Warner Channel, 2014

WARNERCHANNELTowards a compelling “ can’t miss out” positioning

Warner is an important Time Warner channel, known for its series programming. Recently, the channel has been faced with competition and has been losing its grounds and essence. The Global team developed a new positioning for the brand (“We are Warner”) that needs to be compelling and relevant way for the Brazilian.

Bring into life the Global positioning transcreated for the Brazilian market and consumerIdentify the gaps and opportunities to work withDevelop an action plan to be competitive in the market

BACKGROUND

OBJECTIVE

Phase 1Deep dive into Warner Channel :

Review internal information on the brand and interviews with stakeholders./

Phase 2Inspiration :

Interview external experts in order to understand the specific issues regarding the universe and drivers of audiovisual (films and series) in the Brazilian context.

/

Phase 3Consumer understanding :

16 FGs with consumers, segmented by SEL (A and C) and gender (male and female)./

Phase 4Strategic analysis & Brand Positioning :

Define a positioning for Warner./

Phase 5Working session :

Bring into life the new positioning in different areas./

WHAT

WE

did?

INTERNAL /

INTERVIEWS

EXTERNAL /

CAROLINA MARCONDES

AXAXXAXAXXAXAXXAXA

AXAXXAXAXXAXAXXAXA

ROSANA HERMANN > Review internal information on the brand and interviews with stakeholders.

ESTHER HAMBURGER > Professor at Cinema, Radio and TV Department at ECA USP, doctor in Social Anthropology and specialized in TV audiences in Brazil.

FOCUS GROUPS

> 4 groups

> 4 groups

> 4 groups

Warner Channel Lovers

Series Lovers

Fox Channel Lovers

FOCUS GROUPS

> 4 groups

> 4 groups

> 4 groups

Warner Channel Lovers

Series Lovers

Fox Channel Lovers

WHAT WE LEARNED

WE ARE ALL LIVING ON A FOMO ERA

WHEN EVERYONE IS CONSTANTLY ASKING

HIM/HERSELF: WHAT AM I MISING?

FOMO or “fear of missing out” is a form of social anxiety, whereby one is compulsively concerned that one might miss an opportunity for a social interaction, a novel experience, a new news, or other satisfying event.

What am I missing when I don’t go out?

What am I missing if I don’t know this brand?

What am I missing if I’ve never been to Disney?

What am I missing if I don’t know this Series?

This behavior is triggered by today’s environment:

Speed > We are all leaving right here right now. Things are for now or for never. Life has no guarantees. All this instantaneous behaviours are reinforced by social media.

Unpredictability > Life is given by a sum of normal things, an then a blast of unpredictability. We can’t control the future as much you would like to. Things and “shit” just happen.

Need of instant gratification > If the focus is on here and now, consumers are less able to control impulses and are more susceptible to temptation. They seek for instant gratification.

Constant comparison > In times of social network, consumers are constantly making social comparisons based on incomplete or inaccurate information. The more time users spend on social networks, the the more likely they are to think that others were happier and having better lives than they themselves.

Actual inclusion: > But everything comes with a cost: consumers still long to belong. They want social inclusion and wellbeing a

Some experts claim this behavior is induced by Social Media… But it

does affect TV as well.

TV had to adapt to this new FOMO era and change

TV became more interactive – In times of Facebook and Big Brother, audiences want to be part of TV. They want recognition and inclusion. TV has allowed them a more interactive space for that. With active participant audiences (voting, changing, shouting or deciding the ending of soap operas and shows) or being protagonist in the shows themselves (ie: the new TV show Tudo pela Audiência).

Real time TV – TV is not only 24/7 but things are happening in front of consumers’ eyes. It’s instantaneous (24 Hrs), it’s when you need (on demand) it’s a voyeuristic approach to celebrities lives (Big Brother)“Some professors and studious in TV claim that Avenida Brasil inaugurated the ‘reality show’ in soap operas. Consumers were literally seeing never ending arguments and family conversations as if they were realistic, instantaneous”.

