It’s official: The Moon Person has landed on East Coast soil. On April 17, New York City officials and MTV celebrated the return of the MTV VMAs to New York’s Radio City Music Hall—home of the inaugural VMA ceremony in 1984.
A symbolic “moon landing” was held on Manhattan’s Avenue of the America’s under the venue’s marquee to commemorate the reunion of MTV and NYC.
Mayor’s Office of Media and Entertainment Commissioner Julie Menin today joined the iconic VMA Moon Person; Bruce Gillmer, Global Head of Music/Talent, Co-Brand Lead, MTV International; and Darren Pfeffer, Executive Vice President of MSG live, to announce the location of the 2018 VMAs. (Photo by Dia Dipasupil/Getty Images for MTV)
“New York City’s creative energy has always fueled those who live and work here. This is where music, film, and art collide and where the Video Music Awards were born,” said Mayor de Blasio. “There is no better place to host the MTV VMAs than in New York City at one of the most iconic venues in the world.”
BET is in tune with what African-American viewers want: high-end drama and comedy, along with more refined reality and hard-hitting investigative documentary series.
On Wednesday, April 17, BET announced its upcoming slate of programming for 2018-2019, which will include all-star talent and a dramatic increase in original content.
“Creating powerful, engaging and provocative content has been BET Networks’ legacy for decades,” said Connie Orlando, Head of Programming, BET Networks. “With the increase in our original programming slate for 2019, we’re committed more than ever to telling the most compelling and authentic stories about the Black experience.”
Paramount Pictures’ Boomerang has boomeranged back from Viacom’s deep library
Eddie Murphy’s 1992 film Boomerang is being modernized into a 30-minute comedy series, which BET will partner with Paramount TV to produce. The show mines evergreen themes from the OG film like office politics, shown through the lens of today’s culture. Expect to see plotlines develop around gender roles and the relationship between Gen-X and millennials in the workplace.
Alexandra Neri, who works as a dubbing manager for Paramount’s Worldwide Distribution group, is the latest lucky Viacom employee to score free tickets to a tentpole awards show.
Below, she tells us what it’s like to win an employee sweepstakes, how impressed she was by the Nickelodeon’s “top notch” production, and why she’s proud to work for a company that let’s its employees engage in the magic of live events.
In March, I visited the home of Nickelodeon Animation in Burbank. I had seen photos and video footage of the pristine site after its renovation in January 2017, and was eager to appreciate its innovative features in real life.
After arriving at the front gate, a tall metal structure off Olive Avenue, I entered into a sprawling menagerie of botanical wonders, stone statues of iconic Nick characters like SpongeBob, retro-looking lawn furniture in splashy shades of orange, pink, green and blue; honey bees and towering palms.
And this is just the courtyard.
The five-story building has a free-form layout; its floor-to-ceiling glass walls serving as a circulatory system for creative collaboration. The campus seamlessly connects animation and live-action studios with offices, a café, screening room, employee lounges and more pockets of relaxation and entertainment.
Fresh off a successful launch for the Paramount Network, Viacom’s portfolio of adult channels (Paramount Network plus CMT and TV Land), just wrapped the quarter with strong ratings growth – in some cases, the highest in several years, making an essential contribution to the company’s ongoing transformation.
CMT secured its 16th consecutive month of year-over-year ratings growth. TV Land stamped out its best ratings month in more than four years. And Paramount Network debuted its premium content to enormous ratings gains over its predecessor network.
“As we look at how Viacom is performing domestically, there have [been] huge properties and huge networks, and I don’t see that changing,” Frank Tanki, who acts as general manager for CMT and TV Land, recently told Broadcasting & Cable. “We’ve got a lot of support from a lot of the Viacom management team, so I feel good about our future.”
Paramount Network – originals are connecting with new viewers
Driven by the success of the critically-acclaimed scripted event series Waco and anchored by returning hits Lip Sync Battle, Ink Master and Bar Rescue, Paramount Network’s original series are up 94 percent versus a year ago, with significant increases in both live and delayed viewing versus the prior quarter.
“Our goal this quarter was to introduce the channel to new viewers and begin to establish it as the home for premium scripted series,” said Kevin Kay, president of Paramount Network, CMT and TV Land, in a recent email to staff.
Paramount Network’s lineup of premium, high-quality series really gets moving this summer with the launch of several highly anticipated new series, including the sweeping epic drama Yellowstone starring Kevin Costner and written and directed by Taylor Sheridan (Wind River, Sicario, Hell or High Water) on June 20 and American Woman starring Alicia Silverstone and Mena Suvari launching June 7. Later this summer, the dark comedy Heathers and Rest in Power: The Trayvon Martin Story, from producer, Shawn “Jay Z” Carter, will debut. Carter’s most recent project for the network, TIME: The Kalief Browder Story, garnered a prestigious Peabody Award.
