Tag: Paramount

  • Non-linear TV viewing draws attention of viewers in US, Europe & Australia: Omdia’s Report

    Non-linear TV viewing draws attention of viewers in US, Europe & Australia: Omdia’s Report

    Mumbai: New research from Omdia reveals that nonlinear viewing continues to gain greater hegemony in the daily viewing habits of TV users across the US, Europe, and Australia. Online long form and social media video viewing is growing beyond the previous year’s boom in viewing time.

    Omdia’s new ‘Cross-Platform Television Viewing Time Report – 2022’ finds that across all the markets covered, the average total daily viewing time reached 362 minutes per person per day in 2021 (six hours and two minutes), down 0.5 per cent on last year. Declines in linear TV, online short form and pay TV VoD account for this minor drop in viewing, with the former seeing the sharpest falls. Growth in online long form and social media video viewing, however, counterbalanced these declines, leaving overall viewing to drop by just two minutes.

    Linear TV viewing time decreased in all markets in 2021. The end of restrictions and lockdowns that marked most of 2020 was the primary cause, with the continual shift toward on-demand viewing also driving this.

    Omdia’s TV and Online Video team senior analyst Rob Moyser commented, “In highly developed markets such as the US and the UK, 2021 will likely be the last year where linear TV predominates over non-linear TV viewing. On a platform-by-platform level, however, linear TV still remains, by some distance, the most popular way to watch TV in the markets covered.”

    Online long form was a key area of growth across all markets, driven largely by incumbent online subscription services such as Netflix, Amazon Prime, and Disney+, and the launch of several new OTT services such as Discovery+ and Paramount+. In total, long-form viewing grew by eight minutes, reaching 68 minutes, eight minutes ahead of social media video viewing.

    Time spent viewing video content on social media platforms increased by nine minutes in 2021 to an average of 60 minutes per person per day across the nine markets analysed. TikTok was the standout performer for video growth during the year, with the platform set to overtake Facebook in total time spent for the first time in 2022.

  • Uday Shankar & Punit Goenka to speak at APOS 2022

    Uday Shankar & Punit Goenka to speak at APOS 2022

    Mumbai: Former Disney Asia Pacific head Uday Shankar, who has now teamed up with James Murdoch for a JV Bodhi Tree Systems and who is also Marigold Park founder, director, and ZEEL manging director & CEO Punit Goenka, is among the speakers at APOS 2022, which will take place in-person in Singapore at the Capella from 27-29 September 2022. The event will also be streamed, keeping in mind the current COVID situation.

    Created and curated by Media Partners Asia, APOS positions itself as the ultimate destination for deals, partnerships, and thought leadership as industry leaders focus on sustainable growth and investment across content, connectivity, and commerce.

    The other speakers include Meta India VP & MD Ajit Mohan, JIO Platforms group CFO Saurabh Sancheti, Warner Bros. Discovery president, international Gerhard Zeiler, Paramount senior VP, Head of Office and Streaming, Asia Catherine Park, Candle Media co-CEO, founder Kevin Mayer, Prime Video VP, International Kelly Day, Sky NZ CEO Sophie Moloney and YouTube global head of media co partnerships Lori Conkling.

    The key themes are:

    Media Macros: The Long And Short View

    APOS takes the pulse of key APAC markets, providing an outlook on advertising and consumer spending across media with discussions on key drivers and challenges along with secular shifts.

    Streaming’s Sustainability

    2022 will help investors and industry stakeholders assess the scalability of streaming with a laser focus on the sustainability of customer growth, monetisation and the path to profitability. APOS brings global and local perspectives into sharper focus.

    Valuations And Investor Expectations

    TV remains profitable with low growth, while streaming is rapidly growing but unprofitable. What is the inflection point for streaming and the outlook for long-term cash generation? What are the various approaches toward valuations of pure-play streamers, companies in transition, and other proxies?

    Growth of Premium Asian Content

    Korean dramas and Japanese anime drive nearly 40 per cent of premium online video consumption across the region. Production values in Thailand, Indonesia, and other markets continue to improve as budgets increase and broadcasters recoup investments across TV and online. What is the future forecast? Will Korean dramas continue to dominate? Can Japanese anime and other genres grow share? What is the outlook for local dramas in the country and regionally?

