Last night, VH1 broke yet another benchmark at the 70th Primetime Emmy Awards, as RuPaul’s Drag Race won its fifth Emmy this year (after racking up four at the Creative Arts Emmys last week) for the category of Outstanding Reality-Competition Program. Drag Race is now the first show in history to earn an Emmy for best reality series and best reality host in the same year. The awards, like Ru’s star on the Hollywood Walk of Fame, are yet another symbol of the show’s enduring popularity, critical acclaim, and cultural impact.
Fans have embraced Drag Race for its universally accessible message of self-love and acceptance – especially in recent years. The show is a beacon of resistance and hope set against a tense political climate; sprinkling glitter and feathers in the face of bigotry.
In light of RuPaul’s seismic sweep, Vanity Fairfilm critic K. Austin Collins underscored how Drag Race, a diverse, controversial and intimate show, has etched its mark on Hollywood and the entertainment industry:
“On a night that was host to what S.N.L. star and Emmy nominee Kenan Thompson called “the most diverse nominees in Emmy history,” it was only appropriate that one award—for outstanding reality-television program—should push the event beyond the usual questions of race and gender.
RuPaul’s Drag Race—the most culturally influential queer show on television, as well as one of the most consistently racially diverse—tackles all of the above, rambunctiously, complicatedly, and at times controversially, but just as often with love.”
Viacom President and CEO Bob Bakish appeared on CNBC’s Squawk on the Street yesterday, joining co-host David Faber from backstage at the Goldman Sachs Communacopia conference.
“Viacom is a story of turnaround and evolution,” Bakish said, before detailing the company’s progress ramping up its studio production business, expanding its digital presence, improving affiliate relationships and revenue, and adapting Viacom to an increasingly digital landscape.
“My job is to move Viacom forward, turn it around, evolve it, make sure it’s a vibrant company for the future to benefit our shareholders, our employees and all our partners, that’s job one, that’s what we’re doing,” Bakish said.
Here are a few highlights of the conversation:
“Viacom is a story of turnaround and evolution”
“Viacom is a story of turnaround and evolution. And on the turnaround side, we’ve had a lot of progress on distribution, and on the evolution side – which is really where this fits – we’ve announced recently that we’re ramping up our studio production, including on our flagship brands, on MTV and Comedy Central and Nickelodeon, and that’s about getting those brands represented in third-party platforms, so that consumers who might not have a full bundle still has access to these brands, still think of them in their entertainment experience, and by the way, could be promotion to bring people into a bigger bundle.”
Viacom is increasingly Over The Top
“[Philo – which includes Viacom – is] a low price point, entertainment skinny bundle delivered via OTT. … AT&T Watch is essentially that too. There’s no broadcast, there’s no sports in there. It’s all entertainment product. It’s a limited selection, so we think there’s more to come, and in fact in every MVPD cable renewal or extension deal we’ve done in the last year and a half, it includes provision that we’ll be added to any OTT or skinny bundles that they have, so it’s more product to come.”
Delivering an evolution
“From the beginning, back to November of ’16, my focus has, was and continues to be running this company, moving it forward, delivering a turnaround, delivering an evolution. And on the turnaround we’ve got proof points on U.S. distribution, where, by the way, we have sequentially improved our distribution revenue every quarter this fiscal year. We’ll have growth in the fourth quarter, the quarter we’re in right now, and we’ll have growth in 2019. We’ve improved our audience shares. We’ve tremendously turned around Paramount.”
The financial picture improves across Viacom
“We’re focused on putting points on the board. We are. Coming out of the third quarter, I think we started to get some recognition on that. Coming out of our fourth quarter, when we deliver not only sequential improvement in domestic affiliate, but growth in domestic affiliate, I think we’ll get some respect for that. When we talk about the numbers that Paramount’s delivering, I think we’ll get some respect for that. And you don’t know what the catalyst to turn [the stock price is], but we have had a real change in sentiment.”
Viacom evolves into a multi-platform global entertainment company
“The fundamental thing we need to do is shift the narrative. People look at us, and they say, ‘yeah, yeah, yeah, you’re a domestic pay TV company,’ and the reality is, that’s wrong. We’re a multi-platform global entertainment company. And that’s why this evolution point, building these new revenue streams, whether it’s studio production, our Advanced Marketing Solutions business, our advanced ad business, which, the strategy is to use that to more than offset any decline on call it the traditional side, that business is growing over thirty percent. You’ll see that business grow, on a percentage basis, accelerate in ’19.”
Earlier in the morning, Bakish also appeared onstage at Communacopia. You can listen to his full question-and-answer session here.
