I agree. The more we see, the more enthusiastic I am.
The concept of an Academy show was in development hell for so long - basically, since the hiatus after Discovery’s first season.
And we know that it was originally kicked around before TNG went into production.
So, this seems to have been a hard one to make work. The cost to produce a high quality VFX-rich show that appeals to a teen and young adult demographic, requires that the show must also be rich enough elements to draw the wider Trek base.
I’m hopeful that, as with Prodigy, Starfleet Academy may be one of the rare shows that satisfies a mass demographic despite the streaming era.
The risk is that, like Prodigy, Paramount may not promote it broadly enough.
However, with A-listers heading the cast, one can hope that it will get a lot of promotion beyond the genre media.
We’ll have to see whether David Ellison reorients the scheduling strategically. It’s hard to imagine he will not.
5 years ago, as the transition was happening after the remerger, the demographic statistics I saw showed that CBSAA/P+ had the best range of demographics. And it had the best youth/teen/kids audience after Disney+.
Unlike, NBC Universal’s problem with Peacock and Discovery+, which had two very different demographics with little interest the content the other offered, Paramount+ launched with a broad and diverse base.
But the programming and production choices of the past five years have brutally squandered that. It seems that the millennial, middle age Bro, and older male audience has been the target — live sports, Taylor Sheridan everything etc.
It already feels as though P+ has been reprogrammed to make the current US administration happy, pushing a certain kind of American exceptionalism, but that’s not a successful global business strategy.
It’s really only the content coming in from CBS linear and Star Trek that’s kept the balance on the platform.
We keep hearing about content being produced in Paramount’s South American studios or in agreements with partners in Spain and France, but none of that richness in offerings are making it to the North American platform. Netflix remains dominant in offering high quality content from outside Hollywood.
I agree. The more we see, the more enthusiastic I am.
The concept of an Academy show was in development hell for so long - basically, since the hiatus after Discovery’s first season.
And we know that it was originally kicked around before TNG went into production.
So, this seems to have been a hard one to make work. The cost to produce a high quality VFX-rich show that appeals to a teen and young adult demographic, requires that the show must also be rich enough elements to draw the wider Trek base.
I’m hopeful that, as with Prodigy, Starfleet Academy may be one of the rare shows that satisfies a mass demographic despite the streaming era.
The risk is that, like Prodigy, Paramount may not promote it broadly enough.
However, with A-listers heading the cast, one can hope that it will get a lot of promotion beyond the genre media.
Honestly, my biggest fear is that Paramount+ may not have a lot of the demographic they’re trying to capture.
How many young adults subscribe to that thing?
We’ll have to see whether David Ellison reorients the scheduling strategically. It’s hard to imagine he will not.
5 years ago, as the transition was happening after the remerger, the demographic statistics I saw showed that CBSAA/P+ had the best range of demographics. And it had the best youth/teen/kids audience after Disney+.
Unlike, NBC Universal’s problem with Peacock and Discovery+, which had two very different demographics with little interest the content the other offered, Paramount+ launched with a broad and diverse base.
But the programming and production choices of the past five years have brutally squandered that. It seems that the millennial, middle age Bro, and older male audience has been the target — live sports, Taylor Sheridan everything etc.
It already feels as though P+ has been reprogrammed to make the current US administration happy, pushing a certain kind of American exceptionalism, but that’s not a successful global business strategy.
It’s really only the content coming in from CBS linear and Star Trek that’s kept the balance on the platform.
We keep hearing about content being produced in Paramount’s South American studios or in agreements with partners in Spain and France, but none of that richness in offerings are making it to the North American platform. Netflix remains dominant in offering high quality content from outside Hollywood.