    Metaverse Impact

    New applications are being pioneered to drive consumer experiences with growing use cases across gaming, movies, music, TV content, and social connectivity. What will be the impact on consumer engagement and the development of new media franchises?

    Battle for the Living Room

    The growth of smart TVs along with the proliferation of video services has driven demand for aggregation with an emphasis on customer simplicity, improved content search and discovery, and efficient payment. 2022 will see competition for the living room escalate amongst internet & technology giants and telcos & pay-TV operators. What does customer success look like in key markets and what compelling use cases are emerging?

    Scalability of Premium AVOD

    TV broadcasters and regional platforms are capitalising on CTV growth, local IP, and attractive demos to help shape the premium AVOD market in major Asia-Pacific markets. How are the dynamics playing out amongst key stakeholders and what will drive future growth?

    Expanding the Creator Economy

    What are the latest innovations and emerging technologies expanding the creator economy as platforms and advertisers look to next-gen content creators to reach new audiences and build engagement? How are key platforms investing in monetization engines and unique platform features to drive new revenue streams that sustain creator ecosystems internationally and in large local markets in APAC?

    Recalibration of Sports

    After pandemic-induced lockdowns in 2020-21, rights fees experienced a correction; is market demand returning to pre-Covid levels, and if so, which markets and franchises benefit and which lag? How are distribution dynamics and drivers changing with the growth of online video?

    Telco State of Nation

    Telco strategy and investor focus across key markets are being driven by 5G and mobile consolidation. What catalysts across consumer, enterprise, and other key verticals will drive value creation for telcos in 2022 and beyond?

    New Normal for Movies

    2022 box office is still relatively depressed in most markets. When will demand snap back and what role will streaming continue to play? How are exhibitors, studios, and production houses positioning themselves? How are investors reacting?

    Optimising Content and the Video Experience

    How are new technologies helping platforms optimise customer experiences across content and connectivity? What applications are helping companies thrive in a highly competitive video landscape with content personalisation, targeted advertising, and the overall consumer experience?

  • “India is the strongest media market in APAC”: Intelsat’s Bill O’Hara & Terry Bleakley

    “India is the strongest media market in APAC”: Intelsat’s Bill O’Hara & Terry Bleakley

    Bill O’Hara and Terry Bleakley make for an odd couple – they are as different as chalk and cheese. O’Hara is a true blood American, while Bleakley is from that distant land called New Zealand, and is a Kiwi. But they have one thing in common between them: the company they work for – global satellite major Intelsat. 

    As general manager of media, O’Hara leads global sales/revenue, marketing and product management. He has also been charged with increasing its $700 million a year top line while keeping a sharp eye on the bottomline. An industry veteran with nearly six years at his current firm, O’Hara has taken a stab at turning into an entrepreneur when for three years from 2013 onwards he ran a direct-to-consumer streaming service called KlowdTV. 

    Bleakley , on the other hand, has been a bird man for almost all of his working career, with organisations such as Panmsat, Intelsat, and then Measat., following which he came back to Intelsat to grow its Asian business. 

    The organisation is well positioned to grow, even more robustly, not just in Asia, but globally. With a fleet of more than 50 satellites in the sky, teleport gateways, terrestrial networking infrastructure and robust managed services, Intelsat claims that it offers the world’s most extensive and secure communications network. Its focus now is on building the future of global communications with the world’s first hybrid, multi-orbit, software-defined 5G network designed for simple, seamless, and secure coverage precisely when and where customers most need it. 

    Indiantelevision.com founder & editor-in-chief Anil Wanvari caught up with Bill and Terry during last month’s BroadcastAsia conference in Singapore to get insights on how Intelsat is gearing for the requirements of a data and IP-driven media industry going forward. 

    Edited Excerpts:

    On how the company is structured today.

    Terry: We went through financial restructuring and came out of it about two or three months ago. We shed about $8 billion of debt. We took our debt from $16 billion to about $7billion. We are receiving $4.8 billion for the clearing spectrum for the US government. We have received $1 billion of that payment already. And we are also owed $1 billion for the cost of clearing that spectrum. And those payments come by the timeline that has been set which is by end-2023. That takes our balance sheet down about $2 billion in debt, way down from when we hit $16 billion of debt. We bring in about $2 billion in revenue. That’s a really low debt structure for an organisation. You normally want a ratio of 3 to 4:1. So our balance sheet has been as strong as it has been since 2002. As we emerged from our financial restructuring from a public company to a private company, the creditors whose debt was shared got new equity. So it is now a private company from being a public company.  