LAS VEGAS, NV – APRIL 25: Jim Gianopulos speaks onstage during the 2018 CinemaCon – Paramount Pictures special summer presentation held at The Colosseum at Caesars Palace on April 25, 2018 in Las Vegas, Nevada. (Photo by Michael Tran/FilmMagic)
Paramount Pictures Chairman and CEO Jim Gianopulos appeared last week at the Bank of America Merrill Lynch 2018 Media, Communications & Entertainment Conference in Los Angeles. In a wide-ranging question-and-answer session, he elaborated on the multiple levers the studio’s new management team has activated to drive Paramount’s renaissance: tightening synergies with Viacom’s media networks, strengthening relationships with popular streaming services, building out Paramount Television, building up the consumer products business, and more deliberately monetizing the studio’s deep library. And it doesn’t hurt that Paramount is churning out great movies.
The excerpts below portray a studio in the midst of an awesome transformation. Listen to the full interview here.
Paramount is in a renaissance
“About the culture, I think people do feel that Paramount is in a renaissance and they are part of it and they feel engaged in that. We’ve also extended deals that were expiring – new five-year exclusive deal with Hasbro, which brought us across the Transformers properties, but also has properties like Dungeons & Dragons and Micronauts and many other very popular properties and IP that they are very deeply engaged in producing. We extended our deal with J.J. Abrams, who is arguably one of the most talented people in the movie business and the television business, and also extended a new deal with David Ellison to provide some of our biggest tent-poles like Mission: Impossible and now Top Gun and others, and as well as Terminator, a franchise that he owns. So, you add to that Jerry Bruckheimer and others, so I feel really confident that the team that we have on the executive side and the team that we have on the creative and production side externally that we have ongoing relationships with Leo DiCaprio, Martin Scorsese and others will enable us to continue putting together a great slate.”
Making movies for someone or for everyone
“And I think you’ve heard me say and it’s now a longstanding tradition even when we had at Fox, which is make it for someone or make it for everyone. And that in itself is a principle that has guided us so that even recently where we had films like A Quiet Place, which was a very modestly budgeted, originally a thriller horror movie that broke out and did $340 million and a little movie like Book Club, which was – had a very distinct audience of older women. We bought it for $10 million and it made $70 million. And then, of course, the movie for everyone, which is Mission: Impossible that has now surpassed all the prior films and continues to head toward $775 million or more million dollars worldwide. So, the current slate, we’re very confident in.”
Uniting across Viacom
“…[Viacom CEO] Bob Bakish and [Non-Executive Vice Chair of the Viacom Board of Directors] Shari [Redstone] have been very focused on uniting those elements of the company across all of Viacom. … So, we have films like Nobody’s Fool, which is a Tiffany Haddish movie that’s in concert with BET. Similarly, a film called What Men Want, which is a play on the original What Women Want, one of our films, which will be done again with, with BET. Dora the Explorer live movie, which we’re doing with Nickelodeon, as well as an animated movie we’re doing with them. So we’re harnessing all the value and potential and capabilities of the Viacom labels to drive – both to define our slate in the branded area and also to promote our big tent-pole films as well. What they did, for example, on Mission: Impossible was a massive global campaign putting all the resources of the Viacom brands, and particularly internationally MTV, which is very well-situated, as is all of Viacom and there are 3.8 billion homes.”
Chuck Johnson interned on the VH1 Consumer Marketing team in the fall semester of 2013, and the VH1 Public Relations team in the spring semester of 2014. Currently, he works as a senior social media coordinator at VH1.
Campus to Career: Thanks for speaking with us about your experience as an intern and full-time employee, Chuck. Can you tell us a bit about your background and education?
CJ: I attended North Carolina A&T State University for my bachelor’s degree, and then went to New York University (NYU) for graduate school. I interned at Viacom while studying at NYU, and immediately knew this was exactly the place for me to start my career.
Awesome! Whatdrew you to Viacom?
Growing up, I had always felt so connected to all of Viacom’s brands. Each has impacted me at a different stage of life, and I was so ready to work for a company with that kind of reach.
For me, the entertainment industry – Viacom specifically – embodied the New York City dream. I couldn’t wait to get my foot in the door.
Chuck interned on the VH1 Consumer Marketing team in the fall semester of 2013, and the VH1 Public Relations team in the spring semester of 2014. Currently, he works as a senior social media coordinator at VH1.
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.”
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.”
June was Pride Month – and to celebrate, we have stories on LGBT acceptance around the world as well as in the Netherlands. Other new insights include young Americans’ rising political empowerment, global kids in their own words, how age impacts social media behavior, and taking TV away from consumers to reveal its role in their lives. As always, on our blog you can find these and all our stories in English, Latin American Spanish and Brazilian Portuguese.
