Nickelodeon’s canon runs deep: AAAHH!!! Real Monsters, All That, Are You Afraid of the Dark?, CatDog, Clarissa Explains It All, Doug, Kenan & Kel, Legends of the Hidden Temple, Rocko’s Modern Life, The Angry Beavers and The Wild Thornberrys.
Beginning today, these and many other Nick favorites – nearly 30 altogether – are available on NickSplat, an over-the-top destination served up a la carte or as part of the VRV platform. The channel, with its treasure chest of classic Nick shows, serves as both the latest evidence of Viacom’s deliberate move into the digital arena and an affirmation of its brands’ enormous reserves of intellectual property.
“Viacom’s content – including our deep library of genre-defining television – is highly in demand, and our audiences are always looking for new and innovative ways to enjoy our programming,” said Viacom Executive Vice President of Distribution and Business Development Partnerships Sam Cooper. “We’re committed to finding the best partners to bring our individual brands direct to the consumer, and this relationship with VRV is an exciting step forward in our strategy.”
The NickSplat launch over VRV builds on a series of recent moves to widen Viacom’s content footprint within the digital universe, both via the company’s own channels and over third-party platforms. In June, Nickelodeon announced that it would produce two seasons of Pinky Malinky for Netflix, while MTV would revive Real World, Daria, Aeon Flux and other classic shows for as-yet-to-be-announced platforms. Awesomeness, which Viacom recently acquired and folded under its Viacom Digital Studios umbrella, has a strong track record of third-party production, evidenced most recently by To All The Boys I’ve Loved Before, which debuted earlier this month on Netflix.
This studio model complements a general ramping up of premium content production throughout the Viacom ecosystem, from the explosive growth of Viacom Digital Studios to the consolidation of its global network into Viacom International Studios to the zero-to-$400-million-in-projected-annual-revenues ascendance of Paramount Television.
VRV is the premiere launch partner for NickSplat, and Viacom will curate content for the channel throughout the partnership. The $9.99-per-month service joins a roster of 12 channels – including Crunchyroll, Funimation, Rooster Teeth, Shudder and more – along with exclusive series such as HarmonQuest, Killjoys, Thundercats and Gary and His Demons.
It’s a worst-nightmare-come-to-life scenario for teenage Lara Jean Covey (Lana Condor): five fawning secret love letters disappear from her room and turn up in the mailboxes of her five crushes. The mortified scribe soon finds herself in an elaborate tap-dancing deception involving her sister’s ex-boyfriend Josh (Israel Broussard), and her school’s resident superhunk Peter (Noah Centineo).
This is the setup for To All the Boys I’ve Loved Before, an Awesomeness Films production based upon the Jenny Han novel of the same name and currently airing on Netflix. The well–reviewed romantic comedy is the first that the studio has released since joining Viacom and the latest in a long line of movies Awesomeness Films has produced for digital platforms, including last summer’s You Get Me on Netflix.
The film’s release over a popular streaming platform affirms the strategic importance of last month’s acquisition, as Awesomeness’ production capabilities and relationships with third-party platforms fuel Viacom’s mission to amplify its digital presence and significantly boost its volume of premium content production.
Wrapped under the Viacom Digital Studios (VDS) umbrella, Awesomeness’ output – which also includes a TV division that produces series such as Hulu’s All Night and forthcoming Light as a Feather, as well as YouTube Premium’s Foursome – bolsters an already-surging unit that drove 7 billion digital streams last quarter and significantly grew year-over-year video views (+112 percent) and watch time (+104 percent). VDS, which is still in its nascent phases, has an additional 600 hours of new, original digital content in the pipeline.
“The [Awesomeness] team brings strong digital expertise, deep connections with top talent and influencers, and a robust branded content studio and creative agency that will accelerate the growth and scale of Viacom Digital Studios,” VDS President (and Awesomeness alum) Kelly Day said when the deal was announced.
To All the Boys also debuts at a time when Viacom is significantly ramping up its productions for third-party platforms, both through Paramount Pictures’ Paramount Television production unit and a studio model that mines the company’s deep content vault and translates that intellectual property into new programming. Paramount Television expects to bring in more than $400 million in fiscal 2018 on the back of hits such as Netflix’s 13 Reasons Why and Amazon’s Jack Ryan, while Nickelodeon is producing Pinky Malinky for Netflix and MTV revives fan-favorites The Real World, Daria, Made and others. The newly formed Viacom International Studios has established a powerful generator of Spanish- and Portuguese-language content, with shows for Netflix, Amazon, Telemundo, Fox and others.
Interning at Viacom feels like visiting an amusement park, only better… and with pay.
