If you’re a producer, sales agent, or IP owner trying to get content in front of the right Paramount+ decision-makers, this guide cuts through the noise. We’ll cover how Paramount+ content acquisition actually works in 2026, what genres and formats they’re actively buying, how their deal structures compare to competitors, and—critically—where your project fits in their strategy versus where it doesn’t.

But first: the context. Because without understanding the commercial pressure Paramount’s under, you’ll misread every signal they send.

How the Skydance Merger Changed Everything

The streaming unit—previously hemorrhaging money—narrowed its losses significantly through 2025. But that discipline comes at a cost to the acquisition pipeline. Fewer deals. Higher bars. More co-production partnerships to share financial risk. That’s the landscape you’re walking into.

But here’s the thing: constraint creates opportunity. When a platform tightens its slate, the projects that do get through matter more. The market signals are clearer. And for producers who understand what Paramount+ actually needs—not what it used to buy—the door isn’t closed. It’s just more specific about who gets to walk through it.

Three structural shifts matter most for your acquisition strategy in 2026. The platform’s IP-first orientation means pre-existing fan bases dramatically increase your odds. The co-production priority means international partners who bring tax incentives or presale MGs to the table are suddenly much more welcome than pure first-look submissions. And the FAST channel integration—with Paramount’s Pluto TV now serving over 80 million monthly active users—creates a secondary acquisition lane that many producers are completely ignoring.

You can learn more about how streaming platforms evaluate international content acquisition strategy in 2026 to understand how Paramount’s approach compares to the broader market.

What Paramount+ Is Actually Buying in 2026

Let’s be direct. The acquisition mandate at Paramount+ breaks down into three clear priority tiers—and which tier your project lands in determines everything about how hard you should chase this buyer.

Tier 1: IP-Backed Franchises and Brand Extensions

This is the highest-priority acquisition category. Star Trek, Halo, NCIS, Tulsa King, Mayor of Kingstown—Paramount’s streaming identity is built around extensions of owned IP and franchise universe plays. New originals that attach to existing Paramount IP libraries have a substantially shorter path to greenlight than spec projects.

But it goes beyond just Paramount’s own library. They’re actively acquiring external IP with proven audiences—book adaptations, comic franchises, videogame properties—where the built-in awareness reduces subscriber acquisition costs. If your project is based on IP with a trackable fan community, lead with that data when you approach them. Quantify the audience. Show engagement numbers, not just sales figures.

Tier 2: Talent-Led Prestige Originals

Paramount+ still buys prestige, but the threshold has moved. You’re looking at A-list showrunner attachment or marquee talent packaging that generates buzz before the first frame is shot. The platform’s deal with Taylor Sheridan—the creator behind Yellowstone, 1883, and its expanding universe—is the clearest indicator of how they approach this tier. Sheridan’s content reportedly generates over 40% of Paramount+ subscriber sign-ups. That’s the ROI model they’re trying to replicate.

New originals get greenlighted here if the talent package is compelling enough to move press. Think less about the story, more about who’s attached. And unlike Netflix—where the algorithm does a lot of heavy lifting for discovery—Paramount+ depends more on above-the-line talent marketing to drive awareness. Your package needs a name that generates a headline.

Tier 3: Sports, Reality, and Unscripted

Sports rights remain the most reliable subscriber acquisition tool Paramount has—NFL games via CBS, UEFA Champions League, March Madness. These aren’t typical content acquisition plays, but understanding that sports is the anchor of their retention strategy helps explain why they’re conservative about scripted content spending. Every dollar committed to a speculative drama competes against proven sports ROI in the budget allocation discussion.

Unscripted and reality content gets a healthier greenlight rate right now, especially formats that are cost-efficient and target demographics that sports misses. Competition formats, true crime, and celebrity-driven unscripted are all active acquisition categories. If you’re sitting on a format with a clear audience and reasonable production budget—under $2 million per episode—that’s actually a faster path to a Paramount+ deal than a mid-budget scripted drama.

Deal Structures: Co-productions, Licensing, and Originals

Understanding Paramount+ deal structures is where a lot of producers get tripped up. There isn’t one acquisition model—there are at least four distinct structures in play, and each comes with radically different economics, creative control implications, and time horizons.

