After Hot U.S. Start, Paramount Network Launches in UK

by Stuart Winchester, Viacom

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.”

Ratings and Viewership Jump Double-Digits for MTV Movie & TV Awards

by Stuart Winchester, Viacom

Ratings and viewership soared for this year’s MTV Movie & TV Awards, as the network strategically shifted the air date to a June Monday and commissioned the red-hot Tiffany Haddish as host.

Across 10 Viacom-owned networks, 3.371 million viewers (a 21 percent increase over 2017), watched as Millie Bobby Brown pushed back at bullies and Haddish spoofed the year’s top films and TV shows. Viewers in key demographics drove the ratings increase, with the 18-34 group surging from a 1.85 rating last year to 2.24 this year –  a 21 percent jump – and those 18-49 pushing from a 1.63 to 2.04 share, an increase of 25 percent. Looking solely at MTV and VH1, the numbers grew even more explosively, with a 30 percent jump among viewers 18-34 and a 35 percent rise in the 18-49 demo.

The buzz carried over to social, where the MTV Movie & TV Awards beat the World Cup for most social show on television (per Nielsen), nearly doubling last year’s total and setting show records with more than 83 million streams (and counting). #MTVAwards trended No. 1 in the U.S. and globally over the course of the two-hour telecast.

In order to maximize the show’s potential audience, MTV made a few calculated decisions when choosing its airdate. First, they moved the awards from their traditional Sunday broadcast to Monday, when MTV and VH1 tend to draw strong viewership.

Second, MTV pushed the show down the calendar from May to June, slotting it in the midst of the June pre-nomination Emmy-voting window. This strategic positioning may have encouraged star turnout – Chadwick Boseman, Michael B. Jordan, Chris Pratt, as well as cast members of Riverdale, Keeping Up with the Kardashians and Stranger Things all accepted their Golden Popcorn buckets onstage at Santa Monica’s Barker Hangar. This star power, in turn, could have drawn fans.

“The date change was a draw for networks and streaming platforms, and talent looking for opportunities to get their content out there during this key window,” MTV, VH1 and Logo General Manager Amy Doyle told Indiewire’s Michael Schneider before the awards aired. “And you’ll see that in full effect when watching the show.”

But the crisply edited, entertaining show drew a lot of attention on its own merits.

“After sitting through countless bloated awards shows indulging themselves for three or four hours at a time, the 2018 MTV Movie & TV Awards were a genuine relief — and in a delightful twist, even genuinely heartwarming,” wrote Variety’s Caroline Framke. “Airing Monday night after taping Saturday, the edited ceremony ran just two hours long but managed to squeeze in 15 awards, two musical performances, and several pre-taped sketches featuring host Tiffany Haddish. … By the night’s end, it was hard to understand why other awards show don’t follow suit more often.”

“… it was the best version of this show I’ve ever watched,” added Entertainment Weekly’s Darren Franich.

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“We Feel Great About Where Viacom Is Today,” CFO Wade Davis Tells Gabelli Conference

by Stuart Winchester, Viacom

NEW YORK, NY – APRIL 08: Viacom CFO Wade Davis attends the 2014 UJA-Federation of New York’s Leadership Awards Dinner at Pier Sixty at Chelsea Piers on April 8, 2014 in New York City. (Photo by Taylor Hill/FilmMagic)

“We feel great about where Viacom is today,” Viacom Executive Vice President and Chief Financial Officer Wade Davis told an audience of investors at the recent Gabelli Movie & Entertainment Conference. “From a fundamental standpoint, we think a lot of the strategies that we’ve been focused on and putting in place are paying off. … the first half of 2018, our fiscal 2018 is really a transition into delivering growth in the second half of 2018 and beyond, and we feel really good about that, focus 100 percent on delivering that.”

Here are a few more highlights from Davis’ remarks at the event. You can listen to the full event here.

Advanced Marketing Solutions and strong linear pricing are driving ad sales growth

“Pricing is incredibly strong right now in the linear market … So the growth is coming from what we call our Advanced Marketing Solutions portfolio or AMS [advanced addressable inventory and brand solutions]. So between those two areas – advanced addressable inventory where we’re activating new pools generally of non-linear inventory that are addressable in nature, and brand solutions – we have a portfolio business that as we’ve said publicly is going to approach $300 million this year. It’s really — it’s growing 40-plus-or-minus percent quarter-over-quarter, and we think that rate of growth will carry into 2019, and actually in the first part of 2019 accelerate.”

