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.
Liza’s secret is out on Younger — but that hasn’t stopped fans from tuning in. In fact, more fans watched last week’s episode than any others this season.
The Season 5 episode, A Christmas Miracle, which aired on TV Land last Tuesday, hit a season high of 1.3 million total viewers (L+3), according to the network. Its ratings peaked in the key 24-54 demographic, particularly among women, with double-digit increases from the previous week. Season 5 of Younger is on pace to score its highest-rated season among both adults 18-49 and women 18-49.
The episode sent Christmas to July, where Liza’s long-time off-and-on love interest Charles declares his commitment to her in a swirling snowstorm following an unplanned encounter at a holiday party.
The popular series, starring Sutton Foster, Hilary Duff, Peter Hermann, Nico Tortorella and Miriam Shor, was the No. 1 original ad-supported cable sitcom reaching the key women’s demographics of 18-49 and 25-54 (Nielsen, L+3) in 2017 — and it looks like things are only heating up this season.
A new episode of Younger airs on TV Land tonight at 10 p.m. ET.
The numbers speak for themselves – the BET Awards are: the top cable awards show in the key 18-49 demographic for the fourth consecutive year*; the top cable awards among African-Americans 18-49 for the 17th straight year; and the most social cable awards show year-to-date and most social program of the night, sparking 2.1 million interactions (+89 percent total engagements from 2017) across Facebook and Twitter, topping even soccer’s World Cup for online buzz.
LOS ANGELES, CA – JUNE 24: Janelle Monae (C) performs onstage at the 2018 BET Awards at Microsoft Theater on June 24, 2018 in Los Angeles, California. (Photo by Paras Griffin/VMN18/Getty Images for BET)
Strong performances and a broad-based award slate that honors everything from the best in music (Cardi B, Drake, Kendrick Lamar), to industry legends (eight-time Grammy-winner Anita Baker, former BET CEO Debra Lee), and humanitarian achievements (Parkland hero Anthony Borges, 11-year-old March For Our Lives speaker Naomi Wadler), fused to drive the strong ratings and social metrics for the BET Awards. In a lineup that included Janelle Monae’s acrobatic rapping, a surprise appearance by J. Cole, and a multi-genre performance by Snoop Dogg, Meek Mill met universal acclaim for what the Washington Post called, “the night’s most powerful performance,” addressing a matrix of issues from police brutality to mass incarceration on a recreated street corner in his new single Stay Woke:
The series – set in a rough-and-tumble modern day American West where John Dutton (Kevin Costner), proprietor of the nation’s largest ranch, faces constant land-use pressure from developers, Native American tribes and the neighboring national park – struck gold with viewers, landing as ad-supported cable’s most-watched scripted-drama series in more than two years (since FX’s The People vs. O.J. Simpson).
Among Yellowstone’s headline numbers: It is this summer’s No. 1 new drama on broadcast and cable*. The program drew a 1.1 rating with the 18-49 demographic, and an even more impressive 1.7 with the 25-54 age group. It has attracted more viewers than every World Cup game on Fox and FS1, every Major League baseball telecast, and every game of the National Hockey League’s Stanley Cup Playoffs, including the Finals. It is the most-watched program in the history of Paramount Network and its predecessor, Spike.
Paramount Network – Viacom’s newest net – has considerably strengthened Viacom’s position in the original premium content space since it debuted in January with strong ratings for its first original, Waco, a six-part miniseries revisiting the siege of the Branch Davidian’s Texas compound in 1993.
This string of early successes validates Paramount Network’s strategy of recruiting and investing in top talent to drive its productions. American Woman stars Alicia Silverstone, Mena Suvari and Jennifer Bartels. Taylor Kitsch and Michael Shannon headlined Waco. And Yellowstone stars Costner and is created, written and directed by Taylor Sheridan, a renowned filmmaker whose credits include the well-regarded Sicario, Hell or High Water and Wind River.
“Yellowstone has everything a worthwhile Western should, including breathtaking vistas, battles over land and Kevin Costner in the lead role,” Lynn Elber wrote for the Associated Press.
