Paramount Network’s Yellowstone Draws 5 Million Viewers for Cable’s Best Scripted Drama Premiere Since 2016

by Stuart Winchester, Viacom

Following a strong ratings start earlier this month for American Woman, Paramount Network cemented its place as a premium content destination by drawing in more than 5 million viewers (live+3*) for the debut episode of Yellowstone.

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

Paramount Network Scores Year’s Top-Rated Scripted Cable Premiere Among Women

by Stuart Winchester, Viacom

American Woman premiered June 7 on Paramount Network. Pictured [L to R]: Mena Suvari, Cheyenne Jackson, Alicia Silverstone, Jennifer Bartels.

American Woman premiered 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.”

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Younger Notches Record Ratings as Season Five Heats Up

by Stuart Winchester, Viacom

Younger keeps getting stronger. The TV Land mainstay’s fourth season, which wrapped last September, was the highest-rated and most-watched in the show’s history. Liza and the gang then outdid themselves by landing as the No. 1 original ad-supported cable sitcom with the key women’s demographics of 18-49 and 25-54 (Nielsen, L+3) for all of 2017.

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.

Ratings and Viewership Jump Double-Digits for MTV Movie & TV Awards

by Stuart Winchester, Viacom

Ratings and viewership soared for this year’s MTV Movie & TV Awards, as the network strategically shifted the air date to a June Monday and commissioned the red-hot Tiffany Haddish as host.

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.”

“… it was the best version of this show I’ve ever watched,” added Entertainment Weekly’s Darren Franich.

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“We’ve Made a Lot of Progress at Viacom” – CEO Bob Bakish Touts Achievements at MoffettNathanson

by Stuart Winchester, Viacom

Growing viewership, building new management teams, finding efficiencies, delivering content on next-generation platforms. Viacom President and CEO Bob Bakish sat down with Michael B. Nathanson at last week’s MoffettNathanson Media & Communications Summit in New York City, where they discussed these and other ways that Viacom is strategically positioning itself to thrive in a rapidly evolving media landscape.

“I fundamentally believe we’ve made a lot of progress at Viacom in the last year or so,” Bakish said. “That starts with having a plan and laying it out for our teams, our employees, and quite frankly, the rest of the industry and the financial community. … For the last couple of quarters, we’ve seen consistent share growth, including in the last quarter. And in fact, we’re seeing improvement relative to last quarter and the current quarter we’re in. So that’s clear progress.”

Additional highlights from the conversation are below. Listen to the full exchange here.

Next-generation platforms and solutions are driving a huge potential growth market for Viacom

Viacom Digital Studios, announced late last year and launched in earnest at the recent Newfronts in New York, is just getting going, but has already stoked strong digital consumption, with video views up 110 percent year-over-year last month. This is just one part of a broad suite of digital initiatives – from vMVPD (virtual multichannel video programming distributor) distribution over Sling and DIRECTV NOW to deals with Telfonica (across Latin America), Telkomsel (Indonesia) and other mobile providers – that is positioning Viacom to evolve with its increasingly digital-first fanbase.

“So when we talk about next generation, we’re talking about vMVPDs. We’re talking about OTT (over the top). We’re talking about sort of AVOD (audio/visual on demand), in front of the wall, social, et cetera. And we have initiatives going in all of those spaces. And the reason we’re in all of those spaces is we believe that’s a very powerful complement to what we’re doing in the traditional space and is critical to driving growth.”

New management is driving ratings growth across the core television business

MTV is riding an unscripted boom to 10 straight months of ratings growth under network President Chris McCarthy, while ratings are up at BET behind a scripted programming push and at Comedy Central as Trevor Noah solidifies himself as a major voice in late-night.

“So, I feel good about our trajectory there, and in fact, again, when you met with advertisers and we did dinners with each of the agency holding companies over the last three weeks or so … what we typically heard … was, ‘wow, you guys made a lot of sort of promises and commitments when we saw you last year … And we were somewhat skeptical but it’s really incredible how far you’ve come and seeing these brands and we’re very excited about your upcoming slates,’ as are we, by the way,” Bakish said.