Growth comes over the top  

“So when you think about where Viacom is, we’re extremely well represented in the traditional distributor-led virtual MVPDs [multichannel video programming distributor]. That’s Sling, that’s DIRECTV NOW, and those are really the virtual MVPDs that matter. … We’d love to be on [Hulu and YouTube], we’re in discussions with those guys all the time. … And as we’ve gone through and stabilized our relationships with the traditional distributors, we’ve had a lot of success in getting ourselves very well positioned with respect to any virtual or OTT product that any of those traditional distributors will launch.”

Mobile is a global growth engine

“Mobile is a place where we’re significantly benefited by our global business. We made a lot of investments in bringing mobile bundles to market internationally. I guess we’ve announced at the moment five different partnerships that we have with mobile distributors around the world in which we’re licensing some form of bundle of our content into the mobile distributors. … And we’re in very advanced discussions with the three biggest operators in the United States, feel very good about where we’re positioned with them.”

Cornerstone networks in major international markets and mobile are driving growth outside the U.S.

“The [international] business is growing double digits, both top line and bottom line. … We operate in 180 countries. We have cornerstones in the biggest, most important markets, India and Asia, UK, which is the most attractive largest media market outside of the United States, and we’re the number one broadcaster in Argentina … And then there are some underlying trends that we think are different than the domestic market. … You do have a much more progressive mobile infrastructure [internationally]. As we said, a lot of these international markets, their principal Internet access is mobile and consequently their mobile offerings are a lot more mature. … And there’s also some of the same trends and tailwinds that we’re seeing in the SVOD [subscription video on demand] marketplace, domestically are starting to play themselves out globally.”

A “world-class team of operators” is transforming Paramount Pictures

“Every member of [Paramount Pictures’] senior management team except for the CFO is new. … We’ve completely overhauled all of the processes, the green light process, development process, global marketing, et cetera. So the business is running much more efficiently. We have a world class team of operators who bring new energy to the studio. … [and Paramount Television] should do about $400 million of revenue this year, and should, for the first time, be a contributor to operating income. It’s important to keep in mind that this is really still a startup. … it’s still in a growth phase, and we expect very, very strong double-digit growth on the revenue base above and beyond the $400 million that we expect this year.”

A “forever effort” transformation will save Viacom hundreds of millions of dollars

“…  when you think about our focus on margin enhancement, it really relates to efficiencies outside of content investment. So we’ve announced that we’ve undertaken a cost transformation effort. And for us, that’s not just a onetime restructuring. I think a lot of media companies and even Viacom historically would, from time to time, announce a restructuring in which they would write off some content, let some people go. But this is an effort that we view as a forever effort and something that’s part of the new culture that we’re trying to build. We have a team that’s a full-time team staffed focused on this. We’ve been very public about the amount of savings that we’re going to be able to deliver out of the current efforts being more than $100 million in the current year and in excess of $300 million in 2019 and beyond.”

A comprehensive reimagining of the content pipeline is connecting Viacom networks with their natural audiences

“The big issue for us and the big opportunity for us is bringing the focus that we’ve cited around our flagship six networks, being able to concentrate the spend where it matters most and being very precise about what the programming strategy and the brand promises for each of those brands. … So a good example of that is MTV which had historically been dabbling in very expensive scripted programming. That scripted programming is not programming that worked particularly well on MTV for MTV’s audience, and it consumed a ton of dollars for a very small amount of hours. Not enough hours to actually have MTV be a destination for high-end scripted dramas. So what we’ve done is we’ve concentrated our efforts around high-end scripted on the Paramount Network. As it relates to MTV it’s allowed us for really in some cases less money dramatically increased the amount of original programming that we have on the network, but most importantly, it’s programming that’s aligned with a vision that’s important to MTV’s audience.”

Bumblebee Transforms Hailee Steinfeld’s Life in First Trailer

by Stuart Winchester, Viacom

Before The Last Knight or the Age of Extinction, before Decepticons started leveling American cities and destroying military bases, a yellow Volkswagen Beetle sits forgotten in a California junkyard. It’s been neglected long enough that a honeycomb of bees buzzes beneath its wheel well. Seventeen-year-old Charlie (Hailee Steinfeld), takes it home.