At an amusement park, there’s something for everybody: steep, butterfly-inducing rollercoasters; games with prizes; fireworks illuminating the night sky – hundreds of smiling faces enjoying every second, constantly exploring and soaking in the moments. When you finally head home, you reflect on your adventures and how rewarding they have been. Later that night, struggling to fall asleep, all you can think about is going back.
Working within the walls of the skyscraping Viacom headquarters at 1515 Broadway in New York City left me with these same sensations. I spent 10 weeks of my summer in Viacom’s Campus to Career program, interning more than 500 miles away from my home in North Carolina, and my only wish is that I could stay longer. From the first day on the job, top talent, thought leaders and Viacom employees continually fueled my inspiration to succeed.
The view from the cafeteria deck, overlooking Times Square from the seventh floor of 1515 Broadway. Photo courtesy of Ariana Wiggins.
The first thing that stood out: the building’s amazing interior design. Each floor has its own personality, city views and unique decorations. My cubicle was down the hall from a set of lockers seen on Victorious and the Bottle Bot featured on iCarly, two of my favorite Nickelodeon shows growing up.
Sitting at that cubicle, I had the time of my life. As an Office of Global Inclusion intern, I helped coordinate Employee Resource Group events, exposing me to the experiences of different communities represented throughout the diverse Viacom family.
Rather than heading home to relax in air-conditioned apartments or neighborhood bars after work on Wednesday, July 25, a group of Paramount Pictures employees chose to spend the night volunteering outside in the summer heat.
Embracing the Viacommunity spirit of “All good, all around,” Paramount’s volunteers gave back to kids in their local community with an evening of activities and an outdoor screening of Paramount’s animated flick Sherlock Gnomes at Los Angeles’ Lemon Grove Park.
“Viacom produced another quarter of strong progress, with clear evidence that our turnaround is delivering results and that our evolution into a truly global, multiplatform, brand- and IP-driven entertainment company is well underway,” said Viacom President and Chief Executive Officer Bob Bakish.
Viacom’s core media networks business continues to increase share, Paramount Pictures is surging and profitable, domestic affiliate revenues are up sequentially, and new initiatives are helping to build ad sales strength. Even as these traditional business drivers stabilize, Viacom continues to transform itself by feeding booming digital consumption, growing its Advanced Marketing Solutions (AMS) portfolio, increasing its number of live events, and establishing a burgeoning cross-portfolio studio model that opens significant opportunities for third-party production.
A RESURGENT BUSINESS
Over the past several quarters, Viacom has revitalized four core elements of its business – Paramount Pictures, media networks’ audience share, ad sales, and its domestic affiliate business – while continuing to strengthen its balance sheet and improve its credit rating.
“This improvement in operating performance – combined with meaningful actions over the past 18 months to de-lever our balance sheet – have resulted in a stronger credit profile to help support Viacom’s return to long-term sustainable growth,” said Bakish. “We remain focused on building this momentum with an even stronger September quarter as we continue to position Viacom for the future.”
Here’s a look at how Viacom’s core business elements demonstrated a resurgence in the latest quarter:
Paramount Pictures continues profitability on theatrical hits, television production strength
Paramount’s new management team kicked off their slate with a pair of hits: A Quiet Place brought in $188 million domestically (and another $144 million internationally), on a $20 million budget, while Book Club, acquired for $10 million, raked in $68 million. After growing operating income for six consecutive quarters, Paramount Pictures reached profitability over the past two, with domestic revenue surging 58 percent year-over-year (YOY) in Q3. This trend is expected to continue during the fourth quarter on the strength of the well-reviewedMission: Impossible – Fallout, which has earned more than $330 million globally – a record open for the franchise – since its July 27 debut.
The studio’s Paramount Television production arm continued to show strong growth, and is aiming for $400 million in revenues for fiscal 2018 behind licensing income from acclaimed series such as the second season of Netflix’s 13 Reasons Why and The Alienist, which earned six Emmy nominations.
With deepened and expanded distribution deals, affiliate revenue is headed back toward growth
As Viacom has renewed or closed major affiliate renewals, the company has often broadened the agreements’ scope to include advanced advertising and co-production elements. Viacom has also captured new distribution, returning in full to Charter and Suddenlink and establishing carriage on vMVPD bundles, such as AT&T Watch. Domestic affiliate revenue has improved sequentially throughout fiscal 2018, and Viacom anticipates growth of one percent in the fourth quarter.
