Viacom and NYC Service Help the Disadvantaged Pack for College

On Monday, June 11, Viacom interns and employees gathered in a pop music-filled conference room at the company’s Times Square headquarters. They had come to join Viacommunity – Viacom’s social-responsibility arm – to assemble duffle bags full of towels, sheet sets, laundry bags, comforters, backpacks and other items for disadvantaged college-bound students.

The two-hour event was part of Project Move-In Day, a collaboration between the Mayor’s Office of New York City’s NYC Service program, the New York City Department of Homeless Services (DHS), and corporations such as Viacom that aims to provide 150 homeless or disadvantaged students with a packaged bag of dorm necessities at a summer send-off reception honoring their hard work and dedication.

Viacom employee and intern voluneers at the company’s New York City headquarters help fill duffel bags for underprivilged college-bound students as part of a partnership with NYC Service.

Kylie Balogh and Gina Yoo from NYC Service led off the event by screening an inspirational video featuring a permanently wheelchair-bound girl expecting to attend college. She lives with her brother and grandmother in a shelter. In spite of all these challenges, she spoke in the most optimistic and engaging way, praising this organization and its support for her aspirations. She was certain that she would succeed. She is just one of hundreds of young individuals striving for greatness through DHS’ Future Leader Program. These teens may need assistance in getting from point A to point B, but, from the way this young woman spoke there seemed to be little doubt that once they arrived, they will achieve something special.

The volunteers, who came from two of Viacom’s New York City offices, worked with speed and efficiency, some focusing solely on packing or card writing, and others creating their own package from start to finish. The handwritten cards included supportive notes of praise and advice, emphasizing that these teens deserved this chance and predicting that they will do great things. A pizza party followed.

One of the many things that makes Viacom stand out as an employer is that it continually supports those in need while creating enjoyable experiences for volunteers who want to be part of those efforts. This bag-assembly event – part of Viacommunity’s year-round All Good, All Year initiative, which provides monthly employee volunteer opportunities – was a huge success. All participants seemed genuinely thrilled to be there and it generated the perfect opportunity for new hires and interns to get acquainted with one another and with Viacom’s philanthropic efforts.

Bellator Takes the Fight Online in Nine-Figure Deal with DAZN

by Stuart Winchester, Viacom

NEW YORK, NY – JUNE 26: (L-R) Quinton “Rampage” Jackson, Gegard Mousasi, Scott Coker, James Rushton, Rory MacDonald, Wanderlei Silva and Lyoto Machida attend the Bellator-DAZN announcement press conference on June 26, 2018 at Viacom in New York City. (Photo by Dave Kotinsky/Getty Images for Bellator MMA)

In recent months, Bellator MMA has crisscrossed the globe, hosting fights for its international fan base in such diverse locations as London (Bellator 200), California (199), Budapest (196) and Israel (188), among others.

Now, the Viacom-owned global combat sports franchise is queueing up fight cards for a totally new destination – online, via a nine-figure deal with international live sports streamer DAZN.

The streaming deal plants an important digital component into Viacom’s ever-expanding live-events business while expanding Bellator’s global footprint and injecting the league with the additional financial resources it needs to expand its roster.

Noting that Bellator had become a “significant revenue generator” since Viacom acquired the property eight years ago, Viacom CFO Wade Davis underscored the importance of live events to the company’s growth strategy.

“Viacom has led the industry in creating iconic, fan-centered events through MTV’s VMAs, the BET Experience that happened in L.A. last weekend, the CMT Music Awards, and Comedy Central’s Clusterfest,” Davis said, speaking at a press conference at Viacom’s Times Square headquarters announcing the DAZN partnership. “Nobody does live events the way we do, with the combination of a focus on brand, talent and sponsors, all expressed across multiple platforms.”

Bellator intends to invest at least some of the proceeds from this streaming agreement into its roster, enhancing the live experience with a dynamic group of fighters.