She gets more than a car. As Charlie slides beneath her new ride to inspect it, the bug erupts in an intricate flipping puzzle of zinging metal parts, rearranging itself into beloved Autobot Bumblebee.

“Let me tell you something, the driver don’t pick the car, the car pick the driver,” a hauntingly familiar voice-over – it’s the late Bernie Mac, warning Sam Wtiwicky (Shia LaBeouf) in 2007’s Transformers – announces at the trailer’s opening moments. “It’s a mystical bond between man and machine.”

In this case, it’s woman and machine (and a woman, Christina Hodson, wrote the script), but the bond between Charlie and Bumblebee looks as strong as any.

Hailee Steinfeld in BUMBLEBEE, from Paramount Pictures.

The two become great pals. They go to the beach. They go swimming. Charlie goes no-hands through the sunroof down the Pacific Coast Highway, perhaps pioneering the self-driving car in the film’s 1987 setting.

But things get hectic. The military lurks. So does a dreaded Decepticon. Charlie gets banged up. Helicopters fall from the sky.

The film, helmed by Oscar-nominated Kubo and the Two Strings director Travis Knight, promises to wrap this action in a powerful story informed by the Transformers’ heritage. “I wanted to return to the essences of what made the Transformers franchise so impactful right from the beginning: character, emotion, spectacle,” Knight told attendees at April’s CinemaCon.

Which is not to say that echoes of Paramount Pictures’ five previous Transformers films won’t ricochet off the screen. “… and explosions,” Knight continued, “lots and lots of explosions.”

Bumblebee will debut in theaters Dec. 21, 2018. John Cena, Jorge Lendeborg Jr., John Ortiz, Jason Drucker, Pamela Adlon and Stephen Schneider will star alongside Steinfeld.

Paramount Pictures, Paramount TV Honored for Sustainable Productions

Paramount Television-produced Shooter and Paramount Players’ Eli earned Green Seal and Gold Seal honors, respectively, at the 2018 Environmental Media Awards in recognition of their progress in sustainable production.

Paramount Pictures’ Downsizing, set on a hypothetical future Earth where people shrink themselves to decrease resource consumption, was nominated in the Feature Film category at the ceremony, which recognize media trailblazers who place equal value on creating entertainment and protecting the environment.

The Environmental Media Agency awarded Paramount Television-produced Shooter (USA Networks) at the 2018 Environmental Media Awards for its sustainable production. Photo courtesy of Paramount Television.

Green Seal for Sustainable Production – Paramount Players, Eli

Eli is the first feature film on deck for Paramount Players, Viacom’s newly minted film studio division, which integrates Paramount Pictures and Viacom brands. Eli, slated to premiere in January 2019, is being produced in association with MTV. The film centers around a boy who is hospitalized in a remote clinic while suffering from a rare disease. The child’s treatment takes a nightmarish turn when his sanatorium becomes a prison, possessed by evil spirits intent on keeping him there forever.

Gold Seal for Sustainable Production – USA, Shooter (produced by Paramount Television)

Shooter (a drama series based on Stephen Hunter’s best-selling novels and Paramount Pictures’ 2007 film starring Mark Wahlberg) follows the journey of Bob Lee Swagger (Ryan Phillippe), a former Marine sniper who is perpetually entangled with bad characters. The show’s highly anticipated third season premieres Thursday, June 21.

The Environmental Media Agency awarded Paramount Television-produced Shooter (USA Networks) at the 2018 Environmental Media Awards for its sustainable production. Photo courtesy of Paramount Television.

Paramount’s Gianopulos Moves Studio Forward Behind Movies, TV, and 106-Year-Old Library

by Stuart Winchester, Viacom

As a movie studio with a diversified upcoming slate and powerful television production arm, reinforced with an iconic century-old library, Paramount Pictures is well positioned to thrive far into the future, according to President and CEO Jim Gianopulos.

The studio head, who has built a new management team since taking the helm at Paramount last year, sat down with CNN Money’s Dylan Byers at the Milken Institute Global Conference earlier this month to discuss the resurgent business.

“We’re content creators,” Gianopulos said. “We’re storytellers. For us, our primary focus is theatrical distribution as a studio, and, in television, the creation of television programming.”

