Packing 10,151 meals may sound like a hefty feat, but Viacom volunteers took the challenge head on and held two Rise Against Hunger meal-packing events during Viacommunity’s 2017 “Season of Giving.”
Enormous as this effort was, these two events represented just a portion of the many volunteer opportunities offered during Viacom’s annual Season of Giving, which engages employees nationwide with holiday-themed volunteer opportunities throughout November and December.
Viacom employees prepping some of the thousands of meals they assembled in conjunction with Rise Against Hunger during Viacommunity’s 2017 Season of Giving.
Winter Wishes fulfilled
The corporate social responsibility team kicked off its most recent holiday-themed efforts by distributing nearly 300 New York Cares Winter Wishes letters to employees at Viacom’s Times Square headquarters and 345 Hudson office. Each hand-written letter outlined a list of recent achievements and desired holiday gifts from an underrepresented New York City elementary school student. Viacom employees selected one or more letters, then purchased and wrapped the gifts, which New York Cares distributed to the children.
Winter Wishes gifts wrapped and ready for distribution by New York Cares.
Stuffing more than turkeys Thanksgiving week
During the week leading up to Thanksgiving, a group of nearly 15 Viacom volunteers delivered nutritious holiday meals to homebound elderly in Midtown Manhattan through Citymeals on Wheels. Similarly, more than 100 volunteers united to package about 20,000 meals for the world’s most vulnerable communities with Rise Against Hunger at Viacom’s Times Square and Hollywood offices.
Viacom volunteers delivered meals to Manhattan residents in need via Citymeals on Wheels during Thanksgiving week 2017.
On the day before the holiday, as part of Viacom’s annual Kids Day – where employees bring their children to work for a day of fun and activities – the young ones gave back to their local communities, just like their parents. With help from Viacommunity and Employee Events, our young visitors helped stuff more than 200 cuddly giraffes, bears and elephants, which were then donated to children affected by Hurricanes Maria, Irma, and Harvey via The GOOD+ Foundation, SAFE (Stuffed Animals for Emergencies), and Spirit Airlines.
Critters ready to be stuffed for those in need by the child guests of Viacom employees at the company’s annual Kids’ Day.
In celebration of the social media-powered global #GivingTuesday that follows Thanksgiving weekend, employees across the U.S. contributed to Viacom’s foundation partners: VH1 Save The Music, Get Schooled and MTV Staying Alive. At Viacom’s New York, Hollywood, Paramount Pictures, and Miami offices, youth carolers from local VH1 Save the Music partner schools amplified this holiday cheer with festive songs.
Children liven up Viacom’s Times Square headquarters with holiday carols during Viacommunity’s 2017 Season of Giving.
CMT earned its first GLAAD nomination ever, for Nashville’s story about LGBT characters working in a stereotypically “straight” industry.
Frank Tanki, general manager of CMT and TV Land, says the network’s GLAAD nomination is not only great recognition for Nashville, but also serves as a benchmark for the brand’s overall strategy. “It signals that our modern country strategy is taking root and being noticed in all the right ways,” Tanki explained.
“Creatively, Nashville continues to trail blaze. Last season, we welcomed CMT’s and Nashville’s first-ever transgender character and actress, and also added a new LGBT character as a series regular. On the integrated front, we partnered with Budweiser for a multi-episode arc in which openly-gay singer, Will Lexington, becomes the face of the brand and is spotlighted in a commercial built around the theme of love and acceptance. The integration was well-received by both the LGBT and ad communities, with industry powerhouse, Adweek, proclaiming the integration as ‘ground-breaking.’”
Comedy Central’s most recent scripted series, Corporate, brings office humor to a dark, depraved place: Hampton Deville. The fictitious conglomerate is one of the largest corporations in the world, known for its multifarious production of goods—ranging from fresh produce to weapons of mass destruction. The company ethos is, on principle, devoid of principle, embodied by morally bankrupt, bagel-throwing CEO Christian Deville (Lance Reddick) to lower-level cogs Jake and Matt (aka “junior executives-in-training,” played by co-creators Jake Weisman and Matt Ingebretson).
