Shuga, which first aired in 2009 and starred Oscar-winning actress Lupita Nyong’o, blends in-depth stories about students across English and, for the first time, French-speaking Africa with informative sexual health information, including how to stay protected from HIV and how to seek out treatment. The latest multimedia “edutainment” campaign is intended to reach previously untapped populations between the ages of 15 to 24 as AIDS remains the leading cause of death among ages 10 to 24 in Africa.
“Millions of people in Africa watch MTV Shuga,” said Lelio Marmora, executive director of Unitaid. “Our partnership with MTV Staying Alive gives us a terrific opportunity to reach young people who don’t have reliable health information and empower them to take charge of their health — including testing themselves for HIV.”
The series is set to debut in South Africa and Côte d’Ivoire between 2018 and 2020.
The White Box event space at Viacom’s Times Square headquarters was getting loud and rowdy in the late afternoon on Tuesday, July 16 as 95 interns from three New York City offices sang along to music, socialized and volunteered to help others in need. Meanwhile, similar events ramped up at the Los Angeles and Nashville offices, as approximately 160 interns in all three cities got to work for two incredible non-profit organizations, Rise Against Hunger and Free Arts NYC.
The coordinated cross-country sessions were part of Viacom’s first-ever Intern Viacommunity Day, a scaled-down version of Viacom’s annual global Viacommunity Day, which places thousands of volunteers to help out in local communities, typically in the spring. The collaboration between the Viacommunity corporate social responsibility team and the Campus to Career program grants summer interns a chance to participate in an equally impactful event.
“Viacom’s internship program is great; I’ve had a ton of exposure to company-wide events,” said intern Aliza White. “Summer interns aren’t here for Viacommunity Day, but the intern-only rendition of this was super cool. Viacom’s dedication to giving back and to helping others is amazing, and it really drives the great internal culture of the company.”
Interns painting for Free Arts NYC. Photo by Essence Dashtaray.
On one side of the large New York City room, interns created an assembly line to package food for disaster relief. They cheered each time the massive gong sounded, indicating that they had boxed 1,000 more meals. Overall, our Burbank and New York interns prepared more than 20,000 pre-packaged meals for Rise Against Hunger, which will send them out to feed the most vulnerable among us.
Elsewhere, interns painted bags with designs ranging from SpongeBob characters to inspirational quotes and images. The teams in New York and Nashville decorated more than 100 bags that Free Arts NYC – which seeks to empower underserved youth through art and mentoring programs –will disperse to children in their programs.
“Strategizing new ways to give back to our communities is one of the things that I love most about working at Viacom,” said CSR Coordinator Margarita Papadogiannis. “I believe that when we encourage our young professionals to volunteer, we are also inspiring them to continue to advocate for the causes they are passionate about. My goal with Intern Viacommunity Day is to equip more millennials with the mindset, tools and connections necessary to influence social change.”
Through five previous films over two decades, Paramount Pictures’ Mission: Impossible franchise has raked in a total of nearly $2.8 billion, providing a reliable tent pole for the studio and cementing Tom Cruise’s status as one of today’s greatest action heroes.
Now, the sixth installment, Mission: Impossible – Fallout is hurtling toward a July 27 release, and the initial critical reaction indicates that a resurgent Paramount has put together one of the boldest and most exhilarating films of the summer.
“Christopher McQuarrie’s Mission: Impossible Fallout is as relentless and intense an action movie as you’ve seen since [2015’s] Mad Max: Fury Road,” writes Forbes’ Scott Mendelson. “The action sequences, character confrontations and plot turns pile on-top of each other from beginning to end, with barely moment to breathe in between.”
This sentiment is echoed in one review after the next, with Vox’s Alissa Wilkinson noting that “… [Fallout] just may be the best blockbuster of the summer,” and Lewis Knight writing in Mirror that, “It’s hard to imagine how the franchise can top this terrific action romp, but then again we did say that last time.”
Indeed, it was this originality six films in that struck many critics.
“At this point in Hollywood’s franchise-fatigue cycle, it’s rare to see a sequel (nevermind a fifth one) one-upping itself,” writes Chris Nashawaty in Entertainment Weekly. “Fallout is a unique exception that defies our seen-it-all cynicism. It’s the kind of pure, straight-no-chaser pop fun that not only keeps taking your breath away over and over again, it restores your occasionally shaky faith in summer blockbusters.”