“This deal will allow the roster to continue to expand, and an expanded roster means bigger fights,” Paramount Network, TV Land and CMT President Kevin Kay said at the press conference. “It means we’ll be able to give our best fighters more opportunities to do what they do best. So more fights that the fans want to see. Everybody wins.”

While MMA fans in 162 countries can already view Bellator events through local television partners, this streaming agreement will add a popular online platform to the mix. DAZN has spent several years steadily building itself into an online destination for sports fans in Canada, Germany, Austria, Switzerland and Japan. With the Bellator deal – and a recent agreement that granted DAZN U.S. streaming rights to the World Boxing Super Series – the streamer is set to enter the United States in September. DAZN will also soon expand into Italy.

“On DAZN’s worldwide platform, our fights will be seen live for the first time to new audiences around the globe,” said Bellator President Scott Coker.

Under the agreement, Perform Group-owned DAZN will exclusively stream seven annual fight cards, and will simulcast another 15 that air on Paramount Network. All fights will stream in all DAZN markets.

“It’s simple; fans want to see great fighters in competitive fights so we’ve handed the keys to Scott Coker and his venerable team to go out and recruit even more top-level talent to further stack Bellator fight cards and build on their success,” said DAZN CEO James Rushton.  “With the combination of this investment and our recent announcement to bring more than 30 nights of boxing to the platform annually, DAZN will be a must-have for fight fans in the U.S.”

Read More

5 Questions With VidCon Co-Founder and Chairman Hank Green

VidCon, the world’s biggest conference for online video, was held from June 22 – 24, and Viacom showed up in a big way. Paramount Network hosted a panel on the power of storytelling. Nickelodeon held activations around Double Dare and Rise of the Teenage Mutant Ninja Turtles, plus a special appearance by JoJo Siwa. MTV, BET, Comedy Central and Velocity were also represented. Additionally, Viacom held a panel on the power of youth to create change to debut Viacom’s new global pro-social initiative, Generation Change. For this 5 Questions, we spoke to VidCon co-founder and chairman Hank Green to hear about the vision behind the event and where it’s headed next.

Video by Viacom Catalyst.

Yes, Women Can Have It All: Viacom and The Girls Lounge on Thriving in the Workplace

On a recent Friday, more than 600 Viacom employees, clients, and partners joined Viacom executives, as well as speakers from JP Morgan Chase, ColorComm, Refinery29 and WIE Network for The Girls’ Lounge. Co-hosted by Viacom and The Female Quotient, the event included a full day of panel discussions and professional coaching focused on work-life balance, leadership and diversity. Plus, attendees could schedule professional styling and headshots.

Viacom EVP and Chief People Officer Fukiko Ogisu (L) and Nickelodeon EVP and Chief Creative Officer Kim Rosenblum discuss the keys to leadership at Viacom’s The Girls’ Lounge panel event.

‘Having it all’ on your terms

The first panel, “Career on Fire: Engineering an Integrated, Rewarding Lifestyle,” focused on living mindfully as a professional with responsibilities outside the workplace.

The panelists: Viacom International Media Networks (VIMN) Senior Vice President Kate Laverge, Drop the Ball author Tiffany Dufu, Viacom Catalyst Senior Vice President Cheryl Family, and Human Resources Vice President Lisa Sipress. Brooke Ozaydinli, senior manager Viacom Marketing Strategy, moderated.

“How do you define having it all?” asked Ozaydinli to kick off the panel. “Do you think it’s even possible to have it all?”

Viacom hosted The Girls’ Lounge, a pop-up empowerment seminar, at Viacom Headquarters in May.

Laverge offered her opinion: having it all depends on individual objectives, values and ambitions.

“The question of ‘having it all’ usually speaks to the idea of wealth and riches, romance and family, and spiritual fulfillment, all at the same time,” said Laverge. “If that’s what ‘having it all’ means to you, that’s fine – but it should be an individual question versus a generalized notion.”

Sipress shared her views as a working mother.