    On how Intelsat evolved in response to move toward IP delivery for video customers.

    Bill: I think that while there are a lot of changes in this industry, the satellite is still central to distribution, regardless of whether the content originates as IP or is delivered as IP to the end consumer. We recognise this and our strategy is very much to be IP native, to plug ourselves into different parts of the ecosystem, where our customers are going. We are a very customer-focused company – always trying to move with our customers as they move along. For example, as our customers have moved to the cloud with greater velocity, we too have been forging cloud partnerships so that we can source content directly from the cloud, directly from folks like AWS. With it, we have a public partnership so that we can bring content either to the cloud or take it away from the cloud and distribute it to our customer base. 

    Our value position as a media business, however, is connecting an audience with content. And we do that today with cable TV distribution and direct-to-home. But tomorrow, especially with the acquisition and integration of our commercial aviation business, we can connect new viewers with other types of content, perhaps on board planes. So streaming partnerships with many of our content owners today, and our customers could be the way we distribute OTT content tomorrow to a new audience we have not capitalised on serving in the past. 

    Terry: Further let me give you some numbers on this. Go-Go Commercial Aviation, which we acquired around 18 months ago, has around 1700 connected commercially around the world. They have 1300 on the backlog, and they are getting an antenna put on top of them as Covid goes away. That represented, in 2019, precovid, 200 million passengers a year. That’s an audience that was not tapped into with the media. If you look at 2019, how many people travelled on airlines globally, it is 4.5 billion people a year. So if we can stream content, whether it is some of our broadcast partners who are going direct to consumers, and start reaching this audience for them, we think there’s a lot of value in that. 

    And there’s another play with telcos. We are also building a 5G core for our network going forward, and we are going open standards. We call it a unified network. And as we develop this 5G core satellite network that can run with other networks like Jio and Airtel and others, then the idea is that the experience of a person with a mobile phone, when they get on a plan, then it’s like roaming to another country. It’s a 5G native infrastructure that we have got there, they don’t have to put an SSID number, they connect and they don’t realise they are paying for a service to their provider, a roaming charge. So you get past the issue of payment to an aircraft which is expensive. They feel like they are getting it for free because they are roaming on to our service which is our roaming 5G core that is sitting on the aircraft. And a whole new audience comes in from there too. 

    Bill: So fundamentally when you put these ideas together: the content owner who is going direct to consumer, like any one of them have done – Paramount+, Discovery+, Disney+, any of these major players. Or it is with an MNO. By controlling the ecosystem that is on board the plane – both for connectivity and the end user experience – that is an audience that is highly desirable and hard to capture. That we have the exclusive ability to deliver through satellite. 

    On how the airlines’ in-house entertainment system will be impacted.

    Bill: I think this will be determined on an airline to airline basis. It’s a three-way partnership: the MNO, the content owner, us, and the airline. And different airlines have different strategies. 

    Terry: They pay a lot for those entertainment systems to get the content. So technically, if people can access their content when they get on board then they can reduce the cost of an airline to get content. We already are seeing hybrid systems in play in airlines wherein you have inflight entertainment, you have live TV as an option. So you can watch sports live. And this is being made thanks to advancements in connectivity to aircraft through satellites. In a high throughput satellite, the antenna can take a lot more megabits. It’s a lot more efficient in delivering real-time internet to an aircraft that you can now do these services. We think there’s a play where we can do streaming services. 

    On the strategic plan going forward.

    Bill: Our five-year strategic plan is to be an aggregator of networks. Somebody has to sit in the middle of all this. And with a universal terminal – with multi-orbit, multi-band capabilities to integrate low earth orbit (Leos), medium orbit (Meos) and geostationary earth orbit satellites (GEOs) – that is operating via standards – open standards – integrated into a 5G core, 3GPP compliant. All of these things add up to a scalable system that develops the right kind of connectivity at the right time for the right application with one terminal, one modem, and one integration into the broader telecom infrastructure. I believe that’s a very powerful place to be. And I think it takes a very specific entity to do it. I think we are in the best position to do so with our infrastructure and our geo play. 