The pilot, Facing the Void is a comprehensive look at dreary Hampton Deville, where “aggressive confrontational criticism” is encouraged and cost-cutting for the $5 billion corporation takes the form of “hierarchal” feeding at staff luncheons.
Watch a clip:
Hampton Deville is everything you don’t want to see in a company—either as an employee or consumer—but Corporate is everything viewers want in a dark comedy.
Corporate’s premiere on Jan. 17 was the highest-rated basic-cable prime comedy debut of the 2017-18 programming season. Critics are obsessed with the portrayal of modern-day cubicle carnage, too. Los Angeles Times TV critic Robert Lloyd called the show “clever and cutting” in his review, and Bustle writer Sydney Bucksbaum vouched for its universal appeal. “Despite the fact that I’ve never worked a meaningless job at a giant corporation,” wrote Bucksbaum, “I found myself relating to Corporate in a way that I’ve never felt before while watching a TV show.” IndieWire’s Steve Greene lauded Comedy Central for producing one of the “most fascinating comedic experiments on TV.”
Corporate is at the vanguard of Comedy Central’s strong 2018 lineup. Mainstays Another Periodand Drunk Historyreturned earlier this week for a third and fifth season, respectively. Critical favoriteDetroiterswill return for a second season, as will The Jim Jefferies Show. Jefferies, an Australian comic, joined the network’s slate of biting late night hosts last year, adding his own sardonic flavor to Comedy Central’s trademark political satire. “You’d think I’d stop being surprised at how smart and funny Jim is about everything,” said Comedy Central President Kent Alterman. “I’m just glad we’re still giving visas to people from whatever s***hole country he comes from.”
Paramount Network launches tonight with a special edition of smash hit Lip Sync Battle, propelling Viacom into the premium content universe and building on the century-long storytelling tradition of fellow Viacom property Paramount Pictures.
The launch marks an important business milestone for Viacom, fulfilling a key pillar of CEO Bob Bakish’s strategic plan and cracking open potential for new marketing and advertising partnerships behind a star-studded slate that blends the best of the retiring Spike network with high-quality scripted programming.
Paramount Network completes CEO Bob Bakish’s flagship six strategy
The Paramount Network launch culminates a monumental yearlong effort to reorient Viacom under CEO Bob Bakish, consolidating resources under the company’s most iconic brands. The focus around six flagships – Nickelodeon, Nick Jr., MTV, Comedy Central, BET and Paramount Network – is a strategy Bakish had successfully implemented in his decade-long run as head of Viacom International Media Networks.
“There’s no better way to better encapsulate Viacom’s strategy change under Bob Bakish than to look at the creation and launch of the Paramount Network,” notes TBI Vision.
Paramount Network launches Viacom into the premium content game, with big stars and great stories
Paramount Network’s premium scripted content will launch Jan. 22, when Waco, co-starring Michael Shannon and Taylor Kitsch, debuts. Yellowstonestarring Kevin Costner, American Woman starring Alicia Silverstone and Mena Suvari, and a re-imagining of the 80s classic Heatherswill follow later this year.
“The audience has an expectation that there are going to be big names, big stars, great storytelling, great characters, and I think that’s what we have to focus on,” Paramount Network President Kevin Kay told Variety.
Paramount Network opens up tremendous partnership opportunities
The combination of captivating content, huge talent and high production generates enormous interest not just from fans, but also from advertising, distribution and creative partners who want to do business with Viacom.
“All the groups together went out and presented to both the movie studios, to our agency clients, and then to our distributors as well,” recalled Kay when asked how partners have been processing the rebrand. “People understood why we are rebranding Spike as Paramount Network, they’re excited to work with us, and the biggest thing I think that came both on the distribution side and on the ad-sales side was that clients said, ‘we want to be your partners.’”
The best of Spike is coming along
When the tribute to the King of Pop ticks to life tonight, the long-running Spike network will cease to be in the United States, gifting to Paramount Network its top unscripted programs – Ink Master, Bar Rescue, and Lip Sync Battle – plus Bellator MMA.
This mix of legacy unscripted programming establishes the net’s impressive versatility and provides a stable complement to Paramount Network’s still-evolving scripted slate.