“Yellowstone” premiered Wednesday, June 20 on Paramount Network. John Dutton (center – Kevin Costner), owner of the Dutton Ranch is surrounded by his ranch team (pictured l to r) Jamie Dutton (Wes Bentley), Lloyd (Forrie Smith), Fred (Luke Peckinpah), Lee Dutton (Dave Annable), Colby (Denim Richards) and Rip Wheeler (Cole Hauser).
By populating well-crafted stories with sought-after talent, the net has drawn viewers in with the sort of larger-than-television experiences that define this era of premium TV.
“I hope that the experience feels really fresh and cinematic and like a movie made for people who are sitting at home,” Sheridan told Indiewire. “That was the goal. So I hope that the scope of it and the energy and the emotion and the incredible talent of the cast, hopefully, they really leap from the screen and we have an impression that make people want to come back for more.”
New episodes of Yellowstone air Wednesdays at 10 p.m. ET/PT on Paramount Network.
* Nielsen, L3 data, CVG AA%; cable drama series premieres with Premiere indicator; 2018 entertainment telecasts=1/1/18-6/20/18 L3 P2+, excludes sports and news; sports comparisons L3 P2+ through 6/20/18; Summer=5/24/18-6/20/18; L3; Premiere indicator; excludes repeats
American Woman premiered June 7 on Paramount Network. Pictured [L to R]: Mena Suvari, Cheyenne Jackson, Alicia Silverstone, Jennifer Bartels.
American Womanpremiered on Paramount Network earlier this month, delivering viewers into a meticulously recreated 1970s Los Angeles, where emerging women’s empowerment clashed with the stubborn and smothering traditions of an old-guard patriarchy.
The series, starring Alicia Silverstone as a bold divorcée who struggles to raise two daughters after dumping her cheating husband, resonated immediately, drawing in more than one million viewers and establishing itself as the year’s highest-rated half-hour scripted series on cable in the key women’s 18-49 and 25-54 demographics. It was also the top social comedy series on Thursday night (per Nielsen).
That American Woman debuted to stellar reviews didn’t hurt. Silverstone especially has been a critical favorite.
“Plain and simple, Silverstone is perfect casting here, and she is great in this role,” wrote Decider’s Lea Palmieri. “She nails the humor, she looks fantastic, and she delivers the intended message and that go-getter attitude in her signature, captivating style. It’s enjoyable to see this woman in particular portray another woman who is as determined to start a new life as she once was to help a classmate become cool.”
Working alongside co-stars Mena Suvari and Jennifer Bartels, Silverstone struggles through a 1970s world that, in its musical score, its publicly abrasive treatment of women, its clothes and its cars, is as convincing as it is alien to an observer from 2018.
“The success of a period piece like American Woman, which deals with an era that at least some of its audience will have known in person, depends greatly on the quality of the atmosphere it creates,” writes MediaPost’s Adam Buckman, who counts himself among those who experienced the 1970s IRL. “This show gets an A+ in this department, including wardrobe, locations, cars and interior décor.”
Kelsey, Josh, Charles and company are back for season five, and the intricate web of rivalries and romances spinning around central character Liza’s secret (she’s 40 and pretending to be 25), are resonating with viewers more than ever. Episode two, which followed up on the #MeToo-centric, jaw-dropper-filled season premiere, marked the highest-rated and most-watched second week performance in series history. More than 1.2 million average viewers watched, good for a 1.21 rating among women 25-54, and .81 ratings among all adults in that age group. Take a look:
With new bombshells dropping each episode of the Darren Star-produced hit, ratings could stay strong for the remainder of this season’s seven-episode run.
TV Land has already renewed Younger for season six. Watch new episodes every Tuesday at 10 p.m. ET.
Across 10 Viacom-owned networks, 3.371 million viewers (a 21 percent increase over 2017), watched as Millie Bobby Brown pushed back at bullies and Haddish spoofed the year’s top films and TV shows. Viewers in key demographics drove the ratings increase, with the 18-34 group surging from a 1.85 rating last year to 2.24 this year – a 21 percent jump – and those 18-49 pushing from a 1.63 to 2.04 share, an increase of 25 percent. Looking solely at MTV and VH1, the numbers grew even more explosively, with a 30 percent jump among viewers 18-34 and a 35 percent rise in the 18-49 demo.