TV became less obvious, less previsible – TV has always been the space of obviety. A comfortable zone, where consumers relate to when they need to relax and decompress. Lately, things have changed and XXXXXXXX

And this became a word of order for Pay TV, the universe of individuation, new news,

instant gratification and constant inclusion.

The greatest question is: what am I missing out?

And “what couldn’t I miss out”?

Bringing us into different questions:

WHAT can’t I miss out?

WHEN can’t I miss out?

WHERE can’t I miss out?

HOW can’t I miss out?

WHY can’t I miss out?

What can’t consumers miss out? Movies and Series

Series and movies are the essence of entertainment and a “must see” in cable TV.

Movies are Fantasy.Series are reality in a fictional way.

reality fiction tv moviesseries

But there are some differences when choosing to watch a Movie or a Serie on TV.


MOVIE: What is the motivation behind watching Movies:- Detachment from real life, allowing consumers to live another person’s life, experience surreal things, think about uncommon or un-experienced matters.

Relationship established with Movies:- Passive relationship: the movie is there and consumers zap and decide to stop to see it. Very few consumers claim to organize their agenda to watch a Movie (specially during the weekdays).- Films demand high levels of attention over an extended period of time. You need at least 2 hours with full attention to watch a movie.- There is higher risk involved. Consumers feel their time is too precious to splash in front of the TV set with something that might turn out not being valuable or interesting.- It takes a while to understand whether the Movie is really good or a lose of time. The beginning is not necessarily enough to make a decision.- More previsible, more obvious plots. There is not a “surprise factor” such as in the Series.


SERIES:

What is the motivation behind watching Series:- Attachment: it is part of consumers’ everyday, it establishes bonds with characters (they become part of the family), based on real insights, it provides material for socialization, etc.

Relationship established with Movies:- Active relationship: consumers make appointments, open their agendas to see the series they love on TV.- Demand less time as they are shorter than movies, something in between 30 to 50 minutes.- There is lesser risk involved. Consumers know what they like, know the Series they follow and know they will like the episode. They never lose their time with it.- It’s easier and quicker to identify if you like a Series or not. The genre, the format, the type of humor…- Less previsible. Each chapter presents a surprise, an open ending, a shift in character.

During the groups, we asked consumers to come up with their favourite Series and then agrupate them into different clusters. This allowed us to understand how do they perceive each Series and the context in which they are immersed.

How do consumers cluster their

favourite Series

Which are the Series clusters?

1. Couch comedies

2. Musical

3. Puzzle Series

4. Gaming Series

5. Self Made Men Series

MOTIVATION:

Family and universal entertainment:anyone can watch, “light” themes, based on relationship humor (with friends, family, etc).

Relaxation and escapism

Definition:

Allows identification with life real characters:they are full of “clichés”, but everyone knows someone who matches a series character

Different types of humor, but mostly:- “Light” family humor- Ironic humor- Challenging “politically incorrect” humor that is well-accepted as the Series are in cartoon format

Series: FriendsThe Big Bang TheoryHow I Met your MotherSimpsonsTwo and a Half MenSouth ParkSex and the CityPretty Little LiarsGossip Girl

1. Couch comedies

MOTIVATION:

Juvenile – made for adolescent audience

Relaxation and escapism

Definition:

Series: Glee

No brainer – easy to follow, no attention required

Entertainment value – music is key element

Good actors/singers and great hits

2. MUSICAL

MOTIVATION:

Logic stimulating, trying to unravel stories

Mental Stimulation

Definition:

Series:

Educative – possible to learn science and health matters

Attention seeker – refined story requires attention and focus

Real, based on facts that can happen- Adult themes – violence, crime solving, mystery- Health themes – diseases, plagues, laboratory investigations

