Early reports from media agencies were upbeat on Paramount’s departure from the usually big dazzle annual pitch for a series of intimate briefings.
The network sacrificed the usual big bang, revealing a local and global lineup of content, for a series of face-to-face meetings with media agencies.
“The Paramount 2024 upfront was more intimate and interactive than previous years,” says Rowena Newman, head of media intelligence at Publicis Media Exchange (PMX).
“Despite the absence of their usual razzle dazzle, the tone was, nevertheless, big, bold and optimistic with a clear focus on their strength in global and local content partnerships and their multi-platform ecosystem.
“The spine of programming is largely unchanged as Paramount remains focused on its ability to deliver a younger audience than its rivals, being the only network with a majority under 55-year-old audience.
“With the revival of family favourites such as Wheel of Fortune with Graham Norton, Ready, Steady, Cook and Gladiators, Paramount is clearly banking on nostalgia to keep their audience interested.
“Marquee sport programming has increasingly become the way networks draw new audiences to non-sport content across their ecosystem, and Paramount will singularly rely on soccer in this regard. The Matildas have whipped Australia into a soccer frenzy this year, so it will be interesting to see how the soccer partnership can be cleverly deployed to drive audience growth for the network.
“Paramount highlighted its multi-channel ecosystem including Linear TV, BVOD (10Play) and SVOD (Paramount+) as well as its AVOD offering of 51 Pluto FAST channels and an in-flight partnership with Qantas.
“The most notable announcement on this front was that a Paramount+ premium plan will launch November 16 with an advertising tier set to launch in 2024.
“The intimate environment enabled requests for the details of the ad-funded tier, but none were forthcoming, suggesting that further announcements will be made in due course.
“Paramount proved they are attuned to the industry’s ever-increasing focus on client outcomes, announcing a suite of new measurement products, including Brand Lift Studies, Digital Brand Impact Studies, interactive BVOD attribution for CTV, and a data partnership with Live Ramp, which will utilise advertisers’ first party data to link media activity with business outcomes.”
Daniel Cutrone, managing partner, Avenue C, says Paramount is rolling out some big, bold and risk-taking moves, hopefully delivering more hits than misses in 2024.
“Coming out of the gates, the return of the ‘90s smash Gladiators will see a family fun alternative to the Tennis and Cricket premiums in January,” says Cutrone.
“We’ve seen the strategic success with I’m A Celebrity in the past, and we believe this will hold similar outcomes.
“In contrast to the other two networks, Paramount10 are re-energising the majority of their programming slate with fresh formats and hosts. Whilst this will generate early interest in the properties, the true test will be in how they maintain audiences throughout the series.
“We are beginning to see the benefits of the multinational Paramount/CBS with its new host, award-winning UK funny-man Graham Norton, hosting Wheel of Fortune Australia, but there is significantly more potential here with its global talent base.
“Whilst Paramount10 clearly attempts to cover all possible entertainment options, it definitely lacks the dominant sporting accolades of its competitors.
“However, Ten will be the home of Formula One and digital network Bold will telecast A-League & NBL matches through the 2024 seasons.
“2024 has also been marked as the year of the SVOD turned AVOD, with Paramount+ also opening its doors to advertising, introducing an ad-tier subscription in Australia. Paramount+ will launch the exclusive Top Gear Australia with Beau Ryan, Jonathan LaPaglia & Blair ‘Moog’ Joscelyne.”
Frank Carlino, group investment director, Carat, says Paramount revealed its content business plan for 2024 at an intimate gathering on Sydney’s Saunders St.
“Paramount are the only Australian media company that has a guaranteed pipeline of global and local content, with distribution across all mediums – free-to-air, BVOD, SVOD and AVOD with FAST,” says Carlino.
“Last year, Paramount promised continued focus on scaling their streaming platforms – 10 Play with the introduction of Live TV with Pluto TV and Paramount+, while maximising their traditional business.
“In 2024, Paramount made it clear from the outset its focus was on ‘fresh content, measurement and attribution, and less on areas of converged audiences and sport’. Will that come back to bite them is anyone’s guess….
“What is safe to say though, is the re-energised focused early evening schedule looks like a proven alternative to the Olympics which can only be a good thing for the network.
“Spearheaded by a content slate which ‘bursts out of the blocks’ starting with IAC in January and a new host in Rob Irwin.
“Lovers of nostalgia will embrace Gladiators, Wheel of Fortune & Deal or No Deal. Proven ratings success stories in Gogglebox, Masterchef & Survivor which will further deliver consistent audiences for a programming format that has lacked “survey year” consistency in the past.