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)

Television Production Ramps Up As Diverse Theatrical Slate Debuts

Both sides of the business – television and theatrical – have powerful catalysts driving them. The Paramount Television production studio, which has grown rapidly behind a string of premium-content hits such as Netflix’s 13 Reasons Why, TNT’s The Alienist, and USA Network’s Shooter, is on track to reach $400 million in revenues this year.

The forthcoming theatrical slate, which has been rejiggered under the current management team, will include sequels, reboots, animated films, and tie-ins to other Viacom brands through its Paramount Players division. At last month’s CinemaCon, Gianopulos detailed this lineup, which stands out for its diverse offerings that will appeal to both mass and niche audiences.

“We have an old saying that’s always worked for us – make it for someone, or make it for everyone,” he said, citing the forthcoming Mission: Impossible – Fallout and recent smash hit A Quiet Place as projects with mass appeal.

Meanwhile, Book Club – set to drop in theaters this Friday with a headlining cast of Diane Keaton, Jane Fonda, Candice Bergen and Mary Steenburgen – has been tailor-made to appeal to an adult female demographic.

“For them, that is Star Wars,” he said. “That’s their movie. Something that people feel an identity to. They made this for me. This is something relevant and relatable to me. You can continue to make a broad variety of films, and in the process, be very successful.”

A Rich History That Continues to Build the Present

For all the buzz around the studio’s yet-to-be-released films, one of Paramount’s under-appreciated strengths is its deep content warehouse that stretches back to the dawn of the industry.

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Viacom Takes 5 Daytime Creative Arts Emmy Awards

Viacom took five categories (and earned one special recognition), at the 45th Daytime Creative Arts Emmy Awards, with Nickelodeon, Logo TV and MTV snagging statuettes for dazzling short-form digital content, feature-length films and children’s television.

Under the Nickelodeon umbrella, perennial fan-favorite SpongeBob SquarePants was recognized for its superb animated storytelling with two awards and a special recognition for its creator, Stephen Hillenburg, for his impactful work in the animation and broadcast world. Nick Jr. was awarded for Girls In Charge, an inspirational PSA aimed at preschool girls. The spot features fierce girl power courtesy of Nick Jr. girl characters, like Dora from Dora the Explorer and Nella from Nella the Princess Knight.

MTV and Logo TV both earned accolades for distinguished digital storytelling. Logo TV’s harrowing documentary on renowned makeup artist and LGBT figure Kevyn Aucoin (Kevyn Aucoin: Beauty & The Beast In Me) topped the Outstanding Special Class Special category. MTV won for its work creating a PSA, Undocumented and Afraid, for Logo TV’s film Forbidden, a motivational and informing film centered on LGBT-immigrant issues.

Take a look at Viacom’s winning content:

Nickelodeon

SpongeBob SquarePants – Outstanding Children’s Animated Series

SpongeBob SquarePants – Outstanding Performer in an Animated Program (Tom Kenny, as SpongeBob SquarePants)

Daytime Emmy Awards Special Recognition

Stephen Hillenburg, creator of SpongeBob SquarePants, earned a special recognition for his contributions to animation.

Nick Jr.

Nick Jr.’s Girls in Charge Campaign  Brand Image Campaign – Network or Program

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SpongeBob, Mean Girls Lead Tony Nominees With 12 Apiece as Viacom Ramps Up Live Events Business

by Stuart Winchester, Viacom

After racking up impressive totals in last week’s Drama Desk and Outer Critics Circle Awards nominations, Nickelodeon’s SpongeBob SquarePants: The Musical and Paramount Pictures’ and Broadway Video’s co-produced Mean Girls have tied at the top of this year’s Tony Award nominations, with 12 apiece, including Best Musical.

The impressive totals among the best of Broadway showcase the ability of Viacom brands to connect with audiences across a range of formats as the company moves deliberately into the live events space under CEO Bob Bakish. As Viacom branches out beyond its core television and film business, each of its six flagship brands will host live events this year, including Comedy Central’s Clusterfest in San Francisco, Nickelodeon’s Slimefest in Chicago, and the BET Experience in Los Angeles.

The pair of musicals, both of which sprang from Viacom’s deep intellectual property library, also earned the top nominations from the Drama Desk and Outer Critics Circle Awards. SpongeBob earned 11 nominations from each institution, while Mean Girls, which is based on the 2004 Paramount movie of the same name, earned 10 Drama Desk and eight Outer Critics Circle considerations.