CSIBonesElementary24 hoursCastleHouseOrange is the new blackThe MentalistHouse Greys Anatomy

3. PUZZLE SERIES

MOTIVATION:

Bold and unconventional themes: unreal, bizarre stories and characters Scary, strong themes, such as zombies, monsters, vampires

Illusion, fantasy

Definition:

Series:

Survival experience, as if you were inside the story or scene, like in a game “subjective camera”, “what would I do if I were there?” feelingMore modern storytelling

Game of ThronesAmerican horror storyGrimSupernaturalVampire DiariesOnce upon a timeLost

Film like – “smaller movie”, elaborate production, good photography, scenery and special effects, modern storytelling

4. GAMING SERIES

MOTIVATION:

A one man Series: a strong character that steals the scene. Without him, there is no plot.

Recognition

Definition:

Series:

It’s about identification and power, strength of the main character

ArrowBreaking Bad24 HoursRevengeHouse of CardsDexter

Character that does not have a “Manichaean vision” – sometimes he has to go against all morals and principles to get things done, but he is still a hero.

Mostly based on Action and mostly Male-oriented.

5. Self Made Men Series

In terms of structure, consumers perceive there are two types of Series:

What can’t consumers miss out?

Series that are like “one shot”- Each episode has beginning, clímax and ending- There is no need to follow the story, because each episode is self explanatory and independent- Demand less attention, as they are an easier and most comfortable form of entertainment- Many consumers just “listen” to them, not even look at the screen- Characters are more stereotypical, have their own personality and do not change through out time.- In this segment consumers describe genres such as: comedies, musicals and investigative series > Friends, Big Bang Theory, Simpsons, Gossip Girl, Glee, Two and Half Man, How I Met Your Mother, CSI, House, Law & Order, etc

Series that are “series to follow”- Each episode has beginning, clímax and ending, but there is always a hook on the last minute that almost forces you to watch the following episode- If you don’t follow the story, if you miss details or episodes, you are thrown out of the plot. There is no way to catch up, unless watching the “missing” episode.- Demand more attention and real “watching”. Many consumers claim they have to see at least twice ot grasp all the details and elements in the episode. - Consumers need to watch the screen, concentrate and even pay attention to details that can make the difference.- In this segment, consumers plot Series such as: > Game of Thrones, Breaking Bad, revenge, Super Natural, House of Cards, Once Upon a Time, Arrow, etc

The Series that are “series to follow”

Series are described as:


The movie-style series that need following

Longer episodes: > 50 minutes per episode

Ideal format: > 13 episodes, 5 seasons maximum

> Different plots

Film like aesthetics: > super production, photography, special effects

> Narrative that is more “intelligent”

> Demand more thinking and following


The must have elements in a Series

> Realism > Edginess > Epic > Educational


The must have elements in a SeriesWhat is true, what is not true? There are 3 dimensions of realism that are relevant in a context where consumers are lost between XXX. There is a search for of safety, given by the realism. Series is TV and TV is safety.

Real Time:24 HS – an explicit way to show consumers “real time” actions. Each minute is a minute.

Simpsons – despite none of the characters grow or get older, the show has current polemic truths in a cartoon format. They are on air for 25 years but they are talking about the Brazilian World Cup just in time of the event.

Real Space & Real CharactersThe Big Bang Theory – Real characters, with real emotions, in scenery that is real.

Two and a Half Men – Real life persons. Charlie Sheen is playing himself on the comedy, not a character. He is like that in real life. It’s about a “celebrity deconstruction” on screen.

Based on real stories or real facts:American Horror Story – The amount of real details (cities, year, family names, etc) make consumers believe that it was based on real stories.

Law & Order – according to consumers, the stories are also based on real stories from the Police departments and FBI.

> Realism


The must have elements in a SeriesIt’s a form of catharsis. Whatever that is repressed, prohibited or consumers’ wish to “do and have” comes into life via the Series.