“I struggle to have it all,” said Sipress. She discussed feeling guilty, and how she combats this guilt. Her resolution is to have a constant internal conversation around balancing work and personal responsibilities. Some days, Sipress said, work must come first. Other days, parenthood is the priority.

Dufu has evolved to believe this is an important question, especially for women. After connecting with women one-on-one, the author (who is passionate about helping women and girls advance into different levels of leadership) realized how much time women spend juggling different, unrelated tasks.

“Women are managing a lot of different things,” said Dufu. “Women are constantly negotiating between their ambition, their desire to get to the highest level of leadership and achieve mastery of their craft…I think it’s important to define ‘having it all.’ For me, it means having a career driven by my passion and purpose, having a healthy relationship with my partner, raising children who are conscious, global citizens, and being joyful and fit.

“I want all of those things at the same time; I feel I am entitled to all these things at the same time. But I can’t do it all in order to have all of that. I think it’s important to us to get really clear on what matters most.”

The takeaway: There are only 24 hours in a day so prioritize what matters most. Learn how to outsource the lower priorities. Avoid self-imposed perfection.

Drop the Ball author Tiffany Dufu speaks at Viacom Headquarters for a lifestyle panel at an employee event co-hosted with The Girls’ Lounge.

Read More

Paramount Network’s Yellowstone Draws 5 Million Viewers for Cable’s Best Scripted Drama Premiere Since 2016

by Stuart Winchester, Viacom

Following a strong ratings start earlier this month for American Woman, Paramount Network cemented its place as a premium content destination by drawing in more than 5 million viewers (live+3*) for the debut episode of Yellowstone.

The series – set in a rough-and-tumble modern day American West where John Dutton (Kevin Costner), proprietor of the nation’s largest ranch, faces constant land-use pressure from developers, Native American tribes and the neighboring national park – struck gold with viewers, landing as ad-supported cable’s most-watched scripted-drama series in more than two years (since FX’s The People vs. O.J. Simpson).

Among Yellowstone’s headline numbers: It is this summer’s No. 1 new drama on broadcast and cable*. The program drew a 1.1 rating with the 18-49 demographic, and an even more impressive 1.7 with the 25-54 age group. It has attracted more viewers than every World Cup game on Fox and FS1, every Major League baseball telecast, and every game of the National Hockey League’s Stanley Cup Playoffs, including the Finals. It is the most-watched program in the history of Paramount Network and its predecessor, Spike.

Paramount Network – Viacom’s newest net – has considerably strengthened Viacom’s position in the original premium content space since it debuted in January with strong ratings for its first original, Waco, a six-part miniseries revisiting the siege of the Branch Davidian’s Texas compound in 1993.

This string of early successes validates Paramount Network’s strategy of recruiting and investing in top talent to drive its productions. American Woman stars Alicia Silverstone, Mena Suvari and Jennifer Bartels. Taylor Kitsch and Michael Shannon headlined Waco. And Yellowstone stars Costner and is created, written and directed by Taylor Sheridan, a renowned filmmaker whose credits include the well-regarded Sicario, Hell or High Water and Wind River.

Yellowstone has everything a worthwhile Western should, including breathtaking vistas, battles over land and Kevin Costner in the lead role,” Lynn Elber wrote for the Associated Press.

“Yellowstone” premiered Wednesday, June 20 on Paramount Network. John Dutton (center – Kevin Costner), owner of the Dutton Ranch is surrounded by his ranch team (pictured l to r) Jamie Dutton (Wes Bentley), Lloyd (Forrie Smith), Fred (Luke Peckinpah), Lee Dutton (Dave Annable), Colby (Denim Richards) and Rip Wheeler (Cole Hauser).

By populating well-crafted stories with sought-after talent, the net has drawn viewers in with the sort of larger-than-television experiences that define this era of premium TV.

“I hope that the experience feels really fresh and cinematic and like a movie made for people who are sitting at home,” Sheridan told Indiewire. “That was the goal. So I hope that the scope of it and the energy and the emotion and the incredible talent of the cast, hopefully, they really leap from the screen and we have an impression that make people want to come back for more.”

