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:

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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.”

SpongeBob SquarePants’ Glittering, Inventive Set Design Wins Tony

by Stuart Winchester, Viacom

Glittering and inventive, a burst of pastels evoking its cartoon namesake, the set of SpongeBob SquarePants the Broadway Musical pumps riotous life into the critically acclaimed show. On Sunday evening, that backdrop, designed by Broadway veteran David Zinn, earned a Tony Award for Best Scenic Design of a Musical.

The set design, which The New York Times describes as “a bright, found-object aesthetic that mixes Pee-wee’s Playhouse, Etsy craft, classic MGM musicals and acid-house clubland,” marks Zinn’s second Tony (he earned top honors for Scenic Design of a Play in 2016 for his work on The Humans), and seventh nomination (he also earned a nomination for SpongeBob in this year’s costume design category).

The set bursts with an inventive array of found objects repurposed as SpongeBob’s undersea domain: pool noodles, floaty devices, shopping carts, umbrellas, surfboards. “In terms of influences, we referenced this sort of ’60s beach culture viewed through an ’80s sensibility,” Zinn told Time Out New York. “It was all about achieving beauty through a fun sensibility and simple materials.”

SpongeBob SquarePants, which earned a dozen total Tony nominations, is one of two current Broadway shows inspired by Viacom’s deep well of intellectual property. The other, Mean Girls, based on the 2004 Paramount Pictures film of the same name, earned 12 nominations. Both are an important part of Viacom’s deliberate strategic move into live events, where fans can connect with beloved characters in a new formats.

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.

From Props to Production Equipment, Nickelodeon Recycling Efforts Turn Trash into Treasure

The set is a key component of any television show. It’s a sometimes subtle, yet always vital backdrop upon which the characters play out their story. After all, what would Nickelodeon’s School of Rock be without a classroom setting, musical instruments and preppy school uniforms?

“Our sets are works of art,” said Patrick Garney, senior director of production for live-action series production at Nickelodeon, where he has worked since 2002.

Nick, like other Viacom brands, reuses these painstakingly designed sets wherever it can, so the keen-eyed may notice items from sketch-comedy classic All That tucked into the background of the network’s newer shows.

“We have an incredible reputation for making sure things get second, third and fourth lives,” said Garney. “Past that, we try incredibly hard to match items with local charities; lastly, we send them to charity thrift stores.”

If outdated items cannot be re-purposed for one of the aforementioned categories, the last resort  is to send them to the Dumpster. But Nickelodeon employees from various departments have worked to insert another option for old sets: donating the facades, along with any other useful material—props, hardware, etc.—to theater departments at Los Angeles public schools and select charities, an extra step that benefits not only the community and the environment, but, by cutting down on disposal fees, Nickelodeon and Viacom.

Lee Ann Larsen, executive vice president of production and live action for Nickelodeon, was impressed by the concept when a member of Garney’s team first pitched it to her.

“I immediately said yes,” said Larsen. “Our goal in the production department is always to be cognizant of the environment, and to encourage sustainability efforts.”

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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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Viacom to Launch Nickelodeon’s Preschool Video Subscription Service, NOGGIN, available on Amazon Prime Video Channels

Viacom will further accelerate its expansion on next-generation platforms by teaming up with Amazon to bring Nickelodeon’s NOGGIN to Amazon’s Prime Video Channels this May.

For $7.99 per month, young fans will be able to enjoy NOGGIN, an OTT product that provides curriculum-driven content to preschoolers, including: short-form videos; educational content; music videos featuring preschoolers’ favorite Nick characters; and over 1500 full-length library episodes of PAW Patrol, Dora the Explorer, Peppa Pig, Blue’s Clues, Max & Ruby, Go, Diego, Go! and Peter Rabbit, among others.

PAW Patrol episodes are featured on NOGGIN. Image courtesy of Nickelodeon.

“Our audiences continue to enjoy Viacom content in more places and with more flexibility than ever before,” said Tom Gorke, Executive Vice President, Head of Distribution and Business Development for Viacom.

“The availability of NOGGIN on Prime Video Channels will be a great new way for Nickelodeon fans to watch and interact with the best in preschool content on the popular Amazon platform.”

Along with the rapid growth of Viacom Digital Studios and recent acquisitions of influence marketer WHOSAY and online video conference mecca, VidCon, NOGGIN’s expansion on Prime Video Channels is another way that Viacom is strengthening its presence on key next-generation digital platforms.

Nickelodeon launched NOGGIN as a stand-alone app in February 2015, and the ad-free platform has since topped the charts of Apple and Google, ranking as one of the Top 10 Kids Apps on the App Store’s Free Apps chart, as well as being the no. 1 grossing app for Music and Video in the Family Category on Google Play.

Viacom’s KCA Ticket Winner on Her Experience, Instagram-able Pets and Viacom Pride

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.

This interview has been condensed for clarity.

Facebook post courtesy of Alexandra Neri.

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A New York Employee’s Walk Through the Wondrous World of Nickelodeon Animation in Burbank

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.

Burbank Animation’s on-site screening room:

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Nick Animation Dazzles with Content Celebrating Women’s History Month

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!”

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Nick International Highlights What #KidsCan Do With Nine Extraordinary Stories

by Stuart Winchester, Viacom

A 16-year-old girl in the United Arab Emirates organizes environmental clean-ups in more than 10 countries. A 13-year-old in the Philippines gives gifts and hygiene products to 10,000 street kids in his community. A 16-year-old who fled Syria starts a school for 200 children in his refugee camp.

These are three of the extraordinary youngsters that Nickelodeon International has partnered with KidsRights Foundation to spotlight through #KidsCan, an international campaign that will profile these inspiring stories for audiences around the world.

The campaign, part of Nick’s international Together for Good initiative, will air new monthly profiles, beginning this month and continuing through December, of these nine kids, each of which has been a finalist or a winner of KidsRight’s International Children’s Peace Prize.

“Nickelodeon is extremely proud to partner with KidsRights as we celebrate young people making the world a better place, one project at a time,” said Nickelodeon International Vice President of Corporate Social Responsibility Bradley Archer-Haynes. “Kids everywhere have the power to make a difference, regardless of age or location. We wanted to provide a platform to help amplify their stories, while pointing to resources that help young people remember they can do anything.”

Here’s a closer look at some of these incredible stories:

Kehkashan Basu – United Arab Emirates: 2016 Peace Prize winner focused on environmental sustainability.

Kesz Valdezn – Philippines: 2012 Peace Prize winner focused on child healthcare.

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