Structure 1: Full Original Commissions

Paramount+ fully finances and owns the project. They’re paying the budget, they take all rights, and you’re in a work-for-hire relationship as producer. The upside: full greenlight, no co-financing gap to fill. The downside: you’ve sold the asset. Backend participation is negotiable but rarely meaningful unless you have real leverage going in. These commissions are reserved almost exclusively for Tier 1 and Tier 2 projects—established showrunners, proven talent, or IP acquisitions they’ve already made.

Structure 2: Co-production Partnerships

This is where the real opportunity sits for independent producers in 2026. Paramount+ comes in as a co-production partner—typically taking streaming rights for specific territories while you retain others. Your job is to close the capital stack from other sources: tax incentives, international presales, equity partners. They’re contributing a license fee or MG that anchors the financing, not covering the whole budget.

The advantage here is mutual. Paramount gets content it doesn’t have to fully bankroll. You retain more creative control and keep backend on unsold territories. The challenge: you need to have the rest of the financing in place, or at least credibly in play, before they commit. Bringing them a half-built capital stack—with the right tax jurisdiction, an anchor producer with track record, and at least one other serious co-production partner—dramatically accelerates the conversation. Our guide to international co-production strategy breaks down exactly how to structure these approaches.

Structure 3: Library Licensing Deals

Paramount+ continues to license third-party library content to fill catalog depth—particularly in genres their originals don’t cover well. Completed content, especially from international markets with strong genre pedigree, gets evaluated by their acquisitions team on a project-by-project basis. The minimum guarantee structure varies by territory and exclusivity window—deals typically run 2-4 years for streaming exclusivity, with payment on delivery rather than production milestones.

But be clear-eyed about what library licensing pays. These aren’t commissions. MGs for third-party library titles are a fraction of what an original commission earns. The value is distribution reach and territory clearing, not budget financing. Use library deals strategically—to build a relationship with the acquisitions team before pitching originals, or to clear international rights on projects with multi-window distribution potential.

Structure 4: Pluto TV and FAST Channel Licensing

Don’t overlook this lane. Pluto TV, Paramount’s AVOD and FAST platform, is a separate acquisition funnel from Paramount+ itself. Content that doesn’t meet the bar for premium SVOD can still land on Pluto—and with 80+ million monthly active users, it’s not a consolation prize. The licensing terms are different (revenue share rather than MG-heavy), but it’s a real distribution outlet that builds your relationship with the Paramount ecosystem. Many producers who’ve placed content on Pluto have subsequently received Paramount+ inquiries on follow-up projects.

How to Pitch Paramount+ Successfully

Here’s the insider candor most pitch guides skip: Paramount+ doesn’t have an open door for unsolicited submissions. Full stop. The acquisitions and development teams work through relationships—with agencies, production companies, sales agents, and co-production partners who already have established access.

That’s not a wall. It’s a routing problem. And routing problems are solvable.

Who Actually Makes Acquisition Decisions

The primary acquisition contacts at Paramount+ sit within the Content Acquisition and International Co-Production teams under the broader Paramount Global Content Distribution umbrella. Paramount Pictures, CBS Studios, and Showtime/MTV Entertainment Studios all feed the streaming platform’s pipeline. Understanding which production arm is most relevant to your content type determines who you’re actually targeting.

For scripted drama and limited series, the primary relationship is with Showtime Networks’ development and acquisition team—which has retained its distinctive identity even as it’s been consolidated under the Paramount+ umbrella. For unscripted and reality formats, CBS Studios and their format acquisition division is the right entry point. For international content, Paramount Global Content Distribution handles territory-by-territory licensing and co-production partnerships.

The Package That Gets a Response

Effective Paramount+ pitches in 2026 hit three things hard: commercial ROI framing, subscriber acquisition logic, and competitive differentiation. Not just “this is a great show.” Every producer says that. The question the acquisitions team asks—and that you need to answer before they do—is: why does this specific project move our subscriber numbers more than the alternatives competing for this budget?

Translated into pitch architecture:

• Audience specificity: Don’t pitch “broad appeal.” Identify the underserved Paramount+ demographic this project specifically reaches—and size it. Cord-cutters 25-34? Hispanic households? Sports fans in Q1 off-season? Be precise.
• IP provenance: If there’s a source material, prove the audience exists before you walk in. Social following, book sales, gaming community size, podcast downloads. Quantify the pre-awareness.
• Financing visibility: Show a believable capital stack. Even at co-production stage, arriving with tax territory identified, production partners in place, and a realistic budget model signals professionalism and reduces their risk perception.
• Comparable performance: Anchor your pitch to recent Paramount+ performers—not Netflix, not HBO. What’s the Tulsa King or The Good Fight analogue? They’re benchmarking against their own library, not the market at large.