New episodes of Yellowstone air Wednesdays at 10 p.m. ET/PT on Paramount Network.

* Nielsen, L3 data, CVG AA%; cable drama series premieres with Premiere indicator; 2018 entertainment telecasts=1/1/18-6/20/18 L3 P2+, excludes sports and news; sports comparisons L3 P2+ through 6/20/18;  Summer=5/24/18-6/20/18; L3; Premiere indicator; excludes repeats

5 Questions With CMT and TV Land General Manager Frank Tanki

June has been hectic for CMT and TV Land. Season 5 of TV Land’s original scripted series Younger aired earlier this month, along with the CMT Music Awards. And the highly anticipated mid-season premiere of Nashville on CMT aired on June 7. There are only a few episodes left until the series finale in July.

To talk about all this and more, we sat down with Frank Tanki, General Manager of CMT and TV Land. He shares his thoughts on the ratings success at both networks, and what fans can expect next.

Video by Viacom Catalyst.

CMT Awards’ Immersive Fans Festival Boosts Viacom’s Live Events Strategy

by Stuart Winchester, Viacom

More than 2 million fans dialed up the CMT Awards earlier this month, watching across three Viacom networks (CMT, Paramount Network and TV Land), as Blake Shelton took Video of the Year and Male Video of the Year for I’ll Name the Dogs, and Carrie Underwood carried Female Video of the Year for The Champion, featuring Ludacris. Little Big Town hosted. Dan + Shay scored an upset Duo Video of the Year win for Tequila. Luke Bryan, Dierks Bentley and Florida Georgia Line debuted energetic new singles. Even the Backstreet Boys picked up an award.

And don’t forget about the Royal Family spoof:

CMT Music Awards

But for some fans, that parade of star power across their screens just isn’t enough. For the second consecutive year, thousands of the most dedicated descended upon Nashville for the CMT Summer of Music Festival, which this year sprawled across three days and five events and drew an estimated 25,000 fans.

“Last year, we evolved the CMT Music Awards from a one-night-only-TV event into a multi-day festival spread across the city,” CMT General Manager Frank Tanki told Billboard. “It was a huge success with fans and advertiser partners alike, allowing everyone involved to experience CMT is an entirely new and powerful way.”

This multiday meeting of high-powered sponsors (Ram Trucks, Boston Beer, Kind Bar, Pedigree pet food), with rollicking events (a puppy festival, an emerging-artists concert, a taping of Crossroads, a block party), injects a multidimensional element into CMT’s marquee event.

Fans in Nashville for the awards would usually just “end up at the honky tonks on lower Broadway,” CMT Senior Vice President of Partnerships Adam Steingart told Variety. “But there’s so much more to provide to them that enhances the overall experience.”

NASHVILLE, TN – JUNE 06: Little Big Town performs onstage at the 2018 CMT Music Awards at Bridgestone Arena on June 6, 2018 in Nashville, Tennessee. (Photo by Jason Kempin/Getty Images for CMT)

This broadening of an annual awards show into an immersive fan adventure is a strategy long used by CMT’s fellow Viacom network BET, which hosts the four-day BET Experience (which is ongoing now through June 24 in Los Angeles), leading up to its annual BET Awards (this Sunday, June 24). This increasing focus on live events is in fact proliferating across Viacom, as the company increasingly diversifies outside of its core business under President and CEO Bob Bakish.

“Again, the events space in this fiscal year, every flagship brand [NickelodeonNick Jr.MTVBETComedy CentralParamount Network], will have an events in the U.S.,” Bakish told a gathering of investors at the Morgan Stanley Technology, Media & Telecom Conference in March. “That is something that was not true before. So, that’s Nickelodeon, that’s Comedy Central … So, that’s an important incremental activity and one that consumers and advertisers and for that matter, talent, like.”

Read More

Viacom Wins 90 Awards at PromaxBDA 2018

Viacom brands totalled 90 North America PromaxBDA Promotion, Marketing and Design Awards at a gala in New York on June 14.