“We’ve got scripted dramas, non-scripted in a big premium way, we’ve got scripted comedies, we’ve got docuseries, and we’ve got Mixed Martial Arts,” Kay told Deadline. “If you look around at the broadcast networks, that’s not a bad model to me. On the broadcast networks, you’ve got drama nights, you’ve got comedy nights, you’ve got sports nights. You’ve got a lot of variety for different viewers across a very broad audience. I feel that’s where we want to be.”
Nobodies will also migrate to Paramount Network, from Viacom’s TV Land. There are more original concepts in development, including sketch comedy series Browntown in collaboration with leading Latino-focused digital media brand mitú.
Paramount Network builds on Paramount Picture’s century-long legacy
Paramount Network takes its name from the rich DNA of Viacom’s Paramount Pictures, the 105-year-old Hollywood icon whose deep catalogue houses some of the most memorable films ever made, including Titanic, Forrest Gump, and the Godfather films. While Paramount Network and Paramount Pictures will operate separately, their relationship will mirror that of other Viacom properties under Bakish, in which the brands collaborate with the movie studio to maximize the reach of intellectual property.
“There’s a real big need, and there’s a want, a desire, for us all to work together really closely, to both exploit [Paramount Pictures’] library and then to help promote the movies, and then to potentially create some great programs for Paramount Network,” Kay explained.
Paramount Pictures also owns the Paramount Television production studio, which tripled its revenue in 2017 through a steady stream of high-quality content, including the Netflix sensation 13 Reasons Why, Epix’s Berlin Station, and Shooter on USA.
“There is incredible demand for high-quality television content and the reality is, there are not that many places that you can get it,” Bakish said at the at the UBS Global Media and Communications Conference in December, underscoring the importance of Paramount Television.
The Paramount name resonates globally – Viacom offers a network called Paramount Channel in select markets outside of the United States. According to Bakish, it is the largest ad-supported movie channel in the world.
On Thursday, Jan. 4, CMT’s beloved country soap Nashville returned for its sixth and final season. 1.6 million viewers joined them, a testament to the loyal “Nashie” fan base hooked by season five’s plot twists—including the death of a major character (Connie Britton’s Rayna Jaymes), police misconduct and racial profiling, song stealing and scheming, dramatic hookups and breakups…accompanied by melodic country harmonies, of course.
Nashville started 2018 with the highest ratings since its midseason five premiere. And according to Nielsen, Nashville’s debut was the night’s top social entertainment cable program—with #NashvilleCMT trending nationally on Twitter.
“The final season is truly the culmination of the incredible journey of each of these beloved characters,” said Keith Cox, president of development for Paramount, CMT and TV Land. “We want to give the fans, who fought so passionately to bring the show to CMT, a spectacular ending and great payoff.”
Watch a teaser for the next episode:
“The continued success of ‘Nashville’ remains a critical and defining part of our 2018 plan and a vital building block towards a strong future,” said Frank Tanki, general manager of CMT and TV Land. “Once again, the team has pushed themselves on all fronts and it’s absolutely amazing to see all these moving parts come together so smartly and loudly.”
The strong tune-in for the premiere follows a record-breaking 2017, in which CMT scored 53 consecutive weeks of ratings growth, underscoring the fact that Nashville is just one part of a diverse CMT programming roster that encompasses a bit of everything—from unscripted dramas to innovative digital content.
Music City, for example, is a docu-series created by famed executive producer Adam DiVello, who also helmed iconic MTV reality dramas Laguna Beach and The Hills.
Watch a teaser for Music City:
Music City is filmed in Nashville, with a cast of young, up-and-coming musicians struggling to make it in a cutthroat industry—much like The Hills, which gave viewers an inside look at fledgling fashionstas Lauren Conrad, Audrina Patridge and Heidi Montag as they tried to succeed in Hollywood.
Watch a throwback clip of The Hills:
This sort of unscripted docu-series has broad appeal: I was a rabid fan of The Hills, even though I didn’t share career aspirations as future fashion mogul Conrad (I tuned in for the personality conflicts, delectable drama and luxurious landscape), and I’ll probably watch Music City, even though I’m not a country music fan. It’s enticing to watch young professionals engage in a heightened state of reality, vying for their dream career (especially now that I’m around the same age as the cast members).