    Terry: As far as open standards are concerned, you have to remember satellites in the past, and I am talking telecom, not broadcast…and now the two are converging again…and it’s happening greater today than it ever was thanks to the internet and video…Satellites have tended to be heterogeneous. Satellites have tended to be on the side of a network, with their standards, its proprietary hardware. And it’s not homogenous like the telecom industry. We have been pushing a standard to adopt within 3GPP to have satellites included in that so that we are no longer a pimple on the landscape. 

    And release 17 of 3Gpp which comes out in the next few weeks, they have got a thing called NTN which is non-terrestrial networks. That allows satellites to be a part of the 5G core going forward. So that’s massive because the benefits of that as we start getting economies of scale of mass silicon production for 5G chipsets. So a Snapdragon chipset for a mobile phone is $30 today. We pay $300 for the same silicon in satellite modems because they don’t have the same scale that a mobile phone has. Once we get 5G in there we can reduce our silicon costs by ten-fold. That makes us more relevant there and we stream into the network a lot more efficiently. 

    But two other standards are more relevant: Meth (metro ethernet). We are the first satellite operator to be accredited with Meth. The other part is a thing called Digital IF. Today, our IF is all analogue and there’s no open standard around how we can take it from an analogue play to a digital one. We chaired the forum and Digital IF has created its first standard and Microsoft has come on board, SES has come along. All of the antenna manufacturers have joined up. And we are an open standard that takes analogue IF (intermediate frequency) and converts it into digital. 

    We are a homogenous network and what can this translate into: today the annual spends on telecoms and pay TV is $1.6 trillion annually. We only have one per cent of that. As a satellite operator we represent a whole selling capacity of $1 billion a year. So with our unified network and what we are developing around that if we can go from a one per cent share to two per cent…it’s huge and it’s not that hard to do. And we believe that that’s what is about to come with the adoption of the 5G core that we are developing which will be able to interface with MNOs, which are these giants we want to be part of.

    On how the geo play will pan out.

    Terry: We are at 52 geostationary satellites. Six of these are high throughput. We are all around the globe. We have 30 in the Asia Pacific. Our satellites are in the spectrum of one year old to 15 year old. We have also been putting some into inclination. And for two others we performed scientific feats like using missing extension vehicles to extend their life. Part of our $2 billion build out to our unified network is a virtualisation of the network, software defined satellites. So we have ordered four software defined satellites – two with Airbus, two with Thales. They are being built at the moment. Two will sit over Asia, Indian Ocean. Two over the American region. And they will be online 2025. We also have eight satellites in the factory which are going to be used as part of our clearance for spectrum for 5G in North America. We have 12 satellites in the factory.  

    On their view about India. 

    Terry: We have three very large neighbourhoods in India. So IS-17 and IS-20 are two of the satellites that are covering India. We have high MSO penetration to cable TV headends, which is still a very strong business. We saw a shift of some channels to Insat, but the tier one channels resisted that. Our business in India is stable. However, we did see a growth in movement from SD to HD from 2018 to 2021. We still see potential there. So then we got NXT Digital from Thaicom. And they are kind of loving it because we can do so much more throughout per transponder. We have got HITs, SunTV, and Viacom18. Thanks to Covid some other channels could not sustain themselves because of the lack of advertising revenue and the content crunch. Overall channel count decreased. Some of them were forced to look at distribution options. 

    I believe we have seen a great big rebound. India, we believe it is the strongest media market in the Asia Pacific. 

  • Global SVOD subscriptions to grow by 485 million: Research

    Global SVOD subscriptions to grow by 485 million: Research

    MUMBAI: Global Subscription Video On Demand (SVOD) subscriptions will surge by 485 million between 2021 and 2027 to reach 1.69 billion. Six US-based platforms will have 988 million paying SVOD subscribers by 2027, up from 612 million in 2021, according to a report by Digital TV Research.

    Digital TV Research principal analyst Simon Murray said, “Our Netflix forecasts for 2027 are 29 million lower than our February update – at 253 million. Netflix needs to boost its content to counter its fresher and cheaper rivals.”

    Despite losing four million subscribers in North America, a total of 31 million subscribers Netflix will add between 2021 and 2027.

