By Keach Hagey and Joe Flint
In 1992, MTV gave birth to the reality-television genre when it
aired the first episode of "The Real World," a groundbreaking show
about seven strangers who agreed to live together in a house and
have every minute of their lives filmed.
This week, MTV announced it is rebooting the franchise -- but
not for MTV. Instead, the show will appear on Facebook Watch, the
social network's video-on-demand service.
"We can't actually make that show on cable," said Chris
McCarthy, president of MTV. The format that works for adults on
cable, he said, is "super loud," unscripted content that "in many
ways is a telenovela like 'Love & Hip Hop' or 'Jersey Shore.' A
simple show like 'The Real World' would not work, but on a
streaming network or on a digital platform it would kill it."
The move is part of a broader strategy at Viacom to stop
fighting the growing dominance of digital players such as Netflix
Inc., Amazon.com Inc., Alphabet Inc.'s Google, Facebook Inc. and
Apple Inc. in television, and instead feed them.
With a merger with corporate sibling CBS Corp. now at least
temporarily off the table, Viacom has landed on this strategy as a
way of navigating the tricky path between the decline of its core
cable business and the growing size of its competitors.
While rivals such as Walt Disney Co. -- which is poised to
absorb Fox's film and television studios -- and the recently Time
Warner-enhanced AT&T Inc. plan their own streaming platforms to
take on Netflix, Viacom is seeking to become a studio that mines
its library of intellectual property for content to sell to the
streaming services and other third parties.
Viacom Chief Executive Bob Bakish recently predicted that this
studio-production business, which would include new
content-production arms at MTV, Nickelodeon and the company's
international division, would become a "billion-dollar business by
2020." He was careful to distinguish it from the company's former
strategy of selling reruns of its old hits to streamers such as
Netflix, which many analysts came to believe was hastening the
demise of the cable bundle, and which Viacom has largely stopped
doing.
The new strategy is born of necessity for a company in Viacom's
financial situation. Mr. Bakish recently said Viacom isn't seeking
to build its own streaming service "a la Netflix" partly because it
would be too "capital-intensive."
Mr. Bakish has reversed the revenue and earnings declines that
greeted him when he took the helm in late 2016, helping push the
stock up 26% over the past year, but the outlook for Viacom's cable
channels -- the overwhelming majority of its business -- remains
tough. Analysts expect revenue from them to remain flat at best,
even as ratings improvements at MTV and Comedy Central have helped
the company take a larger share of a shrinking pie of cable
viewership.
Viacom's Paramount Pictures film and television division is
expected to return to profitability next year, executives said. The
studio has had some big hits this year, including the horror movie
"A Quiet Place." The unit also is moving to make content directly
for streaming players -- completing a deal with Netflix for a
sequel to its teen comedy movie "To All the Boys I Loved Before,"
according to people familiar with the matter. The first film was
made by Awesomeness, the production company Viacom acquired earlier
this year.
While Paramount's television-production division has been making
television shows like "Jack Ryan" for Amazon and "13 Reasons Why"
for Netflix since its inception in 2013, making movies specifically
for streaming services that won't be distributed in theaters is
still largely uncharted territory in Hollywood.
Netflix, which doesn't disclose the performance of content on
its platform, announced on an earnings call this week that the
first "To All The Boys" was one of the "most viewed original films
ever with strong repeat viewing."
Brian Robbins, co-founder of Awesomeness who ran a Paramount
unit before he was tapped to take over Viacom's Nickelodeon
division, said media companies are leaving money on the table by
only putting movies out through the expensive pipelines of
theatrical release, where a film's budget must usually be exceeded
by its marketing budget.
"We have a treasure chest of development in scripts -- millions
and millions of dollars per script that have been written by some
of the greatest writers ever," Mr. Robbins said. "Why aren't we
leveraging this for more than just the 16 movies that year?"
Paramount anticipates expanding its relationship with Netflix
and other streaming services as outlets for movies that may not
have the muscle to make it at today's franchise-heavy box office
but can still be successful on the right platform.
These projects, Paramount Chairman Jim Gianopulos said, are
better suited for an outlet in which results aren't measured by
"what happens between Friday evening and Monday morning."
Paramount's TV division is doubling its output from nine to 18
shows next year, according to Nicole Clemens, the unit's new
chief.
Besides continuing to produce for streamers and cable, Ms.
Clemens also wants to get some shows on broadcast networks because
the upside of a broadcast hit can be bigger -- especially if
Paramount can hold on to international rights, which is something
most streaming services usually demand.
Taken together, Viacom's moves are an acknowledgment that
streaming is here to stay, and there isn't much any one company can
do to stem the roughly 3% annual decline in the number of
subscribers to the traditional cable bundle that was the company's
profit engine for decades.
"Our goal isn't necessarily to get people to come to cable. Our
goal is to get people who are already on cable to spend more time
with us," MTV's Mr. McCarthy said. "I don't know that we are going
to change anyone's existing habits, and I think it has been a
fool's errand for most people to think that we could have."
Write to Keach Hagey at keach.hagey@wsj.com and Joe Flint at
joe.flint@wsj.com
(END) Dow Jones Newswires
October 20, 2018 10:14 ET (14:14 GMT)
Copyright (c) 2018 Dow Jones & Company, Inc.
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