Behind a wide-ranging slate of live-action and animated shows, Nickelodeonswept ratings compilations of the top 10 children’s programs for the first quarter of 2017 among kids 2-11 and 6-11.
The accomplishment continues a torrid winning streak for Nickelodeon, which marks its third year as the top kids’ network among kids 2-11 and preschoolers. This is Nick’s seventh consecutive quarter winning those two demos, and its second in a row among kids 6-11. Ratings grew among all three demos during the quarter.
“When they sent me to Rikers Island, I was 16. I would say it was like hell on Earth. Sometimes, you know, I feel like I’m never going to be the same. You know, I smile, and I joke a lot. But, you know, deep down, I’m a mess because like I’m 21, and on the inside I feel like I’m 40.” – The late Kalief Browder – Time: The Kalief Browder Story
Spike’s documentary series Time: The Kalief Browder Story exposes our broken U.S. justice system through the tragic story of Kalief Browder—a young black man who committed suicide in 2015 after spending three years on New York City’s Riker’s Island prison for allegedly stealing a backpack.
Image courtesy of Spike.
Browder fought to clear his name until he could not fight any longer. With help from public officials and other media outlets, Spike is picking up where he left off.
Behind an outstanding slate of animation, young children’s programming, and special activations, Nickelodeon locked in 18 nominations for the 2017 Daytime Emmy Awards, a rousing affirmation of the net’s broad impact and influence on the television landscape. MTV’sTransformation, which documents the struggles of young transgender individuals, grabbed an additional nomination, bringing Viacom’s total to 19.
Orange blimps invaded Los Angeles, along with a deluge of slime, stars, and surprises, for the 28th annual Kids’ Choice Awards earlier this month.
Nickelodeon’s 2017 Kids’ Choice Awards juxtaposed beloved mainstays (green goo, orange blimps, and celebrity guests) with cutting-edge elements. Stars shot out of an orange slide to get onstage. A drone circled the audience at the University of Southern California’s Galen Center, affixed to an orange blimp, snapping shots of fans and posting them to a second screen in the arena. A “live set” of real kids posing as stage props capped off the ultimate fans-first experience.
“Growing up, my mother was always saying that [if] any of her child become gay or lesbian, she would take them out personally,” says the unidentified man in the red tank top, his head sliced from the camera shot. “Meaning she would kill us herself.”
Facing these sorts of attitudes and resorting to clandestine behavior are the reality for the LGBT community in Jamaica, where same-sex relations are scorned by an enormous chunk of the population: more than 80 percent, according to a new video from Logo’sGlobal Ally campaign and the Where Love Is Illegal organization, believe that homosexuality is immoral. And while homosexuality is not illegal, “acts of gross indecency” – intimate relations between members of the same sex – are.
The Jamaica that unfolds on the video is a brutal realm where LGBT individuals often live in constant fear of violence, exiled from their families, unemployed and uneducated because they are forever shunning public places.
In an atmosphere so tainted, why, then, would anyone come out at all?
“Our personal stories, which display our humanity, are very important, because it’s not real to Jamaican people unless they know somebody who’s part of the community,” says one man, echoing Logo’s position that increased visibility of LGBT individuals – whether in one’s personal life or the media – is the best way to diffuse homophobia.
Baywatch is sprinting back up the beach this spring to a Paramount feature film, led by Dwayne Johnson (Mitch Buchannon) and Zac Efron (Matt Brody), the all-business vet and the brash newcomer, whose brewing rivalry is subdued by a joint mission to save the bay from criminal scheming.
There are leaping jetskis, gun fights, and gun fights on leaping jetskis. There are daring rescues and dives from moving motorcycles into the water. There are drugs and dumped bodies and a ruthless ringleader at the head of it all. And there are the humor-laced moments of quirk and vanity that make Baywatch everything fans would expect it to be: Buchannon critiquing a sand-carved effigy of his physique, a drowning woman pummeling would-be rescuer Brody, a lifeguard tryout involving two refrigerators mounted to a carrying pole.