As reported by Deadline, the Paramount+ executive team under Ellison has been explicit about prioritizing projects with traceable commercial logic over pure creative ambition. That’s your pitch frame.

International Acquisitions: Where the Opportunity Lives

Paramount+ operates in 45+ territories globally, and their international content strategy is increasingly distinct from the US acquisition playbook. This is where independent international producers have the most traction—because the competition is different and the decision-making is more decentralized.

Three international acquisition patterns are worth understanding in 2026.

Local Language Originals (LLOs)

Paramount+ has invested selectively in local language originals across key growth territories—Latin America (where SkyShowtime, their European joint venture with Comcast, operates), MENA, and select APAC markets. But “selectively” is the operative word. They commission far fewer LLOs than Netflix or Amazon, which creates a barbell dynamic: either you’re one of the chosen few who lands a local original commission, or you’re competing for licensing deals on a show already produced.

The best positioning for international producers is to develop local originals with explicit co-production architecture—where Paramount+ is one of several international partners, not the sole financier. This aligns with their capital risk appetite while still delivering the original content their international subscribers demand. The Fragmentation Paradox in international licensing—where 10,000+ production companies are chasing a handful of streamer slots—means you can’t rely on discovery alone. You need a direct relationship with their international co-production team.

SkyShowtime as a Parallel Acquisition Channel

SkyShowtime—the joint venture streaming service operating across 22 European markets including the Netherlands, Nordics, Spain, and Portugal—represents a distinct acquisition opportunity that many producers conflate with Paramount+. They’re related but separate. SkyShowtime has its own content acquisition function and its own commissioning priorities, with a strong lean toward European-language originals. If your project has a European production base and European talent attached, SkyShowtime is often a more accessible first conversation than going directly to the US Paramount+ team.

The Pluto TV International Play

Pluto TV’s international expansion—now operating in 36+ countries—creates a significant licensing opportunity for producers with completed content looking for international windowing. Pluto’s FAST channels model means they’re actively acquiring content across genres for specific themed channel builds. Action, thriller, true crime, lifestyle, and kids animation are particularly active acquisition categories for Pluto internationally. The economics differ from SVOD, but the volume of content they need is substantial—and entry points exist outside the traditional gatekeeping channels.

Paramount vs Netflix vs Apple: Reading the Acquisition Signals

Knowing what Paramount+ wants only helps if you also know how it compares to what your other buyer options are looking for. The streaming acquisition landscape in 2026 is more stratified than it looks from the outside—each platform has developed a genuinely distinct content identity, and misreading that identity wastes months of pitch cycles.

Here’s the honest read on the major players as acquisition targets:

Netflix continues to operate at a scale no other streamer matches—over 300 million subscribers globally as of early 2026. Their acquisition appetite covers every genre and budget tier, but the competitive pressure is intense. You’re not just competing against other independent producers; you’re competing against Netflix’s massive in-house production arm and their global network of exclusive first-look deals. The advantage: when they buy, they pay. MGs are real. But the path from first contact to greenlight can exceed 18 months for projects outside their established development pipeline.

Apple TV+ remains the most creatively selective buyer—and the most financially generous on a per-project basis for projects that make it through. But they’re not a volume buyer. The greenlight bar is extremely high, development cycles are long, and they prefer direct talent relationships over independent producer-led pitches. If your project has marquee talent attached and can compete in the prestige space, Apple is worth pursuing. But don’t pitch Apple while simultaneously managing multiple other buyer processes. They require attention.

Paramount+, by contrast, is more accessible at the mid-tier than either Netflix or Apple—particularly for genre content and unscripted formats. Their acquisition team is smaller, which means individual relationships matter more. And their co-production appetite is higher than either competitor, which creates genuine openings for international producers who can bring financing to the table. The trade-off: they don’t have Netflix’s budget ceiling, and they’re still working through the post-merger identity question of exactly where Paramount+ sits in the streaming hierarchy.

