Talking up another solid TV upfront ad market, syndicated advertising TV sellers see a stable, if not growing, marketplace. Media buyers see more of a rerun, with programming inking modest single digit percentage price increases versus a year ago.

"It seems very similar," says Peter Knobloch, chief investment officer of Assembly, the new MDC Media Partners media agency group. "There’s nothing really new on the syndication horizon. As far as we can see, the marketplace has been soft."

However, Knobloch sees things picking up a bit. "There’s more demand from TV advertisers in the second quarter — but that’s typical." Doing some early analysis for 2014-2015 upfront market Knobloch says, "I see around mid-single digits percentage gains again."

Syndications sellers admit business has been somewhat slow in the first part of the TV season. But that’s not unusual. "Generally speaking, the marketplace has been similar to broadcast and cable," says Michael Teicher, Executive VP of Advertising Sales for Twentieth Television. "Having said that, we’re seeing more activity in the second quarter 2014 than the fourth [quarter 2013] and the first [quarter 2014]. There appears to be some vibrancy in the market."

A year ago, in the upfront period, syndicators struck TV advertiser deals, on average, with CPMs gains of 4% to 7%. But looking at overall dollars, Kantar Media says the national syndication market has been virtually flat — with revenues at $5.16 billion in calendar year 2013, from $5.13 billion in 2012. Syndication made a bigger leap in overall revenues from 2011 to 2012 — an 8% climb.

The downside for syndication this season is that virtually all new Monday to Friday first-run shows launched aren’t coming back another season. However, a number of key established Monday to Friday shows have made sizable gains versus a year ago — especially among key women 25-54 viewers, a critical group for daytime syndicated shows.

Some of the improving programs include CBS Television Distribution’s Dr. Phil; Warner Bros. Brand Networks’ Ellen DeGeneres; Disney-ABC Syndication’s Live with Kelly & Michael; Twentieth Television’s Family Feud; NBC Television Distribution’s Steve Harvey, and Twentieth’s Wendy Williams.

"What’s happening right now is that strong shows are getting stronger and weaker ones are going away," observes Irv Schulman, Senior VP of Advertising Sales at Disney-ABC Syndication.

In particular, Ellen DeGeneres has seen its highest ever ratings after more than decade of being on the air — averaging a Nielsen season to date 1.8 rating among women 25-54, through February 2014.

"The fact that a show in its 11th season is still demonstrating growth is amazing, and speaks to Ellen’s broad appeal," says John O’Hara, Executive VP of Media Sales for Warner Bros. "Her strength with advertisers has never been stronger, and is exemplified by the fact that the show is sold out in first quarter."

Overall, this means more ratings points for TV advertisers to buy — especially in the dominant daypart where syndication has a lot of TV shows and viewers, versus that of network TV programming for advertisers: Daytime.

"New shows for next year will pretty much replace shows and time periods of those that failed a year ago," says Bill Carroll, VP and Director of Programming of Katz Television Group. Shows not coming back are Bethenny, Trisha Goddard and The Test. Also not returning is Disney-ABC’s Katie, hosted by Katie Couric — one deemed the possible big successor to Oprah Winfrey.

New high-profile first-run Monday to Friday efforts for next year include NBC Television Distribution’s Meredith Vieira (daytime talk show); Warner Bros. The Real (a young skewing late afternoon talk show); CBS Television Distribution’s Hot Bench (a court show); Twentieth Television’s Celebrity Name Game (a game show for the prime access-time period hosted by Craig Ferguson); and MGM Domestic Television’s Let’s Ask America (a game show).

For next year, syndication will, as of press time, offer up four off-network sitcoms: Warner Bros’ Mike and Molly (airing on CBS Television Network); Twentieth’s Raising Hope (in its final season on Fox), CBS’s Hot in Cleveland (from TV Land)… and Twentieth’s Anger Management (from FX). New off-network dramas include: Disney-ABC Syndication’s Scandal; CBS’s Blue Bloods and The Good Wife.

When it comes to syndication, TV advertising buyers tend to focus a lot of effort on proven commodities — and that comes with off-network sitcoms especially. Warner Bros’ Big Bang Theory continues to be one of the top-rated of all syndicated programming so far this season. — 9.7 million viewers through mid-February. Twentieth’s Modern Family — poised to be another top earner — hasn’t as yet met all expectations, say analysts, posting a season to date average of 5.6 million viewers.

For next year, Katz’ Carroll, in particular, will be watching Anger Management. "It has been somewhat underexposed," he said. Anger has been airing on FX.

For TV advertisers, syndication business continues to solve some media TV problems — such as commercial avoidance. That’s because syndication has little time-shifting activity, mostly due to the volume and frequency of programming — whereas many talk and court shows air Monday through Fridays, if not in other time and day periods.

"With the shift in viewing patterns not yet settled, syndication is a terrific platform for advertisers," said Amy Carney, President of Advertiser Sales, Strategy & Research for Sony Pictures Television. "Almost 100% of the viewing of syndication shows is live, so the audience [advertisers] are paying for is delivered immediately."

Additional strategic differences between syndication and other national TV platforms continue as well. Bo Argentino, Senior VP of Advertising and Media sales of NBC Television Distribution, points out that unlike broadcast and cable networks, media buyers and advertisers can evaluate their media buy differently.

"We’re not just filling schedules, which I think is what happens with a lot in cable," says Argentino. "Our industry is evaluated on a show-by-show basis."

Syndicated shows also enjoy a lower rate of pre-emptions and mid-season cancellations than network TV, says Argentino. There also continues to be a good amount of station diversity when it comes to distribution — especially in an age of lower and fractionalizing TV ratings points.

"We have lineups that reach beyond just one group of [TV station] affiliates," Argentino says, "which is something you really can’t get with either cable or network shows."

One thing surely changing for syndication, as it concerns marketing to media buyers and advertising clients, is the end of the Syndicated Network Television Association, the industry’s longtime advertising marketing group, which will cease operations in July. 

Irv Schulman (Disney-ABC is a member studio of the SNTA) says the group’s limited number of members couldn’t justify the ongoing expense and some of SNTA’s efforts have been duplicative; for instance, Disney-ABC does a lot of overall marketing when it comes to all their TV platforms. "We’re a fully integrated team at our company," he said.

Mitch Burg, President of the SNTA says, "As the studios now move separately, they work with an advertising community that greatly appreciates the benefits that studio-produced programming provides."

Schulman adds while the SNTA staff did a "fantastic" job in selling the industry, Disney and some other studios wanted to move into a different direction — especially in a new digital world where consumers want and can get instant access to TV shows.

"We’re trying to get away from the word ‘syndication’," he says. "It’s about programming. Media buyers are looking for programming, regardless of the platform."

Cynopsis Ad Sales: Mike Farina | VP, Sales | 203-218-6480
Classifieds Sales: Trish Pihonak | Director of Operations | 203-899-8459