Jessell at Large

Station Rev Status: Spot OK, Retrans Crucial

Analysts say spot TV revenue is bumping along at about the same rate as real GDP plus inflation. That's not terrible, but that's not great either. Fortunately, broadcasters have two other sources of revenue — retrans and digital. Now if they could only find a third.
TVNewsCheck,

Let's talk today about what I know is one of your favorite subjects — revenue. Without the top line, there would be no bottom line and then what kind of business would you have?

Revenue was a big topic at the annual SNL Kagan TV and Radio Finance Summit in New York this past Tuesday, but I want to start our discussion with a blog item that Mark Fratrik, the chief economist at BIA/Kelsey, wrote a few weeks ago.

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It was about a new way of looking at spot that strips out the up-down effect of political advertising that makes broadcasting look to casual investors as volatile as a penny stock for a South American mining company.

Fratrik continuously averages spot growth (or decline) over four years. By doing so, he explained, "the impact of two election years (one presidential) and two non-election years are incorporated" in any review or forecast.

So, what did Fratrik's arithmetic reveal? Basically, that spot is growing at a 3% or 4% clip and will continue at that pace for at least the next several years.

If Fratrik is correct — and he assures me he is always correct — spot revenue is bumping along at about the same rate as real GDP plus inflation. That's not terrible, but that's not great either. That's certainly not the kind of growth that broadcasters expected in the good old days and it's not the kind of growth that will attract outside investors or cause a spike in station values.

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According to SNL Kagan, the TV station trading multiple has been stuck between 7 and 8 for the past few years now.

SNL Kagan’s spot forecast is even stingier than Fratrik's, mostly because it does not see much growth in local spot. Between this year and 2018, it says, local will grow just 10%. With the slow-motion collapse of newspaper publishing, most broadcasters think local will grow much faster than that. [Editor's note: In the original posting, SNL Kagan's estimate of local growth was incorrectly reported as 6.5%.]

But broadcasting is no longer dependent on the single revenue stream. Over the past decade or so, it has been able to develop two other important streams — retransmission consent fees and digital media.

Retrans is more than a mere stream now. According to SNL Kagan, it has grown from $200 million in 2006 to $3.3 billion in 2013. This year, according to the research firm's forecasters, it will jump 30% to $4.3 billion and from there another 76% to $7.6 billion in 2019.

Digital is a trickle by comparison. Even in 2018, Fratrik says, it will still constitute only 5% of the industry revenue, although broadcasters more attuned to exploiting new media will do much better than that average.

But what digital lacks in share of revenue, it makes up with in growth. Fratrik says that it will grow 10% to 12% a year for the next four or five years. In a perfect world, I would note, that would be the growth rate of spot.

Fratrik also thinks there is money to be made from entering the digital agency business, in which local stations shepherd local small and medium businesses through the digital media maze. "That's what you see with some of the large groups buying an agency and other types of services," he says.

But, again, except for a few groups, the agency business is not going to amount for much relative to spot and retrans.

To recap, most of broadcasting revenue growth will be coming from squeezing cable and satellite operators for more retrans money.

Like the SNL Kagan analysts, the broadcasters who spoke at the SNL Kagan conference said they believe there is still plenty of upside in retrans.

Nexstar Broadcasting CEO Perry Sook told conference attendees that the retrans game is still in "the third inning."

Retrans is a "three times opportunity," he said. In other words, he believes his groups can triple its retrans revenue. That figures to $2.50-$3 per sub per month per network affiliates. (According to SNL Kagan, Nexstar derived about 22% of its total revenue from retrans in 2013.)

On the whole, broadcasters draw 35% of the audience on cable and satellite, yet they get only about 9% of the fees the cable and satellite pay to programmers, Sook said. 'There is still inequity in the value we bring to the package and in the value we are being compensated out of that package. "

Others made the same fair-share argument. "We are way below where we need to be," said Deborah McDermott, Media General’s SVP, broadcast markets.

I'll say. We all know that retrans payments are only a fraction of the total programming fees that cable and satellite pay out to basic cable networks. But that's not the worst of it. The latest SNL Kagan research shows broadcasters also trailing cable's regional sports networks — by a substantial margin. This year, the sports networks will take in $6.3 billion compared to the broadcasters' $4.3 billion.