“Outside of content, Paramount have enhanced their world class ad tech and trading capability, as well as deepen their growth opportunities through integration and partnership.
“However, the ‘game changer’ in my eyes is the much-awaited launch of Paramount+ Premium Viewer & Ad Tiers to roll out mid-November into 2024.
“Paramount + will meet viewers where they want and be there for what they want to watch, with a slate of desirable local content in NCIS Sydney, Paper Dolls, Top Gear Australia, Last King of the Cross and MTV Aussie Shire enough for anyone to pay the $13 a month for.
“Not a TEN, but a Paramount performance that’s deserving of the accolades. Pun intended.”
Lorena Danes, Sydney trading director, UM, says Paramount made a point of explaining the programming strategy is about “wanting to be different to competitors on each of our platforms”.
They are about “finding gaps in the market” and fulfilling those content gaps.
“This is why they are sticking with their tried and tested programming formats such as I’m A Celebrity, Masterchef, Hunted, Survivor, Bachelor, Masked Singer and Amazing Race,” says Danes.
“This line-up will be complemented by some re-boots and spin offs to add some freshness to schedule such as Gladiators, Aussie Shore, Dessert Masters and the global juggernaut NCIS: Sydney.
“Whilst the jury is still out on how these new programs will rate on linear TV, they will no doubt help to continue increase streaming audiences on 10Play, particularly with younger audiences, a legacy strategy for Ten.
“An exciting announcement came in the form of the new host of I’m A Celeb alongside Julia Morris, being Robert Irwin. If you’re reading this and haven’t seen the promo yet, I implore you to reserve your judgment until you see the promo. Robert was a great choice and will hopefully bring in a new audience for I’m A Celeb.
“The tone of the programming slate for 2024 can be described as up-beat. Deal or No Deal is back with Grant Denyer, Graham Norton will host Australia’s Wheel of Fortune and Paramount’s strong comedy lineup will continue with Have You Been Paying Attention, Cheap Seats, Task Master, Gogglebox and The Inspired Unemployed, just to name a few.
“Interestingly, Paramount released some research within their Upfronts that proves that integration/sponsorship of comedy programming saw a 17% lift in consideration, 26% lift in brand positivity, 60% lift in purchase intent and 132% lift in brand talkability. These are impressive stats with comedy programming remaining somewhat of a USP for Paramount.
“Whilst Paramount+ doesn’t have the same scale as other streaming platforms, it was noted in the Upfronts as the fastest growing streaming service, a sign of strong growth for the platform. Paramount+’s premium tier is to be released this year with advertising coming to the platform next year.
"The question on everyone’s lips is whether they will go down the Netflix route (offer a lower price point with advertising) or the Binge route (all customers on base tier are advertising enabled). Paramount+’s strategy has yet to be announced. Which direction they take will determine the appetite of advertisers to invest from launch.
“With the recent news of ARN’s bid to acquire SCA Radio, questions were swirling at the Upfronts on whether Paramount will make a play at SCA TV.
“Seems too soon to tell what will happen next but Paramount made a point to explain that they will be working more collaboratively with SCA than ever before – music to us agency folk’s ears.”
Janice Morgan, head of investment, Magna, described the Paramount presentation as flawless and a refreshing way to promote the 2024 slate of programming and key announcements.
“A splattering of celebrity banter made for a light-hearted atmosphere in what was otherwise a content-rich performance - overall I would give the event a Ten out of Ten,” says Morgan.
“For a global player, Paramount certainly has an impressive lineup of local content for 2024!
“The importance of the Australian market was highlighted with a solid line up of Australian shows – the global premiere of NCIS Sydney, Top Gear Australia, Aussie Shore, Gladiators, Survivor (Titans v Rebels), MasterChef, Dessert Masters, HYBPA and more. And you can’t get much more Aussie than the new I’m A Celebrity Co-Host Robert Irwin!
“Add in the Socceroos and Matilda’s and Paramount has a compelling & localised proposition on offer that differentiates the network from its competitors.
“Paramount+ is a key area of innovation & focus with its new premium offering later this year and ad-funded tier in 2024. How they launch the ad funded tier to consumers however will be critical to their success.
“SVOD is a potentially risky platform to launch top tier programming (ie NCIS SYD) given the breadth & scale of other platforms available in Paramounts eco-system, but is a strategic play to further expedite their streaming service in Australia.
“The ad-funded tier remains light on detail, but Paramount certainly have the content scale to increase overall subscriber numbers (and revenue) if they get the model right.”