Viacom’s flagship media networks continue to grow audience share behind ratings strength
For the fifth consecutive quarter, Viacom’s flagship brands achieved YOY share growth as a unit. MTV is the fastest-growing network in primetime among the top 50 cable and broadcast channels in its target demo of adults 18 to 34, and the network has recorded YOY primetime ratings gains for four consecutive quarters. Combined, VH1 and MTV own nine of the quarter’s top 10 unscripted cable series. BET (up 23 percent in live-plus same day ratings among adults 18 to 49), and Comedy Central (recording its largest YOY primetime quarterly ratings gain since 2014), also delivered strong quarters.
Viacom’s move into premium content with the Paramount Network also showed momentum, with Western drama Yellowstone compiling an average of approximately 4.4 million live-plus-three-day viewers, good for the year’s most-watched scripted cable series after The Walking Dead.
Strengthened brands and Viacom’s AMS portfolio – which includes branded content, advanced advertising technologies, and experiential offerings – helped drive the company’s best Upfront pricing in five years. AMS revenue grew 33 percent for the quarter, driving projections of a $300 million haul for the year and a return to growth for ad sales in fiscal 2019. Fox is also licensing Viacom’s ad-targeting Vantage product, an additional incremental revenue stream that validates AMS’ sophistication and value.
EVOLVING INTO A MULTI-PLATFORM, GLOBAL, BRAND- AND IP-DRIVEN ENTERTAINMENT COMPANY
As Viacom transforms elements of its core business, the company has also been evolving to thrive in a digital and mobile landscape. Here’s a closer look at the three key initiatives – expanding the digital footprint, establishing a broader studio production business, and growing live events and adjacent businesses – that are driving the company’s evolution:
Digital consumption explodes under the Viacom Digital Studios umbrella
Behind the fast-growing Viacom Digital Studios, Viacom tripled its total digital streams since Q3 2016 to approximately 7 billion in this quarter, while recording YOY jumps in video views and watch time of 112 and 104 percent, respectively. The acquisition of Gen Z-focused digital video producer Awesomeness should further drive Viacom’s momentum in this space.
Viacom is building a cross-portfolio studio production operation that is aiming to be a $1 billion global, episodic content production business by 2020
From its launch in 2013, Paramount Television grew into a $400 million business, and Viacom is now expanding this studio production model across its portfolio. With deep vaults of intellectual property to feed the insatiable global demand for content, Viacom’s brands are ideally situated to feed this pipeline: Nickelodeon has already forged a deal to produce two seasons of Pinky Malinky for Netflix, while MTV Studios will leverage assets like The Real World, Daria, Made and others from its enormous and largely untapped youth-focused IP library. More deals are on the way, and other Viacom brands will soon launch their own studio models. Meanwhile, the newly formed Viacom International Studios is already producing Spanish- and Portuguese-language shows for Netflix, Amazon, Telemundo, Fox and others.
Live events attendance is becoming a substantial business driver
Demonstrating the power of its brands to transcend screens and translate across a variety of experiences, Viacom drew millions of fans to 65 branded live events – including Comedy Central Clusterfest, the BET Experience and Viacom’s first Vidcon – in the first three quarters of fiscal 2018. At the cross-section of live events and digital platforms, Bellator inked a nine-figure, multi-year distribution deal with global sports streaming service DAZN that will double Bellator’s revenue and make the organization profitable. Live events helped Viacom drive ancillary domestic revenues up 31 percent YOY during the quarter, to $93 million.
Viacom will wrap up its fourth quarter and full fiscal year in September. To see what Viacom will debut in the months ahead, scroll through the timeline below, or click here to view the full-screen version.
This time we have an update on the “Hierarchy of Screens,” a video about global social media use, American kids’ role in household purchases, and new research on Saudi teens. As always, on our blog you can find these and all our stories in English, Latin American Spanish and Brazilian Portuguese.
As Viacom’s branded content studio, Velocity is a driving force in developing custom marketing solutions for partners. For this edition of “5 Questions,” we asked Tom De Napoli, Velocity’s Senior Director for Business Strategy & Innovation, to share his thoughts about how his team is building partnerships that align with and enhance Viacom’s cultural impact, and what new collaborations Velocity is currently developing.
Liza’s secret is out on Younger — but that hasn’t stopped fans from tuning in. In fact, more fans watched last week’s episode than any others this season.
The Season 5 episode, A Christmas Miracle, which aired on TV Land last Tuesday, hit a season high of 1.3 million total viewers (L+3), according to the network. Its ratings peaked in the key 24-54 demographic, particularly among women, with double-digit increases from the previous week. Season 5 of Younger is on pace to score its highest-rated season among both adults 18-49 and women 18-49.
The episode sent Christmas to July, where Liza’s long-time off-and-on love interest Charles declares his commitment to her in a swirling snowstorm following an unplanned encounter at a holiday party.