Self made man:Dexter – a Policeman who leads a double life, doing justice with his own hands.

“Super” powers:Supernatural – Two brothers that have the super powers to hunt phantoms, monsters and other creatures.

Arrow – A realistic view on a DC Comics character. A “super hero” that fights crime and corruption.Polemic truths

Polemic truths:Breaking Bad – A teacher who is diagnosed with inoperable lung cancer and turns to a life of crime, drugs and violence with a purpose: secure his family's financial future.

> Edginess


The must have elements in a Series

It’s the essence of more “Hollywoodian-style” Series. They are larger than life productions, have special effects, and details, that transport yourself into an exaggerated and magical fantasy.Bigger than life

Bigger than life:Game of Thrones – The “most expensive” series ever produced, makeup, a mythical land, loads and loads of different characters.

> Epic

It’s not only entertainment. Some programs allow consumers to learn, get something out of the story. It’s entertainment with a purpose. The audience feels part of the story, in a more interactive way,

Learning:House – Whenever there is a new disease, there is a new learning. Consumers claim to learn about care, health, etc, watching the episodes.


The must have elements in a Series> Educational

A common issue that pops up in any discussion is the fact that some Series are dubbed and others , subtitled. And in both cases there are pros and cons:

How can’t consumers miss out? Dubbed or subtitles

Irrespectively of social economic levels, consumers claim to prefer subtitled content over dubbed one.

Subtitled content allow consumers to: - Hear real voices & see real acting- Learn English (specifically mentioned by lower socio economic levels)

However, some consumers in lower socio economic levels admit to prefer dubbed content. If TV is about relaxing and entertainment, they want to make their lives easier: - It’s easier to follow the story: they don’t need to read and see at the same time.- Ability to perform other tasks while show is on: In cases when the TV is just a sound in the background- Laziness or difficulty to read

However, there are some programming that consumers could prefer in Portuguese or, at least, wouldn’t complain about it. Programming where dubbed is allowed:

How can’t consumers miss out? Dubbed or subtitles

Cartoons in which there are no real actors, but there is already a “dubbing”, even in its original version – ie: Simpsons and Family Guy

Comedy Series in which grabbing the jokes are essential part of understanding. Jokes that are well-translated or transcreated (using local terms and local adaptations) are welcome. As long as the translations and voice overs are very good.

Series that consumers started following in open TV and were “spoken in Portuguese” or those which debuted in Cable already dubbed. So consumers never passed through the original voices of actors – ie: Simpsons, Revenge (for those who started watching in Globo)

However, there are some programming that consumers could prefer in Portuguese or, at least, wouldn’t complain about it. Programming where dubbed is allowed:

When can’t consumers miss out? Weekdays or Weekends

During the weekends, consumers have more time (and more patience) to watch TV. They are in front of the TV set, with time to splash and effectively watching the content.- Films are a preferred option in the weekends.- In Series, marathons and replays should be the focus.

During the weekdays:- Attention spam is reduced.- Consumers claim to watch TV mostly when they arrive at home, after 6pm.

There are three different “watching behavior” in the weekdays:

When can’t consumers miss out? In the weekdays

TV to hear: > from 6pm to 8pm/9pm -> consumers listen to TV while they are performing another activity at home, such as preparing dinner, having a shower, reading e-mails, taking care of the kids.

TV to watch: > after 9pm -> consumers are finally sitting or lying in front of the TV set, with full attention to the screen. Those married with kids have put their sons and daughters in bed and are prepared to pay more attention to content.

TV appointment: > a fixed appointment with a Series or program that consumers really love. The TV is set to automatically turn on or change channel at this specific moment.

Thinking about this dynamic, what should be an ideal Series’ slot?