The buzz carried over to social, where the MTV Movie & TV Awards beat the World Cup for most social show on television (per Nielsen), nearly doubling last year’s total and setting show records with more than 83 million streams (and counting). #MTVAwards trended No. 1 in the U.S. and globally over the course of the two-hour telecast.
In order to maximize the show’s potential audience, MTV made a few calculated decisions when choosing its airdate. First, they moved the awards from their traditional Sunday broadcast to Monday, when MTV and VH1 tend to draw strong viewership.
Second, MTV pushed the show down the calendar from May to June, slotting it in the midst of the June pre-nomination Emmy-voting window. This strategic positioning may have encouraged star turnout – Chadwick Boseman, Michael B. Jordan, Chris Pratt, as well as cast members of Riverdale, Keeping Up with the Kardashians and Stranger Things all accepted their Golden Popcorn buckets onstage at Santa Monica’s Barker Hangar. This star power, in turn, could have drawn fans.
“The date change was a draw for networks and streaming platforms, and talent looking for opportunities to get their content out there during this key window,” MTV, VH1 and Logo General Manager Amy Doyle told Indiewire’s Michael Schneider before the awards aired. “And you’ll see that in full effect when watching the show.”
But the crisply edited, entertaining show drew a lot of attention on its own merits.
“After sitting through countless bloated awards shows indulging themselves for three or four hours at a time, the 2018 MTV Movie & TV Awards were a genuine relief — and in a delightful twist, even genuinely heartwarming,” wrote Variety’s Caroline Framke. “Airing Monday night after taping Saturday, the edited ceremony ran just two hours long but managed to squeeze in 15 awards, two musical performances, and several pre-taped sketches featuring host Tiffany Haddish. … By the night’s end, it was hard to understand why other awards show don’t follow suit more often.”
Fresh off a successful launch for the Paramount Network, Viacom’s portfolio of adult channels (Paramount Network plus CMT and TV Land), just wrapped the quarter with strong ratings growth – in some cases, the highest in several years, making an essential contribution to the company’s ongoing transformation.
CMT secured its 16th consecutive month of year-over-year ratings growth. TV Land stamped out its best ratings month in more than four years. And Paramount Network debuted its premium content to enormous ratings gains over its predecessor network.
“As we look at how Viacom is performing domestically, there have [been] huge properties and huge networks, and I don’t see that changing,” Frank Tanki, who acts as general manager for CMT and TV Land, recently told Broadcasting & Cable. “We’ve got a lot of support from a lot of the Viacom management team, so I feel good about our future.”
Paramount Network – originals are connecting with new viewers
Driven by the success of the critically-acclaimed scripted event series Waco and anchored by returning hits Lip Sync Battle, Ink Master and Bar Rescue, Paramount Network’s original series are up 94 percent versus a year ago, with significant increases in both live and delayed viewing versus the prior quarter.
“Our goal this quarter was to introduce the channel to new viewers and begin to establish it as the home for premium scripted series,” said Kevin Kay, president of Paramount Network, CMT and TV Land, in a recent email to staff.
Paramount Network’s lineup of premium, high-quality series really gets moving this summer with the launch of several highly anticipated new series, including the sweeping epic drama Yellowstone starring Kevin Costner and written and directed by Taylor Sheridan (Wind River, Sicario, Hell or High Water) on June 20 and American Woman starring Alicia Silverstone and Mena Suvari launching June 7. Later this summer, the dark comedy Heathers and Rest in Power: The Trayvon Martin Story, from producer, Shawn “Jay Z” Carter, will debut. Carter’s most recent project for the network, TIME: The Kalief Browder Story, garnered a prestigious Peabody Award.
CMT – connecting with fans onscreen and off
Driving the ratings growth at CMT is a pivot toward the unscripted fare that its core fans react to so strongly (like most Viacom networks, CMT has drastically reoriented itself since CEO Bob Bakish took the helm in late 2016). Country music remains front and center, with music series and specials including, CMT Crossroads, and Hot 20 Countdown garnering their highest ratings in several years, while CMT Artists of the Year, nabbed its highest ratings ever.