Nickelodeon (21 awards), Comedy Central (27), the Paramount Network (7), Paramount Channel (6), BET (2), MTV (4), Viacom Velocity (6), Viacom Catalyst (1), Viacom18 (10) and VIMN (5) were widely represented across the Gold, Silver and Bronze awards in various categories for domestic and international productions.

Additionally, PromaxBDA honored Debra Lee, BET’s long-time former CEO, with its Lifetime Achievement Award for “her decades of achievement in our entertainment and media industry.”

Congratulations to Lee and to all of Viacom’s PromaxBDA winners and shortlist honorees. Take a look at the full list of winners for each division below:

Read More

Paramount Network Scores Year’s Top-Rated Scripted Cable Premiere Among Women

by Stuart Winchester, Viacom

American Woman premiered June 7 on Paramount Network. Pictured [L to R]: Mena Suvari, Cheyenne Jackson, Alicia Silverstone, Jennifer Bartels.

American Woman premiered on Paramount Network earlier this month, delivering viewers into a meticulously recreated 1970s Los Angeles, where emerging women’s empowerment clashed with the stubborn and smothering traditions of an old-guard patriarchy.

The series, starring Alicia Silverstone as a bold divorcée who struggles to raise two daughters after dumping her cheating husband, resonated immediately, drawing in more than one million viewers and establishing itself as the year’s highest-rated half-hour scripted series on cable in the key women’s 18-49 and 25-54 demographics. It was also the top social comedy series on Thursday night (per Nielsen).

That American Woman debuted to stellar reviews didn’t hurt. Silverstone especially has been a critical favorite.

“Plain and simple, Silverstone is perfect casting here, and she is great in this role,” wrote Decider’s Lea Palmieri. “She nails the humor, she looks fantastic, and she delivers the intended message and that go-getter attitude in her signature, captivating style. It’s enjoyable to see this woman in particular portray another woman who is as determined to start a new life as she once was to help a classmate become cool.”

Working alongside co-stars Mena Suvari and Jennifer Bartels, Silverstone struggles through a 1970s world that, in its musical score, its publicly abrasive treatment of women, its clothes and its cars, is as convincing as it is alien to an observer from 2018.

“The success of a period piece like American Woman, which deals with an era that at least some of its audience will have known in person, depends greatly on the quality of the atmosphere it creates,” writes MediaPost’s Adam Buckman, who counts himself among those who experienced the 1970s IRL. “This show gets an A+ in this department, including wardrobe, locations, cars and interior décor.”

Read More

Viacom Activates Powerful Studio Model Growth Driver As MTV, Nick Move Into Third-Party Production

by Stuart Winchester, Viacom

Pinky Malinky is an upbeat teenager who has a lot in common with his peers: he posts rabidly on social media, he hangs out nonstop with his two best pals, and he constantly must navigate the social pressures of school and life. But there’s one very important thing that will make Pinky unique among Nickelodeon characters (besides the fact that he’s a talking hotdog): when his show debuts later this year, fans will find him exclusively on Netflix.

But Pinky won’t likely be alone for long – across Viacom’s ecosystem, brands are digging into their vaults to identify intellectual property that could be an ideal fit for a digital or linear programmer outside of Viacom. MTV, under the banner of MTV Studios, is for the first time cracking open its rich, 35-year archive to offer its iconic, youth-centric content – Real World, Daria, Aeon Flux, the Emmy Award-winning Made, just to start – in new or reimagined form on non-Viacom platforms. In addition to strategically tapping the 200 titles in its massive library, MTV Studios will churn out new ones, including, to start, The Valley (working title), about a group of friends growing up in the U.S.-Mexico border town of Nogales, and MTV’s Straight Up Ghosted, in which victims of this mobile-age abandonment will confront their disappearing former intimates.

Similar efforts will follow at other Viacom networks.

This studio model – under which Viacom will license and produce new episodes of fully owned content for third parties – will present an enormous growth opportunity, as the company’s brands increasingly feed the insatiable global demand for premium content.