The full lists of nominations for each award show is below. Both productions are ongoing in New York City. You can buy tickets to SpongeBob SquarePants at the Palace Theater here and to Mean Girls at the August Wilson Theater here.

TONY AWARDS – The 72nd annual Tony Awards will air live on CBS on Sunday, June 10 at 8 p.m. ET

Best Musical

Mean Girls

SpongeBob SquarePants: The Broadway Musical

Best Performance by an Actor in a Leading Role in a Musical

Ethan Slater, SpongeBob SquarePants: The Broadway Musical

Best Performance by an actress in a leading Role in a Musical

Taylor Louderman, Mean Girls

Best Performance by an Actor in a Featured Role in a Musical

Grey Henson, Mean Girls

Gavin Lee, SpongeBob SquarePants: The Broadway Musical

Best Performance by an Actress in a Featured Role in a Musical

Ashley Park, Mean Girls

Best Book of a Musical

Tina Fey, Mean Girls

Kyle Jarrow, SpongeBob SquarePants: The Broadway Musical

Best Original Score (Music and/or Lyrics) Written for the Theatre

Jeff Richmond and Nell Benjamin, Mean Girls

Yolanda Adams, Steven Tyler & Joe Perry of Aerosmith, Sara Bareilles, Jonathan Coulton, Alex Ebert of Edward Sharpe & The Magnetic Zeros, The Flaming Lips, Lady Antebellum, Cyndi Lauper & Rob Hyman, John Legend, Panic! at the Disco, Plain White T’s, They Might Be Giants, T.I., Domani & Lil’C for SpongeBob SquarePants: The Broadway Musical

Best Scenic Design of a Musical

Scott Pask, Finn Ross and Adam Young, Mean Girls

David Zinn, SpongeBob SquarePants: The Broadway Musical

Best Costume Design of a Musical

Gregg Barnes, Mean Girls

David Zinn, SpongeBob SquarePants: The Broadway Musical

Best Lighting Design of a Musical

Kevin Adams, SpongeBob SquarePants: The Broadway Musical

Best Sound Design of a Musical

Brian Ronan, Mean Girls

Walter Trarbach and Mike Dobson, SpongeBob SquarePants: The Broadway Musical

Best Direction of a Musical

Tina Landau, SpongeBob SquarePants: The Broadway Musical

Casey Nicholaw, Mean Girls

Best Choreography

Christopher Gattelli, SpongeBob SquarePants: The Broadway Musical

Casey Nicholaw, Mean Girls

Best Orchestrations

John Clancy, Mean Girls

Tom Kitt, SpongeBob SquarePants: The Broadway Musical

SpongeBob SquarePants – The Broadway Musical for Everyone

DRAMA DESK AWARDS – TheaterMania will present the 63rd Annual Drama Desk Awards at 8:00 p.m. ET on June 3, 2018 at New York’s Town Hall

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Paramount’s Slate of Sequels, Animation, and Cross-Viacom Films Roars to Life at CinemaCon

by Stuart Winchester, Viacom

One of the most shocked-into-silence moments for the audience at Paramount Pictures’ CinemaCon presentation came when Tom Cruise, hero of five previously released Mission: Impossible films, recapped the intensity and challenge of conducting a freefall stunt for the franchise’s forthcoming sixth installment.

“Each take is like running an 800-meter sprint,” Cruise said. “We did 106 takes.”

This blunt understatement captures just one extraordinary moment in one forthcoming film from Paramount, the resurgent studio that over the course of that two-hour presentation unveiled or confirmed new installments to its cherished franchises, sequels to some of its most popular films from new and antique vintage, an aggressive Viacom co-branded slate through its Paramount Players division, a trio of animated adventures, and new films based upon a longstanding and expanded partnership with Hasbro.

“We’re laying the foundation…to deliver to you films for every possible audience for years to come,” Paramount Pictures Chairman and CEO Jim Gianopulos, who has spent the past year building a new management team for the studio, told the audience.

As we zoom (buckled up) toward the July 27 release of Mission: Impossible – Fallout, Paramount confirmed that many of its other most beloved franchises will soon get a new installment. Arnold Schwarzenegger and Linda Hamilton will return in a new Terminator movie next November. And Transformers, which has delivered five more or less contiguous sequels, will, as previously announced, dogleg off into Bumblebee, which hits theaters this Dec. 21.