And the network is meeting fans on all platforms – CMT’s 2018 slate includes three new short-form digital series, exclusive for YouTube: How To Wear, Street Art Stories, and The Downtown Farmer.
By dispatching Madinga to localities across Africa and weaving his segments into the global, often Donald Trump-focused broadcast from New York City, The Daily Show further embeds itself into Comedy Central’s rapidly growing international audience with stories that resonate with their daily experience.
“As wild as Donald Trump is for America, many countries around the world have Trumps of their own and since The Daily Show is in many countries, we thought ‘why not give each country a chance to show off their stable geniuses?’” Noah said of the decision to add Madinga to the show’s roster.
His first segment – a look at corruption in the African National Congress under South Africa’s President, Jacob Zuma – aired locally in Africa on Thursday, Jan. 11.
The move to localize more content follows a year of torrid international ratings growth for The Daily Show, with a 35 percent surge across 10 nations, including South Africa. As the show’s popularity overseas grows, Comedy Central may look to further bolster programming with local components.
“We’re always looking for ways to take global hits and localize them for regions around the world by adding great local talent, like Loyiso,” said Jill Offman, executive vice president and head of Paramount Channel and Comedy Central International. “This is a pilot, so down the road you may see more internationally based correspondents, making The Daily Show a truly global yet local show for regions around the world.”
There’s plenty more to come. After a raucous season that embedded itself deeply enough into the national conversation to earn the honor of a hilarious Saturday Night Live skit, MTV announced that Floribama Shorewould return for 20 episodes starting this summer. The net also dropped another Family Vacation promo, this time asking viewers to help decide where the f*&% the OG cast will go by using the hashtag #JSFamilyVacation.
To understand the show’s popularity, it helps to examine its layers.
Watching an episode of Floribama Shore is akin to hopping into a time portal, transporting you to a bygone era of hot pin Polo T-shirts with the collar popped and “going-out tops” (aka the early aughts) that is somehow fused with 1950s sensibility.
It’s a world where a 23-year-old divorcée is fraught with anxiety over potential spinsterhood, and a gorgeous 24-year-old woman frets over aging. The male contestants at once act hyper-macho and are quintessential Southern gentleman. Imagine living life on the set of A Streetcar Named Desire, surrounded by the scent of Hollister cologne.
Of course, this group of twentysomethings partied as hard as their predecessors, but they also prayed before dinner and had thoughtful, seemingly unscripted conversations about their lives—one cast member had been homeless before the show, and another was reeling from the end of a 10-year relationship after her boyfriend cheated on her with her cousin. (This was, according to her, an “Alabama thing.”)
These deep conversations about real-life issues are perhaps what won over fans and critics, enough to earn the show a second season. In a Rolling Stone review, writer Kory Grow said Floribama Shore revealed “soul” and lauded MTV for showing “a group of eight red-state denizens, who, despite their personal flaws, did not espouse any outward Trumpism (or for that matter, Hillary hating). They all found common ground with each other easily – praying, discussing their Christianity and talking about their families.”
How does a U.S. president follow up a Twitter threat to start a nuclear war with America’s external enemies?
With a promise to strike the malcontents who are most ferociously attacking the nation from within – the mainstream media:
I will be announcing THE MOST DISHONEST & CORRUPT MEDIA AWARDS OF THE YEAR on Monday at 5:00 o’clock. Subjects will cover Dishonesty & Bad Reporting in various categories from the Fake News Media. Stay tuned!
“After provoking North Korea and then insulting Palestine, the President turned to America’s greatest foe: the fake-news media,” Noah said of Trump’s announcement. “So that was Donald Trump’s day on Twitter. The bad news is he’s itching to start a nuclear war. The good news is, despite his threats to Korea, at least he thinks we’re going to make it until Monday.”
