Sherlock Gnomes Tracks Down Free Screening for Local Youth

Rather than heading home to relax in air-conditioned apartments or neighborhood bars after work on Wednesday, July 25, a group of Paramount Pictures employees chose to spend the night volunteering outside in the summer heat.

Embracing the Viacommunity spirit of “All good, all around,” Paramount’s volunteers gave back to kids in their local community with an evening of activities and an outdoor screening of Paramount’s animated flick Sherlock Gnomes at Los Angeles’ Lemon Grove Park.

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Paramount’s “Crown Jewel” Mission: Impossible – Fallout Rides Rave Reviews to Record Opening

by Stuart Winchester, Viacom

Like Ethan Hunt prevailing in a helicopter chase through a mountain obstacle course, Mission: Impossible – Fallout won the weekend box office with a franchise-record $61.5 million debut in the U.S. and Canada. An additional 36 international markets added $92 million, bringing the well-reviewed sixth installment of Paramount Pictures’ action institution to a $153.5 million worldwide total – also a record – in its opening weekend.

Featuring a dazzling array of HALO-jumping, motorcycle-crashing, bathroom-smashing stunts in a round-the-world freefall of unrelenting action, the sixth entry in the Mission: Impossible series drew raving critical reaction from its first premiere earlier this month. Fans of the series clearly noticed, chasing the action into theaters.

“The Mission: Impossible franchise is a crown jewel for Paramount Pictures,” box office analyst Paul Dergarabedian told Variety. “There is a long track record that shows that they can rely on Cruise and his creative partners to deliver time after time. As long as Cruise can keep delivering the goods, Mission: Impossible is an annuity that will keep paying dividends for both Cruise and Paramount for years to come.”

Viacom Intern to Full-Time: Paramount Pictures Executive Assistant Erika Sanchez

In the latest installment of Going Places, we get to know Paramount Pictures employee Erika Sanchez, who works as an executive assistant to Liz West, executive vice president of International Marketing, Communications, & Home Media, Paramount Pictures. Prior to starting in her current role, Sanchez interned for Paramount Pictures, at its International Publicity department. 

Prior to starting in her current role as an executive assistant, Erika Sanchez interned for Paramount Pictures at its International Publicity department.

Campus to Career: Hi Erika, we’re so excited to hear your story! Can you share a bit about your background?

ES: Sure! I am originally from Los Angeles and graduated California State Fullerton with a major in communications, and minors in cinema and television arts. Since graduation, I have been working as an executive assistant to Liz West at Paramount Pictures.

What are some of your favorite aspects of working at Paramount?

Paramount was the first studio that I gravitated towards. I appreciate the connection Paramount shares with Viacom, and the closeness it has to the television side of the entertainment business.

At first, I was unsure whether I wanted to go into film or television, and Paramount’s relationship to Viacom let me to see how synergistic both worlds can be. The culture at this company is amazing.

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Viacom Diversifies Vendor Pool, Echoing Internal Culture

by Stuart Winchester, Viacom

Viacom content rolls from screens across more than 180 countries and in dozens of languages, reaching more than 4 billion subscribers. Every single piece of this content is the result of dozens or hundreds or thousands of workers who do everything from directing to producing to lighting to catering to set design – and most of them do not work directly for Viacom; they work for independent companies, vendors that Viacom contracts to execute the particulars of production or logistics or supply delivery.

This enormous footprint presents Viacom with an equally enormous opportunity: to proactively seek out diverse suppliers, echoing the company’s varied programming and strong internal culture of diversity and inclusion.

Under the company’s new supplier diversity initiative, led by Viacom’s sourcing team and its Office of Global Inclusion, the company is doing exactly that, actively forming new partnerships that are broadening opportunities for minority-owned shops while bolstering Viacom’s own business by offering a wider array of creative perspectives.