CMT – connecting with fans onscreen and off
Driving the ratings growth at CMT is a pivot toward the unscripted fare that its core fans react to so strongly (like most Viacom networks, CMT has drastically reoriented itself since CEO Bob Bakish took the helm in late 2016). Country music remains front and center, with music series and specials including, CMT Crossroads, and Hot 20 Countdown garnering their highest ratings in several years, while CMT Artists of the Year, nabbed its highest ratings ever.
The network tapped The Hills and Laguna Beach creator Adam DiVello for Music City, which documents five scrape-your-way-to-the-top strivers trying to insert themselves into Nashville’s music scene. CMT has a new slate of unscripted originals that will begin rolling out this year, including fan-favorite Wife Swap. With the hugely popular scripted hit Nashvillewrapping up its sixth and final season in July, this unscripted slate provides a clear path forward for CMT.
“So these are the kinds of ideas that I think make more financial sense for a network,” Kay told Adweek. “If you pick the right properties, you don’t have to be spending millions and millions of dollars an episode to bring an audience to a channel.”
With steady ratings growth anchoring the core television business, CMT’s leadership has begun exploring more ways that they can sync with Viacom’s company-wide focus on growing its live events business (all six of Viacom’s flagship networks – BET, Nickelodeon, Nick Jr., MTV, Paramount Network, and Comedy Central – will host live events this year). Last year’s CMT Music Awards rippled out into a three-day festival in downtown Nashville, and the net plans to expand its CMT on Tour and CMT Next Women of Country Tour.
“There’s so much opportunity in the space,” Kay told Adweek. “We should be in the CMT festival business, [to] which we’re getting very close.”
TV Land – modern pop culture classic series is appealing to more viewers
TV Land’s mix of beloved modern pop culture classic series is connecting with fans. Driven by the strong performance of Roseanne, Mom, King of Queens and Everybody Loves Raymond, the net ranked as the 15th highest-rated channel on all of ad-supported cable in March.
With momentum building toward the new seasons of Youngerand Teacherson June 5, TV Land is likely to continue its tremendous momentum over the summer.
“TV Land is just a great workhorse, and I think that there is still growth for our two originals, Younger and Teachers,” Tanki told Broadcasting & Cable. “Younger this past summer is coming off its highest season ever, which in a multi-season franchise is really exciting. Teachers is another really hysterical series that we want to get out there. So for TV Land, it’s a little bit of if it’s not broke, don’t fix it.”
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 Showhost 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.
When Time: The Kalief Browder Story debuted last March on Viacom’s Spike (now Paramount Network in the U.S.), it recounted the youth’s tragic incarceration and helped mobilize the movement to shut down New York City’s notorious Rikers Island prison. Now, the Peabody Awards, which salute compelling and crucial forms of digital storytelling, have nominated the six-part miniseries in its Documentary category.
Browder was 22 when he committed suicide after spending over three torturous years incarcerated on Rikers Island for allegedly stealing a backpack at age 16. His trial was repeatedly delayed until charges were dropped. He left prison with crippling PTSD—which ultimately led to his death by suicide.
In the last week, Paramount Pictures’ A Quiet Place won the domestic box office and MTV’s Jersey Shore Family Vacation rolled to the strongest unscripted cable debut in six years. The efforts provide commercial evidence of Viacom’s ongoing transformation – fueled by wide-ranging creative investments in talent, programming, and marketing.
The chart-topping numbers are especially encouraging in a media environment of ever-more-elusive audiences. The divergent paths to success of these two properties – A Quiet Place delivering something novel by elevating a horror story to a genre-busting blockbuster that appeals to all audiences, Jersey Shore Family Vacation building on MTV’s deep well of intellectual property to connect with its core demographic – underscore the way in which a creative renaissance is driving Viacom’s growth.
Marketing a near-silent film in an era of loud
Making a bet on the film’s potential playability, Paramount unveiled A Quiet Place at SXSW to great response. The highly original film immediately started compiling incredibly strong reviews. A clever marketing campaign then helped launch A Quiet Place to a $50.3 million opening weekend, good for the second-best domestic opening of 2018 (behind Black Panther). With a $17 million budget, the Platinum Dunes-produced and John Krasinski-directed film is a validation of Paramount’s reoriented slate and refreshed marketing approach under CEO Jim Gianopulos, who joined the studio last year.
