Some thoughts here.

I agree these kinds of assessments require a bit of a deep dive.

Let’s look at the business case then, the economics and the long haul marketing strategy.

Does the narrative around Prodigy being unprofitable, a write off hold up? Could Whitbrook be putting his finger on something valid?

Let’s also keep in mind that the head of scheduling for streaming at Paramount has been saying that their business strategy for Paramount+, as they integrate Showtime, has said repeatedly that their streaming strategy is built on ‘the 3 Fs’:

Fandoms, franchises & familiar faces.

Prodigy quite obviously was designed to tick off all three elements of the strategy, so what’s the failure point or mismatch as they winnow?

The narrative that Prodigy wasn’t popular enough on Paramount+ doesn’t scan.

First, from what metrics we have available publicly for 2022 (Parrot Analytics mainly),

1. Prodigy was one of only two Paramount+ animated originals that performed well in audience demand, falling slightly behind Lower Decks.
2. Overall demand for the franchise and subscription uptake continued to build during Prodigy’s run in the fall-winter of 2022-2023 in contrast to the acute fall-off earlier in 2022 during the runs of Discovery season 4 and Picard season 2.
3. Star Trek and the Sheridan Yellowstone franchise accounted for half of Paramount+‘s subscription demand in 2022, with net subscription increases during the runs of SNW, Lower Decks and Prodigy.

So then, if Prodigy is doing well in attracting and retaining subscribers and Star Trek is one of two principal franchises supporting their business strategy, where’s the problem?

Let’s look at Nickelodeon, the original destination for the show.

Nickelodeon’s linear audience numbers have been falling overall. Prodigy’s numbers aren’t great on Nick, but none of Nick’s new shows are taking off as they once were.

Going into the pandemic, Nick was such an important anchor for cable in the US that Paramount was obliged to make promises for content exclusivity windows for Nickelodeon when it negotiated its last carrier contract for the US with Comcast. When the pandemic came, suddenly kids were online as never before, and Nickelodeon quickly diminished in its power to attract linear viewership.

So, one can draw an inference that it’s Nickelodeon, not Paramount+, that’s financial trouble is a key point in the decision. Nick is losing money on Prodigy, that needs an exit pathway for an expensive show it can’t afford to partner in.

BUT…

Why then, given Paramount’s 3F streaming strategy, animated shows less expensive and underrepresented in Paramount’s streaming offerings, doesn’t Paramount just rework the deal between the streaming side and Nickelodeon?

Here’s where systematic bias may be coming into it -

Paramount+ has been successful in building a broad subscriber base across ages, genders, race and ethnicity while still gaining ground in ‘middle America.’

This is not the case for other streamers. MAX is struggling to bring together the male-skewed HBO audience and the older-female Discovery one.

Let’s look at what else was cut along with Prodigy.

• a show targeted at the LGBTQ audience canceled during Pride month

• a show targeted at a niche female demographic

• a family show headed by one of the strongest female leadership icon characters of the 90s, with another principal character voiced by a Black actor.

Paramount used a lot of dense marketing technobabble about fit and alignment to explain that the choice to cut and write this particular set of 3 shows. They’ve previously talked about popularity during the cuts of Showtime’s more niche, arty products.

If we listen to them, and accept their justification, the implication is that these LGBTQ, women and black targeted shows no longer are their demographic priorities. They don’t fit with where P+ with Showtime is going even if they all obviously check the 3F boxes. Meanwhile, there’s been no language backpedaling on the 3F strategy.

At the same time, Paramount Global is trying to sell off BET and BET+.

The conclusion isn’t necessarily misogyny, but clearly that Paramount Global is no longer strategically prioritizing its diverse representation of demographic groups.

They are telling us, their advertisers and their investors that Paramount/CBS is turning the entire business back towards prioritizing a much less representative audience.

There’s an implicit assumption that they can continue to retain the demand of women, racially diverse and LGBTQ demographics, while skewing their new investments towards the older, middle American audience of the Yellowstone franchise and the slice of the Trek audience that Picard season three was targeted to draw back in.

My conclusion - Whitbrook has a point. They wouldn’t have done this with Picard or Kirk.

It says more about Paramount’s strategic shift away from prioritizing representation and diverse demographics more broadly.

It’s not just misogyny, but it’s in there. Without unconscious bias and systemic misogyny, the scheduling folks wouldn’t assume that they can hold girls and women as an audience while taking them out of principal roles.