    It is estimated that Disney+ will overtake Netflix in 2025. Disney+ will add 144 million subscribers between 2021 and 2027 to take its total to 274 million Disney+ Hotstar will roll out to 13 Asian countries by 2027. These countries will supply 114 million (42 per cent) of the global Disney+ subscriber total, but only $1.58 billion (11 per cent) of Disney+’ revenues ($14.7 billion) by 2027.

    Netflix will remain the revenue winner, with $34 billion by 2027 – similar to Disney+, HBO Max and Paramount+ combined. However, the Netflix total is only $4 billion more than 2021 as subscriber growth decelerates and average revenue per user (arpu) is squeezed.

  • India is a fundamentally attractive market; has a tremendous future: Paramount global president and Ceo Bob Bakish

    India is a fundamentally attractive market; has a tremendous future: Paramount global president and Ceo Bob Bakish

    MUMBAI: Paramount Global President and CEO Bob Bakish is positive about the Indian market and expects that Viacom18 has a potential future here. The company has a stake in Viacom18 along with majority owner Reliance Industries (RIL) and new entrant Bodhi Tree Systems. Among other things, he noted that India will be incremental in Paramount+’s subscriber guidance of 100 million.

    In a conference call to announce the first-quarter results, he said, “India is a fundamentally attractive market. It’s a market that’s already at scale and has a tremendous future ahead of it in the context of media. As I think you know, since its inception, Viacom18 has been a significant player in the market. And the recent agreement with Bodhi Tree, we look at that as a compelling way to drive the next level of growth. And obviously, they’re going to make a significant capital infusion into the business.”

    He highlighted three things about the country. “The first thing is, we like Viacom18. It’s the model we like. It has broad reach television networks, including the market-leading colors brand, combined with a film business, hindi film business, it’s both national and regional, and of course has streaming assets as well, all underpinned by a strong local content engine. So, that’s the model we like in general,” he added.

    “Second thing is, our core partner there is Reliance. That’s arguably the most powerful company in India. And they also own the telecom market leader, Jio. So, we think that’s great. And as I said, now, Viacom18 is set up to be an even bigger player in the market, including in streaming. So, we look at that as a great opportunity for Paramount+. As we said — as I said in my remarks, we’re going to enter in 2023 in — and we’re going to do so in a very capital efficient, hard bundle way. And so, we think that’s a great route into that market. And I would also note that India will be incremental to our 100 million sub guidance. It’s early days. So, we’re still at the point of deciding what we want to put out there. But it’s incremental to our guide,” Bakish added.

    But when asked about the IPL rights coming up he clarified that there is no plan to put cricket on Paramount+. “But remember what I said. It’s a hard bundle strategy, which means Paramount+ will travel with other assets. And therefore, we believe there’s a real opportunity to benefit from cricket without having to pay for it on Paramount+. So, that assumes of course that the asset ends up in a certain place. But that’s the answer for India. Again, we’re tremendously excited about that market, about our partner, Reliance, about Bodhi Tree coming in and benefiting from a leadership position therein,” he added.

    Last month RIL and Viacom18 announced a strategic partnership with Bodhi Tree Systems. Bodhi Tree is a joint venture between James Murdoch’s Lupa Systems and media and entertainment industry veteran Uday Shankar. As a result of the move, Paramount Global had reduced its stake in Viacom18.

  • Voot Select to stream original series ‘Halo’ from 24 March

    Voot Select to stream original series ‘Halo’ from 24 March

    Mumbai: OTT service platform Voot Select will be exclusively streaming Paramount+ original series “Halo” from 24 March.

    Based on the popular sci-fi video game series, “Halo” is set in a 26th-century universe dramatising a conflict between humanity and an alien threat known as ‘the covenant.’

    The upcoming nine episodic series features Pablo Schreiber of “Orange is the New Black” fame as the ‘Master Chief,’ alongside Natashca McElhone, Olive Gray, Yerin Ha, Bentley Kalu, Kate Kenndey, Charlie Murphy and Danny Sapani. Also joining the cast as original characters are Ryan McParland, Burn Gorman, and Fiona O’Shaughnessy. Veteran Bollywood actor Shabana Azmi will also appear in a crucial supporting role in the series.

    “Halo defined the beginning of gaming culture in India and has a cult following across the world,” said Viacom18 head – SVOD and international business Ferzad Palia. “With Shabana Azmi helming a key role in the series, the show is even more special for Indian audiences. Having a series based around this legendary title will be looked upon eagerly by not only gamers but also sci-fi fanatics as well. We are delighted to be streaming this series and am certain that the outstanding production scale and enthralling storyline will surpass expectations establishing Halo amongst the best series of 2022.”