Paramount Pictures’ new management team is turning the studio around…

Under Chairman and CEO Jim Gianopulos, the iconic movie studio has installed a new management team and reoriented its slate so that half of its films are co-branded with Viacom’s media networks. With A Quiet Place – the first film produced, marketed and distributed under the new team – rolling out to more than $300 million in worldwide box office receipts (so far), on a $20 million budget, the studio has plenty of momentum moving into the summer.

“And if you look at Paramount, we have a plan that management is totally bought into that is about, that addresses some of our historical problems and our historical problems were a slate construction that didn’t make sense, was not balanced, didn’t leverage the assets Viacom had and then frankly poor execution,” said Bakish “… look at the branded films, the first one in this kind of era is going to be a BET film shot by Tyler Perry [starring Tiffany Haddish] … That’s a film that we made at a very attractive price point, and it’s going to benefit from the BET brand, and that’s why Tyler came and left a perfectly good existence at Discovery and Lionsgate to unify his content output with Viacom … So we are going to rapidly take share, it’s going to be profitable share and we’re going to combine that with our television business and that’s going to take us back very quickly to a very nice business.”

…while the Paramount TV production studio evolves into a premium content force

With 19 network projects in the pipeline and hits such as Netflix’s 13 Reasons Why and TNT’s The Alienist stamping the studio’s premium content credentials, Paramount Television is expected to deliver $400 million in fiscal 2018 revenue.

“When suddenly Viacom split with CBS, the TV production went with CBS and therefore we had a kind of naked film-only studio, which is not a good place for a studio to be because very lumpy,” Bakish said. “Television tends to kind of flatten out the volatility year-to-year, as well as, of course add value. … Paramount is rapidly being appreciated as a place that makes hits in television too.”

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Women’s Viewership Surges as Paramount Network Wraps Stellar First Ratings Month

Behind a premium content strategy anchored in original scripted series such as Waco and hit unscripted programs inherited from Spike, Paramount Network wrapped up its first month with strong ratings driven partly by surging female viewership. Ratings for the net checked in with a 50 percent primetime leap over its previous quarter (as Spike) in the key 18-49 demo.

Especially notable was the soaring viewership among women 18-49: an overall jump of 44 percent punctuated by a 274 percent eruption around the six-part Waco miniseries.

As Waco wraps up, Paramount Network continues to roll out its long-term slate of premium content, including the forthcoming Yellowstone, starring Kevin Costner.

Watch the teaser:

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MTV Rides Longest Ratings Growth Streak in 18 Years as Fans Await Even More “Shore”

by Stuart Winchester, Viacom

MTV’s ratings continue to grow at a torrid pace behind a programming resurgence that has revived beloved franchises and ignited new ones. As the net celebrates nine consecutive months of year-over-year primetime ratings growth – its longest streak in 18 years – MTV is keeping the programming fires stoked by announcing that the forthcoming Jersey Shore Family Vacation will reunite the original crew for not just a single season, but a second one as well.

The show’s April 5 debut follows a domestic reintroduction to the enormously popular Shore franchise in the form of hit Floribama Shore, which landed as MTV’s highest-rated series premiere in more than three years. Last night, the net also debuted a spin-off of sorts, Winter Break: Hunter Mountain, a mountain- and snow-bound reskin of the beachside Jersey barhoppers executive produced by Shore developer SallyAnn Salsano.

The pivot to unscripted programming behind MTV President Chris McCarthy has driven ratings up 20 percent year-over-year among adults 18-49, making MTV the fastest-growing channel among the top 40 cable networks.

Building upon the significant Shore archive, MTV will broadcast four Road to Vacation specials that cut the most unforgettable Jersey Shore footage with new cast interviews. The first throwback will debut March 15, with a new edition airing every Thursday leading up to the show’s premiere.