Weekdays Weekends

- Films- Marathons- Replays

morning


afternoon

- Replays- Films- Marathons- Replays

evening 6 to 8 pm


8 to 10 pm


10 pm to midnight


midnight / 2 am

- Musical

- Musical

- Couch Comedies

- Puzzle series- Self made men series

- Gaming series

- Couch comedies

- Couch comedies

- Couch Comedies

But there are also some curiosities day by day:

Mondays and Tuesdays: days that consumers normally stay at home and have no activities whatsoever -> new episodes of the best shows to start the week, latest episodes from best series

Wednesday: soccer night for men, women ask for “Wednesday specials” on TV, with more feminine shows: normally Couch Comedies

Thursdays and Fridays: days that consumers normally go out and they don’t want to miss their favorite episodes -> second class series

Saturdays and Sundays: replays, marathons, movies

Friends recommendations (word of mouth)

How consumers to know about new series and how

There are 5 key ways that consumers get know about new series (in this order):

Promos on the channels

Social network: Facebook posts from friends, FB fanpages, discussion groups/forums

TV screen panels (mosaicos & synopsis)

Specialized websites & International Media: Info, trailers and synopses

As a consequence, what is the role of different

PR: > generate buzz, creating myths, creating teasers, little pieces and bits that consumers will join the dots. Generate the FOMO effects in consumers’ heads.

PROMOS: > generate awareness, generate trial, capturing new consumers

SPECIALIZED MEDIA: > generate specialized content for the already fans (ie: backstage, info about authors, characters, curiosities, reveal of special effects, etc).

SOCIAL NETWORKS: > generate awareness or generate talkability.

TV SCREEN PANELS: > provide info to engage potential new consumers

communication elements to reach consumers

during the FGs we showed consumers 4 Promos (being 2 Fox and 2 WB’s). What is a FOMO promo?

To generate awareness

To generate trial

> Promos:

AND THE PROMOS?

The Promo has 2 objectives:

During the groups we provided consumers with 4 promos to watch and evaluate:

How do consumers evaluate the Promos they saw?

Fox: > Simpsons’ 25 years & 24 Hrs WB: : > O Andar de Baixo & The Following

Invitation to watch shows. The narrator seems to be inviting consumers. “It talks to me, it talk to us”

Strong colors

FOX PROMOS

Integration of brand according to the series – i.e for Simpsons, “O” of Fox is a doughnut, for 24 Hours, “O” is on fire

Branding: High level of branding. It’s easy to identify the channel via orange colors, a dynamic tonality of voice and the logo at the end.

The role of the brand: Hinvite consumers, via individualization (“Only in Fox you find…)

Less narration

Lack of storytelling

WARNER PROMOS

Pieces of episodes

Designed for current viewers, do not engage new audience. “ If you don’t know the show, you won’t understand it, it is uninviting”Branding: high level of branding. It’s easy to identify the channel via gray colors, the repetition of style and the logo at the end.The role of the brand: excludes consumers, via “We are Warner”. With few exceptions, consumers do not see this claim as inclusive. For consumers “WE are Warner” has different meanings, but few identificate with the original proposition (include audience as part of the Warner family): - “We, the people who work at Warner”- “It sounds like someone telling me something, not trying to include me in” - “It does not work, does not make me feel part of it”- “It is not you, me, all of us… it is more like: we are this and you are not”- “We are better”- “We are series”

What are the essential elements to develop a “can’t miss out” Promo

It’s a personal invitation: – Which ever is the Series, the Promo has to dialogue with consumers in a one by one basis and invite each one of them to see the Series. To engage with consumers, they need to be called into the Promo. Narrator helps in setting this invitation straightforward to consumers:- Fox’s 24 Hrs and Simpsons’ promos are a clear example of this. They talk to you: “Hey you, sitting on the sofa…”. “You have a date tonight with Jack Bauer”.