Comments (8) -

jdshaw Nickname posted over 2 years ago
It is delusional to believe cable/satellite subscribers will absorb 100% $ increases over the next five years. Reality is going to be very messy.
Insider Nickname posted over 2 years ago
Basic Math (which apparently you need). 20%-25% of Cable Bill is for basic programming program fees, depending on company. ~35% of viewing is to the 4 OTA Networks. Simple reallocation of fees to viewership is all that is needed.
formergm Nickname posted over 2 years ago
"Simple reallocation...is all that is needed". LOL! Tell that to the subscribers who will bail out at the rate of 5% a year.
Insider Nickname posted over 2 years ago
The subscriber does not reallocate programming fees @ a MVPD. The MVPD does. The clueless idiots are out in force today!
Thomas Scanlan posted over 2 years ago
I've known several bright, able, talented broadcasters, and broadcast executives, who are considering flat out leaving the TV broadcast business entirely because of the uncertainty as Harry has stated in his article. Looking back and what seemed a stable, predictable business a few decades ago, can't say I blame them!
tvspy Nickname posted over 2 years ago
Most agree that cable companies do not want to keep increasing cable fees to the public and price themselves out of business. The next major shift will be the 50+ networks that line the bottom of the ratings barrel. Why should AT&T, Comcast, Time Warner, and Charter continue to pay .10 to .40 per sub/month. Cable companies will start shrinking the number of networks based on viewership. If you have viewers you get money. Insider is dead on
Pmoped Nickname posted over 2 years ago
I continue to be amazed how clueless the general public is to the fact that over the air signal reception is easily available. I live on Long Island about 30 miles from the Empire State Building and the reception I get is outstanding and my antenna is indoors . I still have Fios, but the over the air picture is better and the number of stations I receive is about 25.
GMRetiredTV Nickname posted over 2 years ago
I might consider the "down and dirty" local infomercials on my sub channels in med to small markets on a one year contract.. Beats giving away commercial inventory.
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Ratings

Overnights, adults 18-49 for September 25, 2016
  • 1.
    5.5/18
  • 2.
    2.6/8
  • 3.
    1.2/4
  • 4.
    0.9/3
  • 5.
    0.5/2
  • 6.
    0.2/1
Source: Nielsen

Reviews

  • Rob Owen

    Easily fall’s best broadcast network comedy pilot, NBC’s The Good Place offers a clever high-concept premise that’s complemented with intelligent, sometimes absurdist humor. Created by Michael Schur, co-creator of NBC’s Parks and Recreation, The Good Place is a highly serialized series that’s essentially set in heaven and stars Kristen Bell and Ted Danson. NBC made five episodes of The Good Place available for review, and the show not only holds up, but also it improves, deepening characters that initially feel one-note and frequently leaving viewers guessing with cliffhanger endings to many of the episodes. The combination of snappy dialogue and winning but flawed characters makes The Good Place a great bet for fans of smart TV comedy.

  • Maureen Ryan

    Pitch has swagger, for good reason. It gets the big things right; the Fox drama about the first female baseball player in the Major Leagues is one of the year’s most assured and exciting debuts. But part of what impresses about the pilot is also the way it confidently strings together so many small but telling details. Ginny (Kylie Bunbury) is the first woman to be called up from the minors to the big leagues, and no show since Friday Night Lights has done a better job of portraying the internal and external pressures that weigh heavily on young athletes asked to do much more than merely succeed on the field. Pitch will likely do a good job of getting viewers to root for it. The hope is that the show won’t be an impressive, short-lived curiosity, but rather a long-term phenomenon.

  • Kevin Fallon

    In a fall TV season that’s already making a splash for championing diverse, distinctive voices in an array of projects that they created, wrote, and starred in, Better Things on FX stands out. The show is created by, written by, and starsPamela Adlon. She plays Sam Fox, the single mother of three daughters modeled after her own reality-show-ready experience raising three girls in Los Angeles following a divorce. Sam is also, like Adlon, a working actress — on shows both raunchy, a la Californication, and animated for children, like her role on Recess. It’s a refreshingly blunt take on single motherhood without sacrificing the warmth of parental love, portraying the dance between selfishness and selflessness that’s at the heart of being a parent — especially one weathering the hormonal fireworks of a household of four women at different ages.

  • David Wiegand

    The fall TV season doesn’t count as much as it used to — we already know that. But no matter how many retreads the broadcast networks throw at viewers in the next few months, this fall will be memorable because of the premiere of Atlanta on Tuesday, Sept. 6, on FX. The half-hour comedy created by and starring Donald Glover (Community), simply and brilliantly recalibrates our expectations of what a TV comedy is and how black lives are portrayed on the medium.

  • Louisa Ada Seltzer

    The second reboot of the 1980s John Candy movie Uncle Buck, bumped by ABC from midseason, has the same tired jokes you'll find on any second-rate sitcom. Too bad, because Mike Epps is appealing and ABC would be wise to keep him around for future shows, but there’s just not enough to this show to suggest it will last past summer. It also airs against NBC’s America’s Got Talent, summer’s No. 1 program on broadcast, which may make it even harder to find an audience.

  • Neil Genzlinger

    Bryan Cranston brings his Tony Award-winning interpretation of President Lyndon B. Johnson to television in an adaptation of the Robert Schenkkan play All the Way, and it’s still quite a sight to behold, just as it was on Broadway in 2014. Nothing beats witnessing this kind of larger-than-life portrayal onstage, of course. But the television version, presented by HBO, offers plenty of rewards, allowing Cranston to work the close-ups and liberating him from the confines of a theater set. Cranston’s performance is a gem — in his hands, this accidental president comes across as an amazing bundle of contradictions, someone who seems at once too vulgar for the job and just right for it.

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