And the better news for fans is that, despite Trump pushing the awards until Wednesday, Noah is lobbying hard to win this distinction. In the grand tradition of “for your consideration” awards season self-promotion, Noah turned to the “failing” (according to Trump), New York Times to promote himself as the best possible candidate for the president’s prize:
Noah even plastered his qualifications on a Times Square billboard (on the north side of Viacom’s HQ at 1515 Broadway):
Noah will have plenty of competition, including Comedy Central alums Stephen Colbert and Samantha Bee, who are running their own furious campaigns for this high honor. Noah is not intimidated. “President Trump, don’t be faked out by their fake fake-outs,” a narrator says on a Daily Show-sponsored ad dismissing Colbert and Bee as fake fakers. “When you cast your vote on Monday, vote for The Daily Show with Trevor Noah. He covers you very unfairly, and he’s literally un-American.”
It’s true (though don’t hold that against them): Noah is from South Africa.
On Tuesday, Jan. 9, America’s Next Top Model returns to VH1 for its 24th cycle with a promise: to go next-level fierce, or go home.
With the return of former host and all-around boss Tyra Banks, it looks as if the seminal modelling competition will hold true to its promise. The legendary “Queen of the Smize” has a few surprises up her sequined-sleeve, and has already drummed up excitement for the new season by removing the show’s 27-year-old age limit.
In a video posted to her personal Twitter account, Banks explained why contestants of all ages are welcome to werk it.
“There have been 23 cycles of America’s Next Top Model, and every single cycle we say you have to be 27 years old or younger,” said Banks. “You know what I hear all the time? ‘Tyra, come on. Why have an age limit?’ So you know what? I’m taking that age limit off.”
Viacom has signed a definitive agreement to acquire WHOSAY, an influence marketing company whose deep reach into next-generation advertising and marketing platforms and solutions will boost Viacom’s capabilities across advertising, marketing and digital content.
Partnering with some of the world’s most recognizable brands, WHOSAY does everything from crafting campaign strategy to casting influencer talent to producing premium content and live events to analyzing data and performance.
An important piece of Viacom’s strategic plan
Viacom’s acquisition of WHOSAY will be an important component of the business strategy laid out by CEO Bob Bakish, who has frequently discussed the necessity of further expanding onto emerging digital platforms and beefing up the company’s already considerable advanced-advertising capabilities.
“One objective is accelerating our participation in next-generation platforms and solutions,” Bakish said, outlining his principle 2018 objectives at the UBS Global Media and Communications Conference in December. “So those are things like the over-the-top business, where we see significant opportunity on the virtual MVPD [multichannel video programming distributor] side, also the direct-to-consumer side, and related to that, the advanced advertising side. And this is not something that we’re making up … we had about $350 million of business there across those sectors [in 2017], and we believe that’s a $1 billion business by 2020.”
A proven partner
This acquisition will unite two engaging storytellers, fusing Viacom’s global content engine, diverse audience and best-in-class advanced advertising tools with WHOSAY’s precision ability to seamlessly match brand objectives with talent and creative, and optimize the message through omnichannel distribution.
“We’re excited about a deeper integration with WHOSAY and the strength of our combined capabilities,” said Viacom Head of Marketing & Partner Solutions Sean Moran. “This partnership will add to our linear, digital and mobile arsenal by bringing us further into the world of social media and shopper marketing. Together, we will offer brand partners unparalleled creative solutions that maximize the power of storytelling, influencer reach, omnichannel distribution and advanced advertising tools to create quality campaigns that drive results.”
Complementing Viacom’s strengths
Amplifying the power and reach of WHOSAY’s campaigns is the company’s expertise in matching brands and influencers via its proprietary Match platform. Once the pairing is solidified, WHOSAY is expert at distilling a brand’s goals, creating a campaign, and spreading that message to the ideal audience through social, digital, mobile, linear, experience, out-of-home and other channels.
These advanced whole-campaign capabilities and digital focus will act as a powerful complement to many of Viacom’s existing entities, including the Velocity full-service integrated marketing and creative team and the company’s newly created Digital Studios unit under Kelly Day.
The addition of WHOSAY to Viacom’s portfolio will also underscore Viacom’s position as a leader in advanced advertising, building upon the significant capabilities of its data-driven audience-targeting Vantage product and its status as a founding member of the OpenAP audience targeting and measurement platform.
In addition to their considerable digital and event capabilities, WHOSAY has built a bricks-and-mortar-focused WHOSAY Shopper team, which will open up potential new retail opportunities for Viacom brands.