    “Working on this project has been a dream come true,” said Shabana Azmi. “The show deals in artificial intelligence, which is a completely new genre for me, hence it gave me the opportunity to learn and evolve. I thoroughly enjoyed working on set with stellar actors such as Natascha McElhone, Pablo Schreiber and Jen Taylor. The visuals in the series are stunning and I cannot wait for the release to see how it will be received by audiences across the globe.”

    “Halo” is produced by Showtime in association with 343 Industries, along with Steven Spielberg’s Amblin Television. The series is executive produced by Steven Kane, alongside Steven Spielberg, Darryl Frank and Justin Falvey for Amblin Television in association with 343 Industries, director Otto Bathurst and Toby Leslie for One Big Picture, and Kyle Killen and Scott Pennington for Chapter Eleven. Kiki Wolfkill, Frank O’Connor and Bonnie Ross serve as executive producers for 343 Industries. 

    The series is distributed internationally by Paramount Global Content Distribution.

  • ViacomCBS rebrands to Paramount; unveils global expansion plans for Paramount+

    ViacomCBS rebrands to Paramount; unveils global expansion plans for Paramount+

    Mumbai: ViacomCBS has announced that it will rebrand to become Paramount Global effective from 16 February.

    In addition to the name change, the media company has detailed plans to accelerate the global momentum behind Paramount+, unveiling new content, enhanced product offerings and continued international expansion at its investor event.

    “Paramount is an idea: A promise to be the best,” said the non-executive chair of the company’s board of directors Shari Redstone. “That promise has always been at the center of what we aspired to build as the steward of more than a century of cinematic excellence, and with businesses and brands that have defined and redefined entertainment for generation after generation. We have made enormous progress, and I have never been more excited about the future of this company.

     

     

    Paramount+ will make its debut in France as an exclusive bundle with CANAL+ Group giving subscribers immediate access through the country’s largest provider. Paramount+ will also be available on an a la carte and direct-to-consumer basis in the French market.

    With Paramount+ and SkyShowtime, the global media company will have streaming services available in more than 60 markets across the UK, Latin America, Canada, Australia, South Korea, the Caribbean and all major markets in Europe by the end of this year. In 2023, the company will look to Asia, Africa and the Middle East, building on Paramount+’s strong momentum to grow its presence in every region of the world.

    Additionally, Paramount+ subscribers in the US will be able to upgrade their subscription to a bundle that includes the Showtime service through two plans, starting in summer.

    The company added 9.4 million global streaming subscribers in the fourth quarter of 2021 led by Paramount+ to add up to 56 million total subscribers and 84 per cent growth in streaming subscription revenue. Its streaming revenues for the quarter stood at $1.3 billion a growth of 48 per cent year-on-year. Its streaming revenue for 12 months ended on 31 December 2021 stood at $4.19 billion.

    “Paramount’s iconic peak represents a rich history for our company as pioneers in the golden age of Hollywood. Today, as we embrace the Paramount name, we are pioneers of an exciting new future,” said president and chief executive officer Bob Bakish.

    “We see a huge global opportunity in streaming, a much larger potential market than can be captured by linear TV and film alone,” continued Bakish. “We’re excited about our ability to not just compete, but thrive, creating significant value for both consumers and shareholders. How? Because we’re broader in four key areas: our diverse content, streaming model, a mix of platforms and global reach. As we look forward, the size of the opportunity we see is matched only by our ambition to seize it.”

    “We are continuing to leverage our global footprint and long-standing relationships to expand Paramount+ into new markets with enormous potential quickly and economically,” commented president and CEO streaming Tom Ryan.

  • ViacomCBS quarterly global streaming revenues cross $1 billion mark

    ViacomCBS quarterly global streaming revenues cross $1 billion mark

    Mumbai: ViacomCBS global streaming revenue surpassed $ one billion for the first time in the third quarter 2021 with a growth of 62 per cent year-on-year. The company added 4.7 million net subscribers during the quarter reaching nearly 47 million subscribers. This includes the streaming platforms Paramount+, Showtime, BET+ and Noggin.