Corporate, the Demented Desk Job of Your Nightmares Come to Life, Delivers Big Ratings

Comedy Central’s most recent scripted series, Corporate, brings office humor to a dark, depraved place: Hampton Deville. The fictitious conglomerate is one of the largest corporations in the world, known for its multifarious production of goods—ranging from fresh produce to weapons of mass destruction. The company ethos is, on principle, devoid of principle, embodied by morally bankrupt, bagel-throwing CEO Christian Deville (Lance Reddick) to lower-level cogs Jake and Matt (aka “junior executives-in-training,” played by co-creators Jake Weisman and Matt Ingebretson).

The pilot, Facing the Void is a comprehensive look at dreary Hampton Deville, where “aggressive confrontational criticism” is encouraged and cost-cutting for the $5 billion corporation takes the form of “hierarchal” feeding at staff luncheons.

Watch a clip:

Hampton Deville is everything you don’t want to see in a company—either as an employee or consumer—but Corporate is everything viewers want in a dark comedy.

Corporate’s premiere on Jan. 17 was the highest-rated basic-cable prime comedy debut of the 2017-18 programming season. Critics are obsessed with the portrayal of modern-day cubicle carnage, too. Los Angeles Times TV critic Robert Lloyd called the show “clever and cutting” in his review, and Bustle writer Sydney Bucksbaum vouched for its universal appeal. “Despite the fact that I’ve never worked a meaningless job at a giant corporation,” wrote Bucksbaum, “I found myself relating to Corporate in a way that I’ve never felt before while watching a TV show.” IndieWire’s Steve Greene lauded Comedy Central for producing one of the “most fascinating comedic experiments on TV.”

Corporate is at the vanguard of Comedy Central’s strong 2018 lineup. Mainstays Another Period and Drunk History returned earlier this week for a third and fifth season, respectively. Critical favorite Detroiters will return for a second season, as will The Jim Jefferies Show. Jefferies, an Australian comic, joined the network’s slate of biting late night hosts last year, adding his own sardonic flavor to Comedy Central’s trademark political satire. “You’d think I’d stop being surprised at how smart and funny Jim is about everything,” said Comedy Central President Kent Alterman. “I’m just glad we’re still giving visas to people from whatever s***hole country he comes from.”

Watch a clip:

The laughter isn’t limited to linear TV. In February, the network will debut its first ever live daily morning show, You Up With Nikki Glaser, to air on SiriusXM’s Comedy Central Radio. The show will feature Glaser and touring companion, Tom Thakker, as they poke fun at pop culture and “make fun of whatever or whoever deserves it.”

Watch new episodes of Corporate Wednesdays at 10 p.m. ET.

Nashville Season Six Debuts On a High Note

Nashville Is back and in rhythm.

On Thursday, Jan. 4, CMT’s beloved country soap Nashville returned for its sixth and final season. 1.6 million viewers joined them, a testament to the loyal “Nashie” fan base hooked by season five’s plot twists—including the death of a major character (Connie Britton’s Rayna Jaymes), police misconduct and racial profiling, song stealing and scheming, dramatic hookups and breakups…accompanied by melodic country harmonies, of course.

Nashville started 2018 with the highest ratings since its midseason five premiere. And according to Nielsen, Nashville’s debut was the night’s top social entertainment cable program—with #NashvilleCMT trending nationally on Twitter.

“The final season is truly the culmination of the incredible journey of each of these beloved characters,” said Keith Cox, president of development for Paramount, CMT and TV Land. “We want to give the fans, who fought so passionately to bring the show to CMT, a spectacular ending and great payoff.”

Watch a teaser for the next episode:

“The continued success of ‘Nashville’ remains a critical and defining part of our 2018 plan and a vital building block towards a strong future,” said Frank Tanki, general manager of CMT and TV Land. “Once again, the team has pushed themselves on all fronts and it’s absolutely amazing to see all these moving parts come together so smartly and loudly.”

The strong tune-in for the premiere follows a record-breaking 2017, in which CMT scored 53 consecutive weeks of ratings growth, underscoring the fact that Nashville is just one part of a diverse CMT programming roster that encompasses a bit of everything—from unscripted dramas to innovative digital content.