What Fallout does share with its five prequels is relentless and elaborate action scenes, pinned to stunning backdrops and choreographed with a heart-pounding realism. Cruise engages in a helicopter chase over the Himalayas, leaps out of a plane through a lightning storm, transforms the streets of Paris into a high-speed motorcycle obstacle course, and gets caught in what may be the greatest fight scene in the history of bathrooms:
“Fallout features more astounding set pieces than can be found in the rest of 2018’s summer crop combined, all of which escalate with such mounting electricity that it’s hard to catch one’s breath,” writes Nick Schager The Daily Beast. “In terms of providing a pure adrenalized rush, almost no contemporaries are in its league.”
On Tuesday, Viacom President and CEO Bob Bakish sat down with Activision Blizzard Studios Co-President Stacey Sher for a panel moderated by Fortune’s Andrew Nusca at the Fortune Brainstorm Tech Conference in Aspen, Colorado. The topic was “the future of entertainment,” and Bakish delivered a broad overview of how Viacom not only fit into that future, but was actively shaping it with a focused strategy, an invigorated leadership team, and a series of initiatives to broaden and modernize its business.
Here are a few highlights from Bakish’s remarks, emphasizing how Viacom is repositioning itself to thrive as an independent company within a rapidly changing and consolidating industry. You can watch the full remarks below.
Step 1: have a plan
“I was given the opportunity to run Viacom roughly a year and a half ago. I’m a big believer in you have to have a plan. … We rolled out a plan. Plan had number of elements to it, probably central to it, which will relate to our conversation, was this notion of flagship brands. That had to do with prioritization and true multi-platform expression. … The other thing was you need to have a killer management team. It’s another place where the company hadn’t changed much. Made significant changes on the network side of the business, really completely overhauled the Paramount team from the top down, and then we got to work executing. If you look at what’s happened in the quarters since, I describe Viacom as not a light switch, but a story of incremental progress against a destination.”
Step 2: execute
“If you look at our U.S. networks and audience share, you’ll see that we’ve consistently grown audience share. You look at a brand like MTV, which had a ratings decline in the ten percent for five years running. Now, five quarters in, we’ve consistently grown ratings every quarter. That’s a function of a different strategy and a different team and focusing on execution.”
As competition grows, Viacom benefits by building upon its content production expertise – and profiting off this competition by producing their content
Again, with what we call the tech companies coming in, do you have some incremental competition? Yes, you do. But at the same time you have a series of demand that needs to be filmed. Take Paramount Television, which is the television production side of Paramount. It didn’t exist four years ago. Today, or this fiscal year, it’ll do $400 million of revenue and it’s producing hits. It’s producing hits like 13 Reasons Why for Netflix, like The Alienist for the Turner networks, like the upcoming Jack Ryan series for Amazon, which will drop at the end of August. There’s fantastic opportunity to feed that ecosystem. At the same time, we look at our IP that we’re developing in house and we do think about, “Is this better as a linear network show on an owned and operated network, i.e., I don’t know, Nickelodeon, or is it better as a studio production, branded studio production for a third-party platform?”
Continue to drive growth through great content – both with new ideas and iconic IP
… we are mining franchises. Part of it is, sure, we’re creating new product that didn’t exist before. If you look at Paramount as an example, you have a film like A Quiet Place. Different idea, great characters in it, great storytelling, great execution, including focusing on how much it cost to make, and a great result. You also have a film like Mission: Impossible, which premiered in Paris last week, will open in the U.S. in two weeks. It is really an extraordinary film. … Yesterday, we announced that we’re taking the Rugrats franchise. It’s probably a franchise most of you have heard about. Nickelodeon franchise. We’re bringing that back in a new iteration, both for feature film and for episodic video, i.e. television, and we’ll do a whole bunch of digital native stuff. It no doubt will show up in our experiential space as it comes to life. It’s really mining those opportunities, pursuing some different business models, but making sure consumers have access and using that combination to ultimately drive growth, which is at the end of the day what I’m focused on, which is making Viacom once again grow.
