 5.4 million viewers (L+7) and ranked as the top ad-supported episode of scripted television since April. The series accounted for 9 of the 10 largest audiences on ad-supported cable this summer (excluding news and sports). Season 2 production is already in the works with a debut set for 2019. Filming will take place in Utah and Montana, with Costner returning in his lead role.

Six Quotes Overheard at Viacom’s Campus to Career Multicultural Media Summit

Earlier this summer, Viacom’s Campus to Career program hosted its inaugural Multicultural Media Summit at the company’s New York City headquarters. The day-long series of executive panels and Q&A sessions focused on the future of television/media, spelled out unwritten rules for career success, and offered inside advice on landing a job or internship at Viacom. Students from universities across the nation presented a pitch to top Viacom leaders, then joined a networking session with executives, Viacom recruiters, and representatives from diversity partner organizations.

Clockwise from bottom left: BET Networks EVP and GM Michael Armstrong addresses the crowd; attendees gather in the amphitheater at Viacom’s world headquarters in Times Square; a brainstorming session after the event.

Here are six of the quotes that best defined the summit’s energy and positive message:

  1. “Whether or not you realize it, today could be your very first day working in media. We hope you learn something. We hope you’re inspired, and we hope you inspire one another.” – Michael Armstrong, Executive Vice President and GM, BET

2. “Be a good storyteller. At the end of the day, even when you were a little kid, all you wanted was for someone to tell you a good story.” – Rob Gregory, President, WHOSAY

Viacom executives at the Campus to Career Multicultural Media Summit. From L to R: Michael Armstrong, BET EVP & GM; Sean Coar, SVP, Data Strategy; Rob Gregory, President, WHOSAY; Zuri Rice, SVP, Original Short Form Content, Viacom Digital Studios – Nickelodeon

3. “Diversity is at the core of business. It makes good business sense to be as broad as possible and to have as many voices building your content as possible.” – Zuri Rice, Senior Vice President, Viacom Digital Studios (Nickelodeon Short-Form Content)

4. “You have to set the tone for yourself. How you show up and the narrative you set for yourself dictates how people will treat you. People will look at you the way you want to be seen. When you know who people are and not just what they do, you win the race.” – Michele Thornton Ghee, Senior Vice President, Ad Sales, BET Her

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Viacom Boosts Digital Presence, Showcases Classic Content as NickSplat Launches on VRV

by Stuart Winchester, Viacom

Nickelodeon’s canon runs deep: AAAHH!!! Real Monsters, All That, Are You Afraid of the Dark?, CatDog, Clarissa Explains It All, Doug, Kenan & Kel, Legends of the Hidden Temple, Rocko’s Modern Life, The Angry Beavers and The Wild Thornberrys.

Beginning today, these and many other Nick favorites – nearly 30 altogether – are available on NickSplat, an over-the-top destination served up a la carte or as part of the VRV platform. The channel, with its treasure chest of classic Nick shows, serves as both the latest evidence of Viacom’s deliberate move into the digital arena and an affirmation of its brands’ enormous reserves of intellectual property.

“Viacom’s content – including our deep library of genre-defining television – is highly in demand, and our audiences are always looking for new and innovative ways to enjoy our programming,” said Viacom Executive Vice President of Distribution and Business Development Partnerships Sam Cooper. “We’re committed to finding the best partners to bring our individual brands direct to the consumer, and this relationship with VRV is an exciting step forward in our strategy.”

The NickSplat launch over VRV builds on a series of recent moves to widen Viacom’s content footprint within the digital universe, both via the company’s own channels and over third-party platforms. In June, Nickelodeon announced that it would produce two seasons of Pinky Malinky for Netflix, while MTV would revive Real World, Daria, Aeon Flux and other classic shows for as-yet-to-be-announced platforms. Awesomeness, which Viacom recently acquired and folded under its Viacom Digital Studios umbrella, has a strong track record of third-party production, evidenced most recently by To All The Boys I’ve Loved Before, which debuted earlier this month on Netflix.

This studio model complements a general ramping up of premium content production throughout the Viacom ecosystem, from the explosive growth of Viacom Digital Studios to the consolidation of its global network into Viacom International Studios to the zero-to-$400-million-in-projected-annual-revenues ascendance of Paramount Television.

VRV is the premiere launch partner for NickSplat, and Viacom will curate content for the channel throughout the partnership. The $9.99-per-month service joins a roster of 12 channels – including Crunchyroll, Funimation, Rooster Teeth, Shudder and more – along with exclusive series such as HarmonQuest, Killjoys, Thundercats and Gary and His Demons.

Awesomeness’ Netflix Romcom Showcases Viacom’s Digital, Premium Content Strategies

by Stuart Winchester, Viacom

It’s a worst-nightmare-come-to-life scenario for teenage Lara Jean Covey (Lana Condor): five fawning secret love letters disappear from her room and turn up in the mailboxes of her five crushes. The mortified scribe soon finds herself in an elaborate tap-dancing deception involving her sister’s ex-boyfriend Josh (Israel Broussard), and her school’s resident superhunk Peter (Noah Centineo).

This is the setup for To All the Boys I’ve Loved Before, an Awesomeness Films production based upon the Jenny Han novel of the same name and currently airing on Netflix. The wellreviewed romantic comedy is the first that the studio has released since joining Viacom and the latest in a long line of movies Awesomeness Films has produced for digital platforms, including last summer’s You Get Me on Netflix.

The film’s release over a popular streaming platform affirms the strategic importance of last month’s acquisition, as Awesomeness’ production capabilities and relationships with third-party platforms fuel Viacom’s mission to amplify its digital presence and significantly boost its volume of premium content production.

Wrapped under the Viacom Digital Studios (VDS) umbrella, Awesomeness’ output – which also includes a TV division that produces series such as Hulu’s All Night  and forthcoming Light as a Feather, as well as YouTube Premium’s Foursome – bolsters an already-surging unit that drove 7 billion digital streams last quarter and significantly grew year-over-year video views (+112 percent) and watch time (+104 percent). VDS, which is still in its nascent phases, has an additional 600 hours of new, original digital content in the pipeline.

“The [Awesomeness] team brings strong digital expertise, deep connections with top talent and influencers, and a robust branded content studio and creative agency that will accelerate the growth and scale of Viacom Digital Studios,” VDS President (and Awesomeness alum) Kelly Day said when the deal was announced.

To All the Boys also debuts at a time when Viacom is significantly ramping up its productions for third-party platforms, both through Paramount Pictures’ Paramount Television production unit and a studio model that mines the company’s deep content vault and translates that intellectual property into new programming. Paramount Television expects to bring in more than $400 million in fiscal 2018 on the back of hits such as Netflix’s 13 Reasons Why and Amazon’s Jack Ryan, while Nickelodeon is producing Pinky Malinky for Netflix and MTV revives fan-favorites The Real World, Daria, Made and others. The newly formed Viacom International Studios has established a powerful generator of Spanish- and Portuguese-language content, with shows for Netflix, Amazon, Telemundo, Fox and others.