    The company saw 79 per cent growth YoY in streaming subscription revenue. It generated 48 per cent YoY growth in streaming advertising revenue, largely driven by Pluto TV, which grew global monthly active users (MAUs) to over 54 million and revenue by 99 per cent YoY. In terms of monetization, global streaming subscription ARPU increased 8 per cent year-over-year.

    The company’s total revenue was up by 13 per cent for the quarter ended 30 September at $6.6 billion. The pace of subscriber growth has slowed compared to the previous quarter when the company added 6.5 million new additions across its streaming services.  

    The company attributed the growth of subscribers and consumption on Paramount+ on its diverse global content offering including “A Quiet Place Part II,” “Paw Patrol: The Movie,” the return of the NFL, and the New CBS Fall Season.

    “The strength and momentum of both Paramount+ and Pluto TV are clearly evident, and demonstrate the power of the strategy we laid out at our investor event earlier this year,” said ViacomCBS president and chief executive officer Robert Bakish. “To that end, I want to remind you of three key enablers driving the ViacomCBS strategy, all of which we’re seeing in action. First, an incredible breadth and depth of compelling content which is critical to attracting and retaining consumers globally; second, robust distribution and marketing, which ensures we can build the broadest reach and awareness; and third, a strong and flexible financial engine to enable streaming investment, drive RoI and maximize shareholder value.”

    Adding further, he said, “As the leading free ad-supported streaming TV service on the market, Pluto TV is winning in both scale and engagement, and it will be a $1 billion revenue business this year.”

  • Is Comcast eyeing a mega-streaming deal?

    New Delhi: The world is moving towards streaming at a pace like never before. And, the media titans are eyeing every opportunity they can get to consolidate their digital entertainment businesses and brace up for the streaming war.

    After AT&T and Amazon, it is now the turn of the US cable giant Comcast to make its move to turbocharge its streaming operations. According to media reports, the company is mulling a mega-deal with one of the two media giants- Roku or ViacomCBS.

    However, the question that Comcast’s CEO Brian Roberts is wrestling with is- whether to build something internally or buy to become a streaming powerhouse, reported The Wall Street Journal on Wednesday. The merger seems unlikely, but Roberts is evaluating his options, which include a potential tie-up with ViacomCBS or acquisition of Roku Inc, the business daily reported citing unidentified persons.

    All three companies have declined to comment on the matter and issued no statements so far.

    The US cable giant Comcast had branched out from its cable and broadband into entertainment in 2009 with the acquisition of NBCUniversal, whose streaming service Peacock is yet to catch up with the likes of Netflix or Disney+. However, its broadband business has continued to grow. As the first wave of the pandemic ravaged the world last year, its broadband business added nearly two million customers and the unit’s revenue rose 10 per cent to about $21 billion.

    An acquisition of streaming giant Roku at this stage could help it to step up its streaming game against the industry titans – Netflix, Disney, and Amazon. Roku’s valuation has more than tripled in the past year to $53 billion.  

    On the other hand, a transaction with ViacomCBS which owns streaming service Paramount+ could provide the much-needed boost to its streaming operations, but it is too early to say.

    However, several analysts say, the latest buzz could be just ‘speculation’ as a merger at this stage seems unlikely. One of the reasons is that Comcast has been largely focussing on developing the software behind its Xfinity cable boxes, called X1, and its Flex streaming boxes which resemble Roku. The other being its potential partnership with Walmart to further the Smart TV technology.

    The reports come close on the heels of two major media deals that happened over the last few weeks. First AT&T announced its decision to spin off entertainment giant WarnerMedia and merge it with Discovery becoming the world’s second-largest media firm by revenue after Disney. The new entity Warner Bros. Discovery is now led by Discovery CEO David Zaslav. Soon thereafter, Amazon made its most ambitious move in the entertainment business and announced that it is buying MGM Studios.

    So, whether or not Comcast is considering a transaction with ViacomCBS or the acquisition of Roku, it has definitely stirred many questions on the cable giant’s next step.

  • Bob Bakish, ViacomCBS and the streaming war

    New Delhi: Over the last few weeks, a spate of mergers and acquisitions has taken the media and entertainment industry by storm. First WarnerMedia and Discovery, then Amazon and MGM – as the streaming war intensifies, US media giant ViacomCBS is also gearing up for a tough race, building one of the largest and diversified content slates.