It’s a trailer not slices of program: – Independent of the genre, consumers need to establish a bonding with the promos. And to do this, they need a set up: see all characters, understand the story context, etc. Again, this is easily provided by the narrator, as the promo is short. Promos that are slices of programs are not clear to consumers. Those who never watched the show feel like they were alienated. Those who know the show find out the choice of “cuts” was not well done. - Action – beginning, climax and hook. To generate desire to watch the end.- Comedy – beginning and climax (transformation of character or situation). It’s not the joke itself that call attention, but the “fun” aspects of the shift.

The role of the Channel is to provide reassurance of the program’s quality. It’s a Series done by… In this case, all the big channels have good credentials of quality.

What are the “can’t miss out” channels?

> The image of the channels come from its content mainly: Replays + new news

> Content is key. Content defines the brand’s image and the expectations that consumers have within each of the channels. And this is reproduced in content.

- Content > defines brand’s image -> defines content- The brand is a result of its content.

In other words: > positioning and content have to walk hand in hand.effects, etc).

What are the “can’t miss out” channels?

Fox

WarnerHBO (more prominent in SEL A, but also mentioned in C)AXN

The Series’ channels consumers can’t miss out are:

What all of them have in common?

Time slots are hard to follow – delayed starting times, messy schedule, many changes to the programming without prior advice (WB is seen as the worst one in terms of schedules).

Time slots are not organized by genre or types of Series or type of audience which makes harder to know what is coming next

What is the image of each channel?

“I am Fox” > One to one relationship. Each one will find something for him/her at Fox./

Contemporary

Quality

Variety, tailor-made programming

Edgy options

Fox: “a one to one relationship”

if Fox was a ...

Las vegas ( It´s the modernHollywood: cool, fun, exxageration, games, money, naked women”)

Singer/Group Outfit

- Suit with All Star snickersGreen Day

Person City

30-40 Entrepreneur

Good quality: mainly production

Variety and segmentation (genres, audience, etc)Edgy & contemporary Series and thematics

Designed for current viewers, do not engage new audience. “ If you don’t know the show, you won’t understand it, it is uninviting”

My option

Walking Dead

Simpsons

CSI

How are the Fox’s Series:> A social channel. For everyone, universal, kids to mature people, women and men.

> The most mentioned Series:

The Fox Series:

Quality

Safe programming

The second option

> A social channel. For everyone, universal, kids to mature people, women and men.

Stuck in time

“We are Warner”

Fox: “a social relationship”

If Warner was a...

Disney (“very colorful, all those funny characters,a place for the whole family”)

Singer/Group Outfit

- Suitwith a Bugs bunny tieThe Beatles

Person City

50 yo businessman

Good quality: mainly good actors

Humour (comedies only and with a very clear style: Couch Series)Classic & repetitive (excess of replays, all Series with a similar format, lack of real time, lack of new thematics)

The second option

Friends

Two and Half Men

Big Bang Theory

How are the WB’s Series: what are the characteristics of these Series?

> The most mentioned Series:

> what are the characteristics of these Series?

The Warner Series:

Other channels: HBO & AXN

During the groups we did not deep dive into these specific channels. However, there are some key words to describe both channels when Series are concerned:

Avant guard in terms of SeriesA new language in SeriesMore Hollywood-style series

Game of ThronesThe most mentioned Series from HBO:

Breaking BadThe most mentioned Series from AXN:

House

In sum:

Fox is for you

WB is about us

xxxx:

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xxxxxxxxxxxxxxxx: – xxxxjahjkslkslls;ls;s;;s;l;d;d;;lc;ld;s;’s;’’a;’;a’;a’;a’’‘ahj this, they need a set up: see all characters, understand the story context, etc. Again, this is easily provided by the narrator, as the promo is short. Promos that are slices of programs are not clear to consumers. Those who never watched the show feel like they were alienated. Those



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shjhjajajkjkkjjkjksashahgahghgahahahhahahjjajhhjhjahjxxbhhgyggsagygycshuhcshjjjkcsjkcsjkscjkjskjs – ie: Simpsons and Family Guy

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Entertainment & Humor

Warner Channel, 2014