Embrace technology to drive growth
At the same time, we’re using an extraordinary amount of technology in the, I’ll call it, monetization space. For example, when you look at advertising sales or what we’ve historically called advertising sales, Viacom is at the forefront of data-driven advertising in television. … Starting a year and a half ago, in every affiliate renewal we did, and we’ve renewed or extended well over half the sub-base in the U.S. by now, we incorporated the provision for dynamic ad insertion. We’re now able to insert dynamically in 90 percent of [video-on-demand] homes in the U.S. and in the two largest cable operators in the U.S. in a portion of the national avails.
Operate at (the appropriate) scale
[In answer to a question from Fortune’s Adam Lashinksky: The conventional wisdom is that Netflix, Apple, Amazon, are spending billions and billions of dollars, and therefore you and others your size can’t compete. Do you think that conventional wisdom is wrong? If so, why or how?]: “Yeah, I think it is wrong. The reason I’ll say that is it’s overly simplistic. Because if you think of scale, which is at the root of a lot of these arguments, there’s plenty of examples of scale where there’s actually no value to the combination. We see that today in some assets that own both media assets and distribution, but there isn’t really a lot of crossover. Look, I’d say is there scale or is there relevant scale. The other thing is, and I learned this because I ran our business outside the U.S. for 10 years … Those are places where we had a one percent share, so we didn’t have scale. We had to figure out how could we act like we had more scale? Those were doing things like partnering and creating ad sales, houses, and the like. That’s creating virtual scale. In a world where, yes, people are spending extraordinary amounts of money … By the way, we spent about five billion dollars on content, so we’re not exactly irrelevant in that regard, and we have relationships with leading creatives in front of the screen, behind the screen, in feature film, in episodic television, and, yes, in digital native. … I think there is an opportunity to be more nimble in this regard and not be vertically integrate and, frankly, serve a lot of different demand.
In an unpredictable, changing landscape, the only thing you can do is execute
[Answering the moderator’s question of whether Viacom would be independent a year from now]: “Who knows what the future will bring? My guess is, yes, we will be independent a year from now. We’re certainly executing in that regard. We definitely have the full support of our board. We’re talking about a number of interesting ideas, both organic and inorganic, but we’ll just have to see how the whole ecosystem plays out.”
Viacom content rolls from screens across more than 180 countries and in dozens of languages, reaching more than 4 billion subscribers. Every single piece of this content is the result of dozens or hundreds or thousands of workers who do everything from directing to producing to lighting to catering to set design – and most of them do not work directly for Viacom; they work for independent companies, vendors that Viacom contracts to execute the particulars of production or logistics or supply delivery.
This enormous footprint presents Viacom with an equally enormous opportunity: to proactively seek out diverse suppliers, echoing the company’s varied programming and strong internal culture of diversity and inclusion.
Under the company’s new supplier diversity initiative, led by Viacom’s sourcing team and its Office of Global Inclusion, the company is doing exactly that, actively forming new partnerships that are broadening opportunities for minority-owned shops while bolstering Viacom’s own business by offering a wider array of creative perspectives.
“When you look at the amount of spend we generate both through media networks and Paramount, it’s an incredible opportunity to diversify our partnership base,” said Viacom Executive Vice President and Global Head of Inclusion Strategies Marva Smalls.
Identifying diverse partners
The first step to diversification was to simply catalogue Viacom’s current vendor pool, a massive undertaking. Aside from changing internal procedures to document whether incoming vendors are diverse, Viacom joined several minority-focused councils that work with certified (meaning the businesses are at least 51 percent minority-owned) suppliers: the women’s business council WBENC, the LGBT business advocates NGLCC, minority supplier group NMSDC, and representatives of people with disabilities and disabled veterans Disability:IN (formerly USBLN). So far, approximately 1,100 of Viacom’s vendors have either self-classified themselves as diverse or fit into the rubric to be certified by one of these organizations.
The reach of these certifying councils is substantial. The National LGBT Chamber of Commerce (NGLCC), for example, which claims to represent the interests of more than 1 million LGBT U.S. business owners, which it can connect with Viacom via networking events and access to its deep database.
Viacom’s goal is to form long-term, immersive partnerships with each organization, underscoring for their members the company’s sustained commitment to diversity. Building such a network also creates an echo affect, a sort of street cred where partner companies validate Viacom’s commitment not just to diversity, but to supporting the small businesses that most of these operations are.
