Warner Channel

WARNER
CHANNEL
Towards 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 consumer
Identify the gaps and opportunities to work with
Develop an action plan to be competitive in the market
BACKGROUND
OBJECTIVE

Phase 1
Deep dive into Warner Channel :
Review internal information on the brand and interviews with stakeholders.
/
Phase 2
Inspiration :
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 3
Consumer understanding :
16 FGs with consumers, segmented by SEL (A and C) and gender (male and female).
/
Phase 4
Strategic analysis & Brand Positioning :
Define a positioning for Warner.
/
Phase 5
Working 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

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 moviesser
ies

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:
Friends
The Big Bang Theory
How I Met your Mother
Simpsons
Two and a Half Men
South Park
Sex and the City
Pretty Little Liars
Gossip 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
CSI
Bones
Elementary
24 hours
Castle
House
Orange is the new black
The Mentalist
House
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?” feeling
More modern storytelling
Game of Thrones
American horror story
Grim
Supernatural
Vampire Diaries
Once upon a time
Lost
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
Arrow
Breaking Bad
24 Hours
Revenge
House of Cards
Dexter
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

What 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 Characters
The 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

It’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

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.
> 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
- Films
- Marathons
- Replays
afternoon
- Replays
- Films
- Marathons
- Replays
evening 6 to 8 pm
- Films
- Marathons
- Replays
8 to 10 pm
- Films
- Marathons
- Replays
10 pm to midnight
- Films
- Marathons
- Replays
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
Warner
HBO (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 ...
Lasvegas (It´sthemodern
Hollywood:cool,fun,
exxageration,games,money,
nakedwomen”)
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(“verycolorful,all
thosefunnycharacters,
aplaceforthewholefamily”)
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 Series
A new language in Series
More Hollywood-style series
Game of Thrones
The most mentioned Series from HBO:
Breaking Bad
The most mentioned Series from AXN:
House

In sum:
Fox is for you
WB is about us

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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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