The network tapped The Hills and Laguna Beach creator Adam DiVello for Music City, which documents five scrape-your-way-to-the-top strivers trying to insert themselves into Nashville’s music scene. CMT has a new slate of unscripted originals that will begin rolling out this year, including fan-favorite Wife Swap. With the hugely popular scripted hit Nashvillewrapping up its sixth and final season in July, this unscripted slate provides a clear path forward for CMT.
“So these are the kinds of ideas that I think make more financial sense for a network,” Kay told Adweek. “If you pick the right properties, you don’t have to be spending millions and millions of dollars an episode to bring an audience to a channel.”
With steady ratings growth anchoring the core television business, CMT’s leadership has begun exploring more ways that they can sync with Viacom’s company-wide focus on growing its live events business (all six of Viacom’s flagship networks – BET, Nickelodeon, Nick Jr., MTV, Paramount Network, and Comedy Central – will host live events this year). Last year’s CMT Music Awards rippled out into a three-day festival in downtown Nashville, and the net plans to expand its CMT on Tour and CMT Next Women of Country Tour.
“There’s so much opportunity in the space,” Kay told Adweek. “We should be in the CMT festival business, [to] which we’re getting very close.”
TV Land – modern pop culture classic series is appealing to more viewers
TV Land’s mix of beloved modern pop culture classic series is connecting with fans. Driven by the strong performance of Roseanne, Mom, King of Queens and Everybody Loves Raymond, the net ranked as the 15th highest-rated channel on all of ad-supported cable in March.
With momentum building toward the new seasons of Youngerand Teacherson June 5, TV Land is likely to continue its tremendous momentum over the summer.
“TV Land is just a great workhorse, and I think that there is still growth for our two originals, Younger and Teachers,” Tanki told Broadcasting & Cable. “Younger this past summer is coming off its highest season ever, which in a multi-season franchise is really exciting. Teachers is another really hysterical series that we want to get out there. So for TV Land, it’s a little bit of if it’s not broke, don’t fix it.”
In the last week, Paramount Pictures’ A Quiet Place won the domestic box office and MTV’s Jersey Shore Family Vacation rolled to the strongest unscripted cable debut in six years. The efforts provide commercial evidence of Viacom’s ongoing transformation – fueled by wide-ranging creative investments in talent, programming, and marketing.
The chart-topping numbers are especially encouraging in a media environment of ever-more-elusive audiences. The divergent paths to success of these two properties – A Quiet Place delivering something novel by elevating a horror story to a genre-busting blockbuster that appeals to all audiences, Jersey Shore Family Vacation building on MTV’s deep well of intellectual property to connect with its core demographic – underscore the way in which a creative renaissance is driving Viacom’s growth.
Marketing a near-silent film in an era of loud
Making a bet on the film’s potential playability, Paramount unveiled A Quiet Place at SXSW to great response. The highly original film immediately started compiling incredibly strong reviews. A clever marketing campaign then helped launch A Quiet Place to a $50.3 million opening weekend, good for the second-best domestic opening of 2018 (behind Black Panther). With a $17 million budget, the Platinum Dunes-produced and John Krasinski-directed film is a validation of Paramount’s reoriented slate and refreshed marketing approach under CEO Jim Gianopulos, who joined the studio last year.
“An innovative concept, with great talent both behind the camera and in front, and a savvy distribution and marketing plan led to Paramount’s biggest opening since 2016,” wrote Viacom CEO Bob Bakish in a staff memo about the film’s success.
Building strong relationships with talent has become a particular focus for Viacom under Bakish, and Krasinski, who will produce and star in the Paramount Television-produced Jack Ryan for Amazon and co-created Paramount Network’s hit show Lip Sync Battle, demonstrates the enormous cross-brand potential that forming such deep relationships can yield.
A Quiet Place’s unique storyline – featuring a family tiptoeing through a post-apocalyptic world infested with insectoid monsters that will devour anyone who makes a sound – created an opportunity for Paramount to execute an equally original pre-release marketing plan. They delivered: moviegoers in nearly 100 theater chains caught the sonically attuned monsters devouring noisy spectators in pre-show spots, with the stern warning that “the movie theater should be A Quiet Place.” A pre-Super Bowl ad, a launch of the second trailer on Ellen, and a kick-off spot and accompanying stunts at the SXSW Film Festival primed diverse audiences for the film’s release.