“If you have that local production company that says, ‘I’m in business with Viacom, and as a result, that allows me to hire more people for my community and where I’m located,’ ultimately, the community will see that,” said Smalls. “We need to be viewed as a company that’s not just taking up space in the community, but actually taking the time to identify small businesses.”
Viacom is also coordinating with its peers to identify minority-owned businesses. Last year, Viacom co-hosted a networking event with Disney, Time Warner, CBS, NBCU and others, during which minority-owned vendors could meet representatives of many large companies at once.
Sometimes a nudge is all you need
One initial contract with a major corporation can be the catalyst for tremendous growth. “The whole purpose behind vendor diversity is to help put a seat at the table for the new, innovative company who deserves a fair shot,” said Jonathan Lovitz a senior vice president and former director for NGLCC New York (and also a former Logo personality) . “Our partners at all of our organizations that advocate for diverse-owned companies can each point to the day everything changed for a small business because they earned a chance to be seen by an inclusive industry leader like Viacom.”
Take, for example, Jax Media, a New York City-based, minority-owned production shop. The company parlayed a single off-the-air Comedy Central presentation a decade ago into production of multiple series for the network, including hit series Broad City. The company also produces TV Land’s Younger and has collaborated with MTV and Paramount Network.
“We make sure there is an eye toward creating a diverse culture and environment,” said Megan Ring, senior vice president and head of production for Comedy Central and senior vice president of scripted production for Paramount Network and TV Land. “Jax Media’s owner, Tony Hernandez, was just a producer in New York with some great ideas and a different way of thinking. We struck up a relationship and we were willing to take some chances to learn from him, and he was at the same time able to take advantage of access points to Viacom.”
Imagine bringing your childhood obsession or your favorite cartoon to life in pin form, and then having it sold as an exclusive, limited-edition collectible at San Diego Comic-Con (SDCC) to thousands of adoring fans. That’s what happened when Nickelodeon Animation artists based out of the Burbank, California studio competed in the office’s first-ever SDCC Enamel Pin Design Contest.
From art directors to production coordinators to interns, Nickelodeon animation artists created and submitted more than 100 designs for vibrant enamel pins to be sold at Nickelodeon’s popular booth on the SDCC show floor.
Featuring pin designs by Nickelodeon employees Morgan Bell, Cynthia Avila, Rachel Forman, Colton Davis, Kate Coffey and Samantha Armiger.
Here are the six winners whose designs Nick selected for manufacturing:
Christina started her career at Viacom in the spring semester of 2016 as a Paramount Pictures Publicity intern. After graduating college in 2016, she returned to Viacom as an assistant in Distribution & Business Development (DBD). She was promoted to marketing coordinator in January 2018. Christina supports DBD across CMT, TV Land, and Paramount Network.
Campus to Career: Thanks for making the time to talk, Christina. Can you share a bit about your background and what led you to Viacom?
CD: I’m originally from Tampa, Florida, and attended the University of Florida studying public relations and business. I had always been familiar with Viacom brands and Paramount movies, and wanted to work with content I felt such a connection to.
Awesome! If you could give your intern-self some words of advice, what would they be?
Don’t be afraid to ask questions – your team and supervisors are there to help you and support your professional growth.
Solid advice. How did you feel supported by your team?
Since I interned at Paramount the semester before graduation, my team truly helped shape and define my career path. I was given amazing learning experiences, and had the opportunity to play a real role on major projects. The Campus to Career team was also an incredible resource in my post-graduate job search.
That is great to hear! What were some of your favorite Campus to Career events?
All of the networking events were awesome. I was able to learn so much about the business and meet people from departments I was interested in working in.
I especially enjoyed the End of Semester Forum [information session for Viacom interns to prepare them for the full-time job search] – it gave me invaluable insight on the Viacom interview process and resume best practices. I developed a close connection with Nick Delville, an entry-level recruiter, following my internship. He was an awesome part of my support system and a go-to resource throughout the job search – and he still is helping my professional development.
Christina Dris, Marketing Coordinator, Distribution Business Development, CMT, TV Land and Paramount Network, is the latest employee featured in Viacom’s “Going Places” series on intern success stories.