Matt Papasavva, managing director, This is Flow, says the event was a refreshing change from a traditional market upfront.
"The strategic shift to smaller, more intimate group as opposed to one mass audience was definitely the right one, and ultimately allowed the Paramount team to capture attention – in my opinion, at a much higher level than the same content would have received in a mass group," says Papasavva.
"The offering at its core is simple and underpinned by the idea of best local content / talent, any time, any place. Leaning into their access to SVOD is a differentiator and will be one to closely monitor, particularly once ad-supported and premium tiers are rolled out to Australian market.
"The most interesting selling points was absolutely the focus on attribution and measurement. The launch of their shoppable TV pilot has the potential to be a game-changer, although there are questions whether users will choose to engage with the format during their lean-back viewing time. BrandBOOST and independent brand lift studies will excitingly offer clients an opportunity to have a more personalised message and then understand the real impact of that investment, which for us at This is Flow absolutely resonates.
"There was an opportunity for more time to be spent discussing their focus on measurement, however in a relatively shorter Upfronts session, it’s also clear why more time would be spent highlighting their more flashy announcements of new shows, returning shows and the talent slate for 2024.
"For me, it’s going to be interesting to see the real impact of their new innovations, coupled with their programming slate for 2024…particularly in what will be a challenging year, made even more competitive in having to compete with the Olympic Games."
Marianne Lane, head of investment at Kaimera, said she thoroughly enjoyed Paramount’s more intimate upfront sessions this year.
"The close-knit setting added a personal touch that made the entire event more engaging," she said.
"Paramount has some great core programs, such as Thank God You’re Here, Survivor, Gogglebox, The Hunted and Masterchef, and the session served as a reminder of the quality of these programs. One highlight that particularly caught my attention was the announcement of the return of Gladiators.
"I firmly believe it will contribute significantly to Paramount's strong start to the year. The nostalgia associated with Gladiators, coupled with the network's commitment to maintaining its excellence, promises an exciting viewing experience.
"Additionally, the announcement that Robert Irwin is taking over as the new co-host for I'm a Celebrity injected a fresh burst of energy. Irwin's charismatic presence and genuine enthusiasm are bound to breathe new life into the program. It's a strategic move which introduces a captivating personality that aligns seamlessly with the show's adventurous spirit.
"I am optimistic about Paramount's trajectory in the upcoming year. The blend of established favourites and innovative additions positions Paramount as a network committed to delivering compelling and dynamic content."
Nik Doble, Mindshare, national head of investment, says the environment and format were more understated than the competition but the announcements certainly weren’t.
"Paramount took the stage to boast of their unique position within the Australian market, as a global and local content behemoth all accessible via an unrivalled suite of multi-platform products - free-to-air, BVOD, SVOD, and AVOD with FAST," he says.
"In 2024, Paramount+ will be the latest chapter in the SVOD ad-enablement story, and while details were scarce today, the impending launch in combination with a new Premium tier from November 16, is emblematic of Paramount’s desire to provide audiences greater control of how they access their mountain of content and ultimately diversify their revenue streams as they transition to a fully digitised future.
"Further proof of Australia’s global standing in Screens innovation was the announcement Paramount had selected the region to launch its Shoppable TV project in collaboration with KERV. Set to be trialled during the forthcoming season of Survivor, it enables viewers to pause the show, explore products available in the Paramount Shop, make selections, and then obtain a QR code to buy the chosen items.
"Survivor doesn’t scream shoppable, ‘$30 buffs anyone?’, but it is a proven Streaming performer so an ideal testing ground for the tech, with hopes of a broader rollout in due course. The local lessons will have global significance.
"In addition to their Commerce developments, Paramount have strengthened their ad tech and data-driven capabilities, unveiling a raft of new measurement tools, most notably Brand Lift & Impact Studies, Attribution Modelling and enhanced Data sharing capability, all focused on positioning Paramount as a leader in the space of outcome-based Screen measurement.
"Last but not least, Paramount reinforced how they’ll continue to maintain a more unique & youthful audience profile, underpinned by a leading line-up of non-Sport programming, best exemplified by their ambition to counter-program the Olympics with the latest Masterchef spin-off, Dessert Masters, and combatting their 6pm News rivals with a returning Deal or No Deal fronted by Grant Denyer.
"All in all, I walked away impressed with the might of their offering – leveraging their global strength and breadth, to deliver the local innovation & content which sets them apart. Doubling down on their challenger status to counter the News & Sport backbone of the competition, backed with an expansive digital platform & product suite, could turn the tide in their favour sooner rather than later."
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