Viacom is uniquely positioned to do this. The company’s voluminous original content libraries house an enormous number of beloved properties that speak deeply to their fans. Its archives stretch back decades – and, in the case of Paramount Pictures, more than a century. Its properties resonate deeply with high-value audiences: kids (Nickelodeon), African-Americans (BET), youth (MTV), the LGBTQ community (Logo), and more. Viacom’s global footprint means that those audiences stretch across cultures and borders. As the first port-of-call for creatives pitching shows tailor-made for these audiences, Viacom’s brands are keenly aware of what is in the market. Its production expertise is second to none.

And even as these sorts of deals multiply, Viacom will retain all consumer products rights for all properties, fueling the company’s increasingly robust consumer products operation.

The possibilities for third-party licensing and production are practically limitless. Pinky Malinky – which will feature Nick branding at the show open and embodies Nickelodeon’s patented spirit of fun and surprising stories and characters – is just the first of up to a dozen properties that the brand is positioning for reboots or co-productions this year alone.

Valen-time to hang out with my best friends! ❤️❤️ @babs_buttman @jj_james0n

A post shared by Pinky Malinky (@pinky_malinky) on

“Proliferating distribution platforms create incremental demand for VIAB’s [Viacom’s] content because high-quality branded content is one of the most valuable forms of differentiation for competing distribution platforms,” Needham declared in a bullish March analysis of the company’s stock. “VIAB’s film and television libraries represent differentiated, globally scalable, long-lived content.”

Take, for example, Jack Ryan, the Tom Clancy action hero who fought his way through five Paramount Pictures films, starting with 1990’s The Hunt for Red October. The quintuplet of movies grossed hundreds of millions of dollars and still carries strong brand recognition and a built-in fanbase. But while there is no obvious basecamp for Ryan within Viacom’s current brand archipelago, his bulletproof vest is a perfect fit for Amazon Video, which will debut the 10-part Jack Ryan series in August.

This branching out into third-party content production has been subtly underway for some time, both in the United States and abroad. Paramount Television, the production arm of Paramount Pictures that is producing Jack Ryan, has quietly built a $400 million-per-year business from scratch by producing premium content like Netflix’s 13 Reasons Why and USA Network’s Shooter.

In May, Viacom International Studios (VIS) united the extensive production capabilities of wholly Viacom-owned Argentinian broadcaster Telefe and majority-owned Brazilian comedy brand Porta dos Fundos with Viacom’s Miami-based production operations, creating a multi-lingual machine that will develop, produce and distribute original content around the world. A matrix of SVOD, pay TV and free-to-air distribution deals will place VIS-produced long-form series (Borges on Netflix in Latin America), cinematic adaptations (Telefe’s Animal on Fox Networks’ platforms in Latin America), telenovelas (Vikki RPM on Caracol Televisión in Colombia), and co-productions (Club 57 on Rainbow Group in Italy and Nickelodeon elsewhere) in diverse markets and maximize the potential of formerly regional or local properties.

These licensing deals will therefore sprinkle tastes of Nickelodeon and MTV and Telefe and other Viacom properties throughout the global content ecosystem, while segmenting the full brand experience for consumers who subscribe to a Viacom linear or digital distributor. Even so, this nascent third-party production is already acting as a powerful growth driver as Viacom diversifies outside of its core television business under President and CEO Bob Bakish.

“Building on the success of Paramount Television and Telefe’s quickly growing production business, we’re going to much more aggressively tap into the huge demand for content and unlock more of our IP and production and creative capabilities to drive incremental revenues from third-party platforms,” Bakish said on Viacom’s second-quarter 2018 earnings call in April. “This isn’t just an idea. … there is a lot of interest from SVOD partners in licensing library properties from MTV and Nickelodeon IP for brand-new interpretations. At the same time, we’re also developing new IP for the sector and have already closed deals for brand-new original Nick IP and animation with third parties and we see more in the pipeline.”