The popular series, starring Sutton Foster, Hilary Duff, Peter Hermann, Nico Tortorella and Miriam Shor, was the No. 1 original ad-supported cable sitcom reaching the key women’s demographics of 18-49 and 25-54 (Nielsen, L+3) in 2017 — and it looks like things are only heating up this season.
A new episode of Younger airs on TV Land tonight at 10 p.m. ET.
Like Ethan Hunt prevailing in a helicopter chase through a mountain obstacle course, Mission: Impossible – Fallout won the weekend box office with a franchise-record $61.5 million debut in the U.S. and Canada. An additional 36 international markets added $92 million, bringing the well-reviewed sixth installment of Paramount Pictures’ action institution to a $153.5 million worldwide total – also a record – in its opening weekend.
Featuring a dazzling array of HALO-jumping, motorcycle-crashing, bathroom-smashing stunts in a round-the-world freefall of unrelenting action, the sixth entry in the Mission: Impossible series drew raving critical reaction from its first premiere earlier this month. Fans of the series clearly noticed, chasing the action into theaters.
“The Mission: Impossible franchise is a crown jewel for Paramount Pictures,” box office analyst Paul Dergarabedian told Variety. “There is a long track record that shows that they can rely on Cruise and his creative partners to deliver time after time. As long as Cruise can keep delivering the goods, Mission: Impossible is an annuity that will keep paying dividends for both Cruise and Paramount for years to come.”
AwesomenessTV Holdings, LLC (aka Awesomeness), a media company and leading digital-first destination for original programming, has established an unparalleled connection to GenZ – that coveted up-and-coming cohort born along with the tech revolution of the mid-1990s. Fed by strong relationships with top digital talent and influencers, Awesomeness has accumulated 6.4 million YouTube subscribers and another 158 million subscribers on its Awesomeness Network, becoming the premiere digital media network for the most digitally savvy cohort in history.
And now Viacom is acquiring Awesomeness, which will live under Viacom Digital Studios (VDS) and play an important role in Viacom’s robust and growing premium content production ecosystem, drive additional growth at VDS, and strengthen Viacom’s established digital and social relationships and dominance in youth culture.
“Awesomeness has done an incredible job building their brand into a digital media powerhouse for today’s most sought-after and hard-to-reach youth audiences,” said Kelly Day, President of Viacom Digital Studios and former Chief Business Officer of Awesomeness. “The team brings strong digital expertise, deep connections with top talent and influencers, and a robust branded content studio and creative agency that will accelerate the growth and scale of Viacom Digital Studios.”
Andie is on a mission to shake her stigma with the help of her three best friends in “Foursome,” which airs on YouTube Premium. Starring Jenn McAllister, Rickey Thompson and more.
Viacom is already a top player in youth culture, having curated strong audience connections with kids via Nickelodeon and young adults via MTV. The addition of Awesomeness’ young teen fan base further strengthens this broad demographic reach, while Awesomeness’ strong existing relationships with digital platforms, talent and influencers complements VDS’ existing efforts to reach these GenZ consumers on the mobile, social and digital platforms they call home.
While VDS has been growing briskly – more than tripling digital streams since 2016 and doubling YouTube subscribers over the past year, as total social views and watch time soared by 112 and 104 percent, respectively – Awesomeness’ dedicated sales force, branded content studio, and existing relationships with brands such as Hollister, Gatorade and Invisalign will further drive VDS’ growth and profitability. Awesomeness’ expertise across digital programming and distribution, production, talent management and audience development will also help fill out VDS’ still-growing staff.
With distribution deals with major SVOD players and its own Emmy-winning, youth-focused studios that have produced 200 hours of long-form television and feature film content, Awesomeness’ proven content development and production abilities are an especially good fit for Viacom, which has moved deliberately to ramp up its capabilities in this area recently: consolidating several operations across the Americas into Viacom International Studios to service global markets; moving to a studio model under which Nickelodeon, MTV and other brands will license and produce shows based on intellectual property for third-party platforms; and building Paramount Pictures’ Paramount Television production arm from scratch into a $400-million-and-growing annual business.
During an all-night, lock-in graduation party, a group of new grads will do whatever it takes to make their remaining high school dreams come true in “All Night,” which airs on Hulu. Starring Jenn McAllister, Eva Gutowski, Teala Dunn, Jake Short, Brec Bassinger and more.
Awesomeness alumni have already been helping to power Viacom’s transformation in this increasingly digital and mobile age: VDS President Kelly Day, VDS Executive Vice President of Talent and Development Paula Kaplan, and Paramount Players President Brian Robbins – who co-founded Awesomeness in 2012 with Joe Davola – each joined Viacom directly from Awesomeness, a testament to that entity’s penchant for producing top-grade talent.