    “We have what it takes to succeed in streaming. We spend about $15 billion a year on content, which makes us one of the largest producers of content on the planet. And all of that increasingly feeds our streaming ecosystem,” said ViacomCBS president and CEO, Bob Bakish at the first inaugural TMT Conference held virtually on Monday.

    The short and stocky Bakish said that ViacomCBS is in a good place in the streaming space. Free advertising-supported streaming television (FAST) service Pluto is on course to cross a billion dollars in revenue in 2021, despite all the scoffing from critics, who said he was putting $340 million into a lousy investment two years ago, as it had just 12 million monthly actives and $70 million in revenues then. Today, it has more than 50 million monthly actives and is present in more than 25 markets in the US, and is expected to roll out in more cities and states soon, and internationally thereafter.

    Of course, its Paramount+ (earlier called CBS All Access) premium service added six million new streaming subscribers in the first quarter of 2021, reaching a total of 36 million global streaming subscribers. While Pluto and Paramount+ delivered streaming revenue growth of 65 per cent year-over-year, the company expects the income uptick to accelerate in the second quarter, based on its differentiated strategy and tremendous momentum.

    Bakish is also quite sanguine that the recently launched Paramount+ Essential plan priced at $4.99 (which will show ads to viewers) will help expand its user base as well as give a leg up to advertising revenues going forward. Said he: “..given what we know about elasticity, we feel this lower price point of $4.99 will broaden the addressable market for Paramount+. …it also offers us another opportunity to serve the rapidly growing premium digital ad market… as we look at this product and the dynamics of the ad market, we actually believe analytically that the $4.99 version can generate higher average revenue per user (ARPU) over time than our $9.99 product. So we think that’s tremendously compelling because it – again, it broadens the consumer base and it drives higher ARPU.”

    Streaming is still an early stage media business in general and certainly for ViacomCBS and the company’s strategy is to focus on usage, then revenue. “Right now, we’re building the base”, he said. “The ad growth has increased in the last three quarters and expect another quarter of strong double-digit ad growth in Q2 largely because the demand continues to improve and scatter pricing is really at all-time highs.”

    A proven hit-maker when it comes to content across formats and genres, ViacomCBS has been investing heavily in content. Its content production capability is driving the rapidly growing slate of exclusive originals on Paramount+.

    “We have talked about these numbers even before our capital raise, 36 original series this year, going over 50 next year, a large volume of movies, particularly in ‘22. And its content at that level of quality and scale is ultimately what drives success in streaming. It is an extremely scarce and valuable asset and it is the core of what ViacomCBS is,” averred Bakish.

    ViacomCBS is driving significant subscribers and increasing engagement, but it is also seeing churn come down and the average age comes down materially, according to Bakish. All of those metrics have improved since our Paramount+ launch, he added.

    Sports continue to be an important part of its strategy, which includes the NFL, the SEC on the football side, golf, UEFA, women’s soccer on the European football side. Most recently, it added some incremental international soccer rights. “We just had Paramount+ the UEFA 2021 Champions League Final. It was the most streamed non-NFL sporting event ever for us,” he added.

    Amid the increasing transformation from the linear to the digital side, Bakish said, all of its cable brands have exclusive originals in linear, including events, which supports the value proposition. “We closed multiple deals, including with Comcast, with Verizon, with YouTube, with Hulu. None of these are walk-in-the-park companies,” he added.

    With an incredible slate coming, and many more originals and films ramp up, the entertainment giant is expecting streaming revenue growth to accelerate in Q2 relative to what was posted in Q1 to compete with the likes of Netflix and Disney+ in the streaming arena. A part of its ambitious plan is to make Paramount+ available in 45 markets by the end of 2022 and have up to 75 million streaming subscribers globally by 2024. 

    “And in addition to the general market, we are seeing the benefit of truly going to market as a combined company. And that creates a real advantage for us because we have the scale and reach both in high-quality, brand-safe, digital environments and in the linear side. And in addition to that, we have these must-have offerings, the NFL, Primetime, Late Night, tentpoles, diverse audiences. So the ad market is looking very good to us. Our company is connecting with it. Our IQ product is a big part of our strategy, and that combines all our high-quality digital. We’re seeing tremendous growth there,” said the ViacomCBS president.