Music City, for example, is a docu-series created by famed executive producer Adam DiVello, who also helmed iconic MTV reality dramas Laguna Beach and The Hills.

Watch a teaser for Music City:

Music City is filmed in Nashville, with a cast of young, up-and-coming musicians struggling to make it in a cutthroat industry—much like The Hills, which gave viewers an inside look at fledgling fashionstas Lauren Conrad, Audrina Patridge and Heidi Montag as they tried to succeed in Hollywood.

Watch a throwback clip of The Hills:


This sort of unscripted docu-series has broad appeal: I was a rabid fan of The Hills, even though I didn’t share career aspirations as future fashion mogul Conrad (I tuned in for the personality conflicts, delectable drama and luxurious landscape), and I’ll probably watch Music City, even though I’m not a country music fan. It’s enticing to watch young professionals engage in a heightened state of reality, vying for their dream career (especially now that I’m around the same age as the cast members).

And the network is meeting fans on all platforms – CMT’s 2018 slate includes three new short-form digital series, exclusive for YouTube: How To Wear, Street Art Stories, and The Downtown Farmer.

Watch the trailer for Street Art Stories below, and find the full playlist on YouTube:

Watch new episodes of Nashville on CMT, Thursdays at 9 p.m. ET

CMT Celebrates 2017 With a Milestone: 53 Weeks of Consecutive Growth

Combining network transformation and honoring tradition, CMT broke records this year with 53 weeks of consecutive growth. It’s the longest active growth streak in cable (among all ad-supported cable channels).

How did CMT achieve this landmark?

The network remained true to its mission statement, fueling its status as the leading authority on country music and lifestyle by re-branding the network to become more than just a music channel, but an entertainment hub for modern country culture.

The new creative filter beckoned a programming renaissance, with hit shows and specials including Nashville and the limited run series Sun Records, while fan-favorite series like Steve Austin’s Broken Skull Challenge and Dallas Cowboys Cheerleaders Making the Team were re-energized and attracted new fans.

CMT re-examined its signature music events and specials with fresh eyes. With the seminal series CMT Crossroads which pairs a country act with a pop artist, the network focused on more diverse and current pairings like Maren Morris and Alicia Keys, Thomas Rhett and Nick Jonas, and Florida Georgia Line and Backstreet Boys, which scored the highest “Crossroads” ratings in 5 years.

Fresh off a pair of Grammy-nominations, Kesha is joined by Old Crow Medicine Show for a newly interrupted version of her smash hit Your Love Is My Drug:

Given the hurricanes and shootings in Las Vegas, the annual CMT Artists of the Year special was evolved from a celebration of the year’s top artists to a night of hope and healing. Fans responded…the critically acclaimed special notched the event’s highest ratings ever. And with the CMT Music Awards, CMT successfully expanded the event from one-night event into a three-day festival for sponsors and fans. The events dominated downtown Nashville with multiple sponsor activations, music performances, and fan experiences…creating the largest footprint in CMT history.

The growth isn’t just limited to television. This year, CMT’s ramped up social strategy bolstered its reach to be “everywhere fans are.”  It’s working: in the past year, CMT’s Facebook fans have increased by 3,000 percent.

While the brand continues to expand, its commitment to its fans has never wavered. In the last few months alone, CMT expanded the “Empowering Education” campaign encouraging our fans to pursue higher education and was proudly the first cable network to sign-up for the “Hand in Hand” telethon benefiting hurricane victims.

The last 53 months of growth coincided with subtle yet impactful changes on CMT: introducing more culturally-relevant content to the network, and spreading such content across a range of platforms.

“We discovered that more than ever country fans cannot be put into one box. They connect with smart content which reflects their diverse identities.”

– Frank Tanki, CMT and TV Land General Manger

Network executives chose this course after careful reflection: What does it mean to be a diehard country music fan in 2017?

It means being socially-conscious.

It means having a diverse taste in music—with Carrie Underwood and Beyoncé on the same Spotify playlist.

It means being open to progressive dialogue and content.

CMT fans are diverse in age, race, ethnicity, class and nationality.

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