The practical implication: don’t run a parallel pitch strategy that treats Paramount+, Netflix, and Apple as interchangeable. Tailor your package—and your commercial framing—to the specific buyer’s mandate. What sells at Paramount+ (franchise extension, co-production architecture, cost-efficient genre content) is often the wrong pitch for Apple (which wants singular creative vision and marquee talent). Understanding these distinctions before you start pitching is how you protect the 6-12 month window where a project is at peak pitch-ability.

For a deeper breakdown of how streaming platforms compare as acquisition buyers, our strategic guide to OTT platform acquisition models provides territory-by-territory analysis that’s worth reviewing before you build your outreach strategy.

Producer Strategy: De-risk Your Paramount+ Approach

The Fragmentation Paradox means you can’t afford a passive approach to Paramount+ acquisition. There are thousands of production companies chasing the same greenlit slots. The producers who break through aren’t necessarily the ones with the best projects—they’re the ones who de-risk the buyer’s decision most effectively.

Here’s how to accelerate that process.

Build the Co-production Architecture First

Don’t approach Paramount+ as your only financing option. Build the co-production stack first: identify your tax territory (UK’s HETV tax credit at 34%, Australia’s 20% PDV offset, Canada’s 25-28% production service credit), secure an anchor co-production partner with a track record in your genre, and have at least one other international presale MG in place or credibly advanced. Then approach Paramount+ as a key piece of the capital stack, not the full solution. This posture is fundamentally different from asking them to fund the project—and it gets a completely different reaction from their acquisitions team.

Track Their Acquisition Patterns in Real Time

The single biggest competitive advantage in 2026 isn’t creative—it’s intelligence. Knowing what Paramount+ acquired last month, what their current gaps are in their genre mix, which executive is championing which content type, and what format length they’re leaning toward for their Q3 2027 slate—that’s the difference between a pitch that lands in the right conversation and one that arrives 6 months too late. Vitrina’s 140,000+ company database and 400,000+ project tracking give you that intelligence in real time. You should know what deals Paramount is making before you start making calls. Our content acquisition strategy guide for producers walks through how to structure this intelligence-gathering systematically.

Target the Pluto TV Pipeline as Your Entry Point

This is the strategy most producers skip—and it’s a genuine missed opportunity. Getting content onto Pluto TV is a lower bar than Paramount+, but it puts you inside the Paramount ecosystem. It builds the relationship with their distribution team. And producers who’ve placed library content or completed projects on Pluto have a warm introduction path to the Paramount+ originals conversation that cold pitches simply don’t have. Think of Pluto as the accelerator program, Paramount+ as the portfolio company you’re building toward.

Time Your Approach to Their Buying Cycles

Acquisition timing matters. Paramount+ teams are most active in acquisition conversations around the major market windows—Cannes (May), MIPCOM (October), and AFM (November). But the best relationships aren’t built at markets; they’re built in the 6 weeks before markets when buyers are actively reviewing slates and willing to take meetings without the conference center chaos. Get your materials in front of the right people before it hits the trades, before every other producer makes the same move.

Frequently Asked Questions About Paramount+ Content Acquisition

What genres is Paramount+ currently acquiring in 2026?

Paramount+’s most active acquisition categories in 2026 are franchise-connected IP extensions, Taylor Sheridan-style Western and rural drama, true crime unscripted, competition reality formats, and sports-adjacent content. They’re selectively buying prestige limited series with A-list talent attachment, but the bar is high. For international producers, local language originals in Latin America, Southern Europe, and MENA are priority zones where their co-production budget is concentrated.

How does the Skydance merger affect Paramount+ content acquisition strategy?

The Skydance-Paramount merger, led by David Ellison, has shifted acquisition strategy toward tighter slates with stronger commercial ROI logic. The platform is commissioning fewer originals overall but investing more per project in high-impact franchise-connected content. Co-production partnerships have become more important as Paramount reduces its fully-funded original spend, creating new opportunities for producers who can bring financing architecture to the conversation.

Does Paramount+ accept unsolicited submissions?

No. Like most major streamers, Paramount+ does not accept unsolicited submissions directly. Content acquisition is conducted through established relationships with talent agencies (CAA, WME, UTA), production companies with existing first-look or overall deals, sales agents at major markets (Cannes, MIPCOM, AFM), and international co-production partners with prior relationship history. The most practical route for new relationships is through the international co-production team or via a sales agent with existing Paramount access.