Johnson and Efron bring good company along on the ride: Priyanka Chopra, Alexandra Daddario, Jon Bass, Kelly Rohrbach and Ilfenesh Hadera. Baywatch, directed by Seth Gordon, hits theaters on May 26.
Ahead of the film’s wide release next week, Paramount aired the first five minutes of its highly anticipated Ghost in the Shell film adaptation in a Facebook Live stream earlier today. [Slide to 1:30 to begin watching the preview.]
This is our first extended look at Scarlett Johansson as cyber-enhanced asskicker Major, an impossibly fluid super soldier who leaps off skyscrapers and bursts through glass in a terrorist-levelling, guns blazing, ninjitsu-flipping onslaught heavy on violent efficiency and devoid of mercy.
It isn’t clear from this opening scene exactly who dispatched the machine gun-equipped gang that Major pulverizes, although the shadowy Hanka Robotics is mentioned by an expiring kabuki robot. What is clear is the stunning future setting, a towering urban techtopia of building-sized holograms and ubiquitous robots, where wired humans download the entire French language into their brains in a few beats of song and an entire building’s security network can be scanned in moments from a virtual headset.
But that world is a backdrop to the story of Major, a one-time human whose body was so damaged in an accident that it was replaced with her exoskeleton – or so she was told. “Who is the Major is a good question,” says Johansson in the clip below, “and this film is really about the journey of self-discovery for the character.”
The Rupert Sanders-directed film, which costars Pilou Asbaek, Takeshi Kitano, Juliette Binoche and Michael Pitt, will open in theaters nationwide on March 31.
Viacom’s newest virtual reality (VR) project is an exploration unlike any other. The Melody of Dust transports you to a castle-like world where every object you encounter (a rose found in a bedroom; a dove descending from the heavens) has a distinct melody to discover and unlock. It blends music, video and gaming into an immersive, interactive experience so groundbreaking that Rolling Stone dubbed it a “new art form.”
Tim Robinson and Sam Richardson have inherited a once-great Detroit ad agency on Comedy Central’s hilarious new series, Detroiters. Photo from Comedy Central Press.
They crash the steakhouse luncheons of high-flying auto executives. They know the local garbage truck drivers by name. They’ve devised elaborate rituals around bathroom breaks.
They are Detroiters, and they have landed at Comedy Central with a new half-hour show, bringing delighted reviews along with them.
Starring Sam Duvet (Sam Richardson – Richard Splett on Veep) and Tim Cramblin (Tim Robinson – Saturday Night Live), both alumni of the famed Second City comedy club (watch them here), and native Detroiters themselves, the comedy delivers plenty to satisfy critics, fans, and native Michiganders:
1) It’s hilarious
The duo inherited a Detroit advertising business when Tim’s father “went insane.” Their office, bedecked in the drab and lightless décor of some long-ago era, has been emptied of most employees and all major clients, which once included such blue chips as Budweiser and Delta Air Lines.
Despite occasional zealous pursuits of big-name clients, they remain hapless and amusingly frustrated. It often feels as though Sam and Tim are a couple of amped-up teenagers left unsupervised while dad is off for a brief business meeting – in the first episode, the duo is sidetracked from an urgent deadline by an extended experiment to shatter the “unbreakable” glass panel beside Tim’s office door.
Such mishaps are unending. They run over a Chrysler executive on a way to pitch him. Sam is mistaken for a male prostitute – and rolls with it. A shoot promoting a mirror store is botched – because Sam and Tim are reflected in all of the shots. Their film school editor transforms a kitschy hot tub commercial into an art-house meditation on life and middle age and makes their client – Eddie Champagne, the hot tub king of Detroit – look like a creep.
That Sam and Tim remain so rambunctiously unselfconscious throughout these shenanigans, and that they keep trying to win business and remain friends, balances the absurdity with an endearing dimension. “The new Comedy Central series … is also an opportunity for Richardson and Robinson to dive into absurd situations and physical comedy with an admirable lack of inhibition,” writes Vulture’s Jen Chaney. “There is no ridiculous moment whose boundaries can’t be pushed that much further, into even more ridiculous territory.”