Howard is a Campaign Activation & Branded Content Coordinator at WHOSAY, Viacom’s recently-acquired talent & influencer marketing company. Prior to obtaining this role, he was a Coordinator in Viacom’s Distribution & Business Development team and has also interned in MTV Integrated Marketing (Velocity) for two semesters: fall of 2015 and spring of 2016.
Howard Tseng, Coordinator, WHOSAY, started off as a Viacom intern in 2015. Now, he’s a full time employee.
Campus to Career: Hey Howard! Can you tell us a bit about your background and how you landed here at Viacom?
Howard Tseng: I attended CUNY Baruch and studied advertising and marketing. While I had several internships throughout school in the music industry, I wanted to get a better understanding of the media and entertainment business as a whole. Viacom felt like the perfect company for me, since many of our brands involve both music and television. I was super excited to get my first internship at Viacom, and realized it was a great fit for me early on.
Viacom is a great place to explore your interests across the entertainment landscape. Do you have any advice for interns who are less sure exactly what they want out of their internships or careers?
Ask questions! Asking thoughtful questions about what your department does and the impact it has on Viacom’s overall strategic goals works two-fold: it gives you deeper knowledge of your own department, and helps you understand more about what other teams do within the company. Networking and informational meetings with other employees never hurts, too.
Bozoma Saint John, self-described “force of nature in fierce stilettos” and newly minted chief marketing officer for entertainment company Endeavor, came to Viacom’s Times Square headquarters in May to share career wisdom and empowering life advice with Viacom employees at an event organized by the company’s Office of Global Inclusion.
Michele Thornton Ghee, BET Her senior vice president of Ad Sales, moderated the discussion with Endeavor’s chief marketing officer Bozoma Saint John at Viacom Headquarters in May 2018.
At Viacom’s employee event, Saint John strutted in wearing six-inch designer heels, looking every bit the #girlboss: poised, commanding and unapologetically stylish. In an ebullient exchange with long-time friend and moderator Michele Thornton Ghee, BET Her senior vice president of Ad Sales, Saint John traced her non-traditional life and explained how the unique worldview that it formed drove her success in a traditional business world.
Since its U.S. debut in January, Paramount Network has quickly bolstered Viacom’s position in the premium content space, with its first three originals – Waco, American Woman, and Yellowstone– drawing strong ratings by fusing quality storytelling with top talent.
Tomorrow, Viacom will launch a free-to-air Paramount Network in the UK, bringing the blend of premium content, unscripted fare, movies and more to one of its top European markets.
“Launching on TV screens in the U.K. is another critical milestone for the Paramount Network brand, which we’re convinced will resonate strongly with British viewers, given Paramount’s distinguished and successful history of epic, cinematic storytelling for global audiences,” said Jill Offman, executive vice president of Comedy Central and Paramount Network International. “Delivering free-to-air content to millions of U.K. households underlines our belief that, despite the growing popularity of on-demand, viewers continue to value highly TV channels that offer an intelligently scheduled linear lineup of quality entertainment.”
The channel will build on the company’s considerable past success in the UK, plugging in the editorial team of Viacom-owned Channel 5 to schedule and program the new Paramount Network.
“Paramount Network is set to deliver high-end Hollywood entertainment with blockbuster movies, scripted drama and critically acclaimed comedy featuring some of the biggest names on the planet,” said Channel 5 Director of Programs Ben Frow. “Supported by Channel 5’s creative scheduling and audience insight and underpinned by Viacom’s brand-building expertise, Paramount Network is a popular premium content destination in a free-to-air world.”
Launch content will include the hit unscripted Lip Sync Battle, the seventh season of the popular Suits, Kaitlin Olsen’s The Mick, action drama Six and fantasy drama Heroes Reborn. Classic movies, some from Paramount Pictures’ 106-year-old library, will also air on the network, which will be available on Sky, BT and Freeview.
The Paramount Network in the UK is the second to launch outside of the United States. Last month, Spain rebranded its existing Paramount Channel, which was one of Viacom’s highest-rated networks outside of the U.S. Content includes a blend of movies and television series, including the locally popular reality show Alaska & Mario: El Huracan Mexicano.
“Paramount Network has great positioning and fits perfectly with our strategy in Spain,” Raffaele Annecchino, president and managing director of Viacom International Media Networks Southern and Western Europe, Middle East and Africa, said when announcing the network’s arrival. “Paramount Channel has achieved great results in Spain, but it’s time to evolve the brand even further, making the channel increasingly contemporary and relevant for the Spanish market.”