Director Travis Knight showed off the first Bumblebee clip at the event, telling the audience, “I wanted to return to the essences of what made the Transformer franchise so impactful right from the beginning: character, emotion, spectacle and explosions, lots and lots of explosions.”

Many other films will get their first sequel, including the recently released hit A Quiet Place, 2013’s World War Z, 1988’s Coming to America (look for Coming 2 America), and, as previously confirmed, 1986’s Top Gun, which also stars original Maverick Cruise.

And before he drops a fourth Cloverfield movie on us at some as-yet-to-be-announced future point, J.J. Abrams’ Overlord will transport moviegoers into a bizarro version of behind-enemy-lines World War II on Oct. 26.

Beyond the realm of the sequel, the studio will drop fans into the labrynthian world of Dungeons and Dragons and the sci-fi realm of Micronauts, both through the studio’s partnership with Hasbro (the same partnership behind Paramount’s Transformers and G.I. Joe movies).

Other standalone projects will pit assassin Will Smith against a younger cloned version of himself in Gemini Man, and cast Mark Wahlberg and Rose Byrne as the overwhelmed adoptive parents of three in Instant Family.

Tapping Viacom’s deep content well to co-produce Paramount films has been a priority under CEO Bob Bakish, and the studio confirmed that one of Nickelodeon’s most resiliently popular characters, SpongeBob SquarePants, will return for his third big-screen adaptation, It’s A Wonderful Sponge, in 2020. The film will be one of three newly announced releases on the animation division’s slate, joining Luck – which exposes the millennia-old battle between organizations of good and bad luck – and Monster on the Hill, set in an alternative world of wrestling monsters. Additionally, the previously announced Wonder Park will debut next March.

Other top Viacom brands are joining Nickelodeon in collaborating with Paramount, through the Paramount Players division led by Brian Robbins and formed to further integrate the brands with the movie studio. In association with MTV, Eli, the story of a boy being treated for a rare disease in a clinic-cum-haunted-prison, will roll out in January 2019. BET will reconstitute the 2000 hit What Women Want with What Men Want, portraying a frustrated female sports agent who gains the power of mind-reading. Paramount Players is also working on Nickelodeon’s live-action Dora the Explorer and Are You Afraid of the Dark, both slated for 2019 release.

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Viacom Says “Yaaas” to Expansive First-Look TV Deal with Broad City Creators Abbi and Ilana

by Stuart Winchester, Viacom

Following the signing of expansive first-look deals with Tyler Perry and with Trevor Noah’s Day Zero Productions, Viacom has inked a similar comprehensive development agreement with Broad City stars Ilana Glazer and Abbi Jacobson. The move, which crosses all Viacom networks and grants first-look rights to television content created or developed by the pair together or individually, underscores the company’s commitment to identifying and forging close relationships with the best creatives in the industry.

Broad City’s Abbi and Ilana may appear to be aimless and full of hair-brained schemes, but Abbi and Ilana IRL have proven to be stellar creator/writer/performer/director/producers,” said Comedy Central President Kent Alterman. “Their supreme focus on telling new stories, in new worlds, with new talent is nearly scary.”

The expanded partnership further fills out a Comedy Central lineup that was already bolstered by a long-term first-look deal Viacom sealed with Daily Show host Trevor Noah last month. The agreement includes a Paramount Pictures film adaptation of Noah’s bestselling autobiography, Born a Crime: Stories from a South African Childhood.

Viacom CEO Bob Bakish has repeatedly expressed a commitment to better retaining homegrown talent, and the forming of these expansive cross-brand relationships with three of Comedy Central’s marquee names affirms that dedication.

The more intensive alignment with top talent is not limited Viacom’s current stars, however, as demonstrated by the expansive partnership the company signed last year with prolific writer, director, producer and actor Tyler Perry, granting Paramount Pictures first-look rights to his films and guaranteeing 90 episodes of annual content across BET and other Viacom networks beginning next year.

“By prioritizing efforts to work with the best, most versatile talent in the entertainment industry, we are better positioned to deliver must-watch content across our brands and platforms,” Bakish said at the time of the Perry announcement.

Glazer and Jacobson also announced that they will end the hilarious, quirky, two-time Emmy-nominated Broad City with its upcoming fifth season.

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