“An innovative concept, with great talent both behind the camera and in front, and a savvy distribution and marketing plan led to Paramount’s biggest opening since 2016,” wrote Viacom CEO Bob Bakish in a staff memo about the film’s success.
Building strong relationships with talent has become a particular focus for Viacom under Bakish, and Krasinski, who will produce and star in the Paramount Television-produced Jack Ryan for Amazon and co-created Paramount Network’s hit show Lip Sync Battle, demonstrates the enormous cross-brand potential that forming such deep relationships can yield.
A Quiet Place’s unique storyline – featuring a family tiptoeing through a post-apocalyptic world infested with insectoid monsters that will devour anyone who makes a sound – created an opportunity for Paramount to execute an equally original pre-release marketing plan. They delivered: moviegoers in nearly 100 theater chains caught the sonically attuned monsters devouring noisy spectators in pre-show spots, with the stern warning that “the movie theater should be A Quiet Place.” A pre-Super Bowl ad, a launch of the second trailer on Ellen, and a kick-off spot and accompanying stunts at the SXSW Film Festival primed diverse audiences for the film’s release.
“Paramount’s reconstituted management team is focused on allowing great filmmakers to make great movies, and then doing everything we can to support those movies,” said Paramount Pictures Chairman and CEO Jim Gianopulos. “In A Quiet Place, we did exactly that: We gave a talented young director license to put together something unlike anything else out there, and then threw our marketing and distribution expertise behind the project.”
Tapping an iconic property to connect with a core audience
Jersey Shore Family Vacation had less work to do in the name-recognition department, as its iconic predecessor, Jersey Shore, had long ago etched its cast into the cultural conversation. The unknown was whether this fist-pumping bunch, six years older and reunited in the beaches and bars of Miami, would still connect with audiences.
It did. The show’s nearly 10 million total viewers and 4.2 average rating in the core 18-34 demo on live-plus-three-days metrics made Jersey Shore Family Vacation the most-watched unscripted debut on U.S. cable since 2012. The original Jersey Shore had ignited a global franchise – with spin-offs in the UK, Spain, Poland and Mexico, plus the recently launched hit Floribama Shorein the U.S – and the cast’s return resonated globally, with the premiere airing in nearly 180 countries and territories.
The strong ratings complemented a seven-hour trending run on Twitter and acted as an emphatic endorsement of MTV’s revamped creative direction under President Chris McCarthy. Under his leadership, the network has grown ratings for three consecutive quarters for the first time in seven years behind a blend of revitalized franchises, returning classics and original programs.
“MTV is about celebrating youth culture and music where talent and creativity unite to produce content that resonates across generations,” said McCarthy, who also oversees VH1 and Logo. “Jersey Shore Family Vacation and the new Floribama Shore demonstrate how MTV can harness our heritage to create programming that appeals to a mass audience while serving as a great launching pad for our new series.”
Viacom celebrated Women’s History Month with events and activations throughout the company, including a global cross-brand collaboration for International Women’s Day on March 8, and employee events (including an employee Art Exhibit) sponsored by HERE, Viacom’s resource group for women.
Women’s History Month is especially fascinating at a creative company like Viacom, as different brands and divisions offer bespoke contributions to honor women’s achievement.
Take, for example, Nickelodeon’s Culture & Digital Community team in Burbank, which collaborated with their in-house archives team to curate and create a selection of digital content for the Nick Animation social media pages to honor women in Nickelodeon cartoons throughout March. Selections of their work are highlighted below.
Charlotte Pickles by Alison Loccrichio | Nick Animation
This one, created by intern Alison Loccrichio, sketches a magnificent portrait of her “favorite boss” Charlotte Pickles (who was indeed a boss; I can’t recall a single episode of The Rugrats where she was not dressed in a power suit with a ‘90s-era cell phone permanently attached to her ear), as part of a Women’s History Month series, “featuring pioneering Nickelodeon animated characters”:
Yes, Charlotte Pickles was truly a pioneer.
Grey Griffin Voices Lola, Lana and Lily from the Loud House | Nick Animation
Here’s another, featuring Grey Griffin, the actor who gives voice to Lola, Lana and Lily on The Loud House. “There’s always room for talented people,” said Griffin. “Don’t let anyone discourage you by telling you what a ‘small world’ it is. I mean, it is a tight circle, but if you’re good enough, the circle will widen!”
With hits such as 13 Reasons Why, The Alienist, Grease: Live and the upcoming Tom Clancy’s Jack Ryan, Maniac and Catch-22, Paramount Television is creating compelling content spanning multiple networks and platforms. We sat down with Amy Powell, President of Paramount Television and Digital Entertainment, to learn more about her group’s approach to storytelling, the audiences they reach and what they have planned for the future.