How does Paramount+ content acquisition differ from Pluto TV licensing?

Paramount+ is the premium SVOD platform requiring a subscription fee, with acquisition focused on original commissions, co-productions, and high-quality licensed content. Pluto TV is the free AVOD/FAST platform operating on an advertising revenue model. Pluto’s licensing terms are typically revenue share rather than MG-based, the content bar is lower, and volume requirements are higher. Both are part of Paramount Global but operate as distinct acquisition channels with different teams, deal structures, and content strategies.

What budget range does Paramount+ target for original commissions?

Paramount+ original commissions range considerably by content type. High-priority franchise dramas (Yellowstone-universe projects, Star Trek) command budgets of $8-15 million per episode. Mid-tier prestige drama runs $3-7 million per episode. Unscripted and reality formats target $500,000-$2 million per episode. International co-productions they participate in are typically structured so Paramount’s contribution covers 30-50% of the total production budget, with the remainder coming from tax incentives, co-production partners, and presales.

What is SkyShowtime and how does it relate to Paramount+ acquisition?

SkyShowtime is a joint venture between Paramount Global and Comcast that operates across 22 European markets. It combines content from Paramount+, Showtime, Peacock, Universal Pictures, and Sky Studios. For European producers, SkyShowtime represents a distinct acquisition opportunity from US-based Paramount+ commissioning. SkyShowtime has its own content acquisition mandate with a focus on European-language originals and European co-production partnerships, making it an often-overlooked entry point for producers based in the Nordics, Iberia, Central Europe, and the Netherlands.

How important is talent packaging for a successful Paramount+ pitch?

Critical for scripted originals, less so for unscripted and international co-productions. Paramount+ uses above-the-line talent marketing heavily to drive subscriber sign-ups, which means executive decisions on scripted commissions are heavily influenced by the marketability of the attached talent package. An A-list showrunner, a director with a recent festival hit, or a lead actor with an established following all materially increase your project’s greenlight probability. For unscripted and reality formats, the format’s track record and the cost efficiency of the production model matter more than individual talent.

How can producers track Paramount+ acquisition trends in real time?

The most reliable sources for tracking Paramount+ acquisition activity are Variety, Deadline, and The Hollywood Reporter for deal announcements. Vitrina’s platform tracks 400,000+ projects and 3 million verified executives across the global entertainment supply chain, allowing producers to monitor not just announced deals but production movements, executive hiring patterns, and co-production partner activity that signals acquisition priorities before they hit the trades. VIQI, Vitrina’s AI intelligence tool, can answer specific questions about acquisition patterns, platform strategy, and competitive positioning directly.

Conclusion: Accelerate Your Paramount+ Strategy

Paramount+ in 2026 isn’t the most accessible buyer or the most generous. But it’s a genuinely distinct acquisition opportunity—one where co-production architecture, franchise IP affinity, and commercial positioning matter more than pure creative ambition. The producers who break through understand the platform’s commercial pressures, build their pitches around ROI logic, and arrive with financing visibility that makes the yes easier than the no.

The Skydance era at Paramount is still early. The acquisition strategy will sharpen over the next 12-18 months. But the outlines are clear: franchise extension, talent-led prestige drama, cost-efficient unscripted, international co-production, and Pluto TV as the entry-point pipeline. Work that roadmap systematically and the opportunity is real.

Key takeaways from this guide:

• Franchise IP is the priority lane: Projects with pre-existing fan audiences, book adaptations, or Paramount IP extensions have the clearest greenlight path in 2026.
• Co-production architecture de-risks your pitch: Arriving with tax incentives identified, co-production partners in place, and a realistic capital stack signals professionalism and reduces Paramount’s financial exposure—making the conversation fundamentally different from pure asks.
• Pluto TV is an underused entry point: Getting content onto Pluto builds the Paramount relationship from within the ecosystem, creating warm paths to Paramount+ original conversations that cold pitches don’t have.
• SkyShowtime is a distinct acquisition channel: European producers should approach SkyShowtime separately—its 22-market European footprint and own commissioning mandate make it more accessible for European-language originals than going directly to the US Paramount+ team.
• Timing your pitch around market cycles matters: The 6 weeks before Cannes, MIPCOM, and AFM are when acquisition teams are most receptive—not at the markets themselves where attention is fractured.