“Paramount’s reconstituted management team is focused on allowing great filmmakers to make great movies, and then doing everything we can to support those movies,” said Paramount Pictures Chairman and CEO Jim Gianopulos. “In A Quiet Place, we did exactly that: We gave a talented young director license to put together something unlike anything else out there, and then threw our marketing and distribution expertise behind the project.”
Tapping an iconic property to connect with a core audience
Jersey Shore Family Vacation had less work to do in the name-recognition department, as its iconic predecessor, Jersey Shore, had long ago etched its cast into the cultural conversation. The unknown was whether this fist-pumping bunch, six years older and reunited in the beaches and bars of Miami, would still connect with audiences.
It did. The show’s nearly 10 million total viewers and 4.2 average rating in the core 18-34 demo on live-plus-three-days metrics made Jersey Shore Family Vacation the most-watched unscripted debut on U.S. cable since 2012. The original Jersey Shore had ignited a global franchise – with spin-offs in the UK, Spain, Poland and Mexico, plus the recently launched hit Floribama Shorein the U.S – and the cast’s return resonated globally, with the premiere airing in nearly 180 countries and territories.
The strong ratings complemented a seven-hour trending run on Twitter and acted as an emphatic endorsement of MTV’s revamped creative direction under President Chris McCarthy. Under his leadership, the network has grown ratings for three consecutive quarters for the first time in seven years behind a blend of revitalized franchises, returning classics and original programs.
“MTV is about celebrating youth culture and music where talent and creativity unite to produce content that resonates across generations,” said McCarthy, who also oversees VH1 and Logo. “Jersey Shore Family Vacation and the new Floribama Shore demonstrate how MTV can harness our heritage to create programming that appeals to a mass audience while serving as a great launching pad for our new series.”
Viacom President and CEO Bob Bakish sat with analyst Bryan Kraft at the Deutsche Bank Media, Telecom and Business Services Conference in Palm Beach, Florida last week. In an extended Q&A session, Bakish outlined Viacom’s wide-ranging growth initiatives, from sophisticated advanced advertising products, to the opportunities in mobile distribution, to the company’s strength outside of the United States.
“We spent 2017 really stabilizing the business, and now we’re focused on a return to growth,” Bakish said. “… We articulated a three-part plan associated with that, growing share and margins in our core business, accelerating our participation in next-generation platforms and solutions, and unlocking opportunities with synergies to the core that are outside of traditional media revenue streams.”
While Bakish looked firmly toward the future, he also summarized a few of Viacom’s many recent successes: MTV is in its 10th consecutive month of growth; BET’s ratings streak stands at three straight quarters; Paramount Network launched to both critical acclaim and ratings success in January; ratings at CMT, TV Land and VH1 continue to be strong.
Here are a few more highlights from Bakish’s conversation. You can listen to the full Q&A session here.
Viacom’s diverse demographics + diverse ad products = enormous opportunity
“… all our constituencies have embraced the flagship strategy and certainly that’s true in the ad community. We’re in a very enviable position in that we serve the full spectrum of demographics, really from preschoolers all the way up to, as I said, 25-54s. … But importantly, what you have to realize about our ad business is, yes, it’s partially ads or majority ads on linear television networks … but it’s also our advanced advertising business. And that’s around instilling data-driven approaches and alternate kind of orbits versus [potential] truck [purchasers] versus men 18 to 34 in a television-centric environment, and then all the way up through actual dynamic ad insertion, which is another element we’ve added as we’ve redone our MVPD deals this year [so that] we have access to insert at the consumer level.”
A cornerstone strategy drives growth internationally
“… [Viacom’s international cornerstone strategy] started with our creation of our joint venture in India, which we did in 2007, where we went on to launch a brand called Colors and sitting here today, it’s the number one. … We then went on to acquire Channel 5 in the UK about five years ago. That’s been a homerun and we acquired Telefe in Argentina, which is number one broadcaster in Argentina about a year ago and that’s been a homerun. So, you put that all together and you have a company that grew – our international division that grew, earnings, double digits ad revenue, double-digit affiliate revenue, double-digit ancillary revenue in the last quarter and earnings, let’s say very, very strong double digits in the last quarter and continues to be on a … strong track to additional growth.”