Over the course of a nine-season, 13-year television run that also included three motion pictures, Nickelodeon’s beloved Rugrats crawled and waddled their way to four Daytime Emmy Awards and a star on Hollywood’s Walk of Fame.
Now, the beloved tykes are returning to both television and movie theaters via Nickelodeon and Paramount Pictures’ Paramount Players division. This cross-brand collaboration, which will maximize Rugrats’ reach across platforms and among varied audiences, is Viacom’s latest effort to tap the value of its deep intellectual property well by fully activating the power of its brand ecosystem in support of marquee franchises and talent.
“Rugrats is hands-down one of the most celebrated cartoons in TV history, and we are thrilled for a whole new audience to meet these iconic characters in brand-new adventures,” said Viacom Media Networks COO and Nickelodeon Interim President Sarah Levy. “What was true in 1991 when the original show premiered is still true today: kids are fascinated with the world of babies. We can’t wait for today’s kids to meet Tommy, Chuckie and pals.”
The 26-episode comeback season is already under production at Nickelodeon’s Burbank studio, under the supervision of original creators and series executive producers Arlene Klasky, Gábor Csupó and Paul Germain. The as-yet-untitled fourth Rugrats movie, slated for a November 13, 2020 release, will be a live-action film with CGI characters.
Nickelodeon’s vault holds some of the most iconic names in children’s entertainment, and the network is moving deliberately to resurrect select properties that resonate with today’s audiences, both on Nick’s networks and on third-party platforms. Last year’s Hey Arnold! special sent the Hillwood crew back to television, and an updated Blue’s Clues series is in the works, along with special events featuring fan favorites Rocko’s Modern Life and Invader Zim. Through a studio model that is proliferating across Viacom, Nick will also produce two full animated seasons of infectiously positive teenage hotdog Pinky Malinky for Netflix.
Rugrats, which last aired new episodes in 2004, has always proved popular with moviegoers. The trio of Paramount Pictures-distributed films – The Rugrats Movie, Rugrats in Paris: The Movie, and Rugrats Go Wild – grossed nearly $300 million in total box office between 1998 and 2003. The forthcoming film will be the seventh project announced by Paramount Players, which develops and produces co-branded feature films with Viacom Media Networks.
“Now feels like the ideal time to reintroduce this iconic cast of characters to a whole new generation of young fans,” said Paramount Players President Brian Robbins. “Kids who grew up with Tommy Pickles and the Rugrats crew will now be able to share that experience with their own children.”
Kids interested in learning about endangered species can watch Together for Good Wildlife Special, in which Breanna Yde of Nick’s School of Rock guides viewers on a journey through Uganda. On the tour, she discovers key conservation and environmental challenges, and hears from heroes who work daily to protect at-risk wildlife including lions, giraffes, rhinoceroses, elephants and chimpanzees. Digital vignettes supplement the story, creating a vivid, immersive world.
The special was produced through a partnership with the African Wildlife Foundation and Nick International’s social responsibility initiative, Together for Good. The goal is to raise awareness about endangered wildlife and act as a call to action, using Nickelodeon’s globally recognized brand to empower kids to become change-makers.
Nickelodeon star Breanna Yde guides viewers on a journey through Uganda in Nickelodeon International’s Together For Good Wildlife Special, Photo courtesy of Nickelodeon International.
The 70th annual Primetime Emmy® Awards nominations announced this morning included a total of 29 nominations for Viacom-produced programming across linear and digital platforms.
The nods honor VH1’s continued, standout creativity for its groundbreaking reality series RuPaul’s Drag Race, which earned a total of 12 nominations including the 3rd nomination for host RuPaul (who won for the category in 2016 and 2017) and two nominations for the companion series RuPaul’s Drag Race: Untucked.
Comedy Central’s six nominations include two nominations for The Daily Show, which appears in the outstanding talk series for the first time since Trevor Noah took over as host. Last year’s short form variety winner The Daily Show: Between The Scenes was nominated for the second consecutive year. As well, the Academy of Television Arts & Sciences nominated South Park for outstanding animated series for the 17th time ahead of its 22nd season premiere in September.
Paramount Network’s first original series Waco notched three nominations, while Lip Sync Battle earned a nod for outstanding reality series for the third year in a row.