“When you look at the amount of spend we generate both through media networks and Paramount, it’s an incredible opportunity to diversify our partnership base,” said Viacom Executive Vice President and Global Head of Inclusion Strategies Marva Smalls.

Identifying diverse partners

The first step to diversification was to simply catalogue Viacom’s current vendor pool, a massive undertaking. Aside from changing internal procedures to document whether incoming vendors are diverse, Viacom joined several minority-focused councils that work with certified (meaning the businesses are at least 51 percent minority-owned) suppliers: the women’s business council WBENC, the LGBT business advocates NGLCC, minority supplier group NMSDC, and representatives of people with disabilities and disabled veterans Disability:IN (formerly USBLN). So far, approximately 1,100 of Viacom’s vendors have either self-classified themselves as diverse or fit into the rubric to be certified by one of these organizations.

The reach of these certifying councils is substantial. The National LGBT Chamber of Commerce (NGLCC), for example, which claims to represent the interests of more than 1 million LGBT U.S. business owners, which it can connect with Viacom via networking events and access to its deep database.

Viacom’s goal is to form long-term, immersive partnerships with each organization, underscoring for their members the company’s sustained commitment to diversity. Building such a network also creates an echo affect, a sort of street cred where partner companies validate Viacom’s commitment not just to diversity, but to supporting the small businesses that most of these operations are.

“If you have that local production company that says, ‘I’m in business with Viacom, and as a result, that allows me to hire more people for my community and where I’m located,’ ultimately, the community will see that,” said Smalls. “We need to be viewed as a company that’s not just taking up space in the community, but actually taking the time to identify small businesses.”

Viacom is also coordinating with its peers to identify minority-owned businesses. Last year, Viacom co-hosted a networking event with Disney, Time Warner, CBS, NBCU and others, during which minority-owned vendors could meet representatives of many large companies at once.

Sometimes a nudge is all you need

One initial contract with a major corporation can be the catalyst for tremendous growth. “The whole purpose behind vendor diversity is to help put a seat at the table for the new, innovative company who deserves a fair shot,” said Jonathan Lovitz a senior vice president and former director for NGLCC New York (and also a former Logo personality) . “Our partners at all of our organizations that advocate for diverse-owned companies can each point to the day everything changed for a small business because they earned a chance to be seen by an inclusive industry leader like Viacom.”

Take, for example, Jax Media, a New York City-based, minority-owned production shop. The company parlayed a single off-the-air Comedy Central presentation a decade ago into production of multiple series for the network, including hit series Broad City. The company also produces TV Land’s Younger and has collaborated with MTV and Paramount Network.

“We make sure there is an eye toward creating a diverse culture and environment,” said Megan Ring, senior vice president and head of production for Comedy Central and senior vice president of scripted production for Paramount Network and TV Land. “Jax Media’s owner, Tony Hernandez, was just a producer in New York with some great ideas and a different way of thinking. We struck up a relationship and we were willing to take some chances to learn from him, and he was at the same time able to take advantage of access points to Viacom.”

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Fourteen Years Later and Not a Day Older, Rugrats Return to TV, Theater

by Stuart Winchester, Viacom

Over the course of a nine-season, 13-year television run that also included three motion pictures, Nickelodeon’s beloved Rugrats crawled and waddled their way to four Daytime Emmy Awards and a star on Hollywood’s Walk of Fame.

Now, the beloved tykes are returning to both television and movie theaters via Nickelodeon and Paramount Pictures’ Paramount Players division. This cross-brand collaboration, which will maximize Rugrats’ reach across platforms and among varied audiences, is Viacom’s latest effort to tap the value of its deep intellectual property well by fully activating the power of its brand ecosystem in support of marquee franchises and talent.

Rugrats is hands-down one of the most celebrated cartoons in TV history, and we are thrilled for a whole new audience to meet these iconic characters in brand-new adventures,” said Viacom Media Networks COO and Nickelodeon Interim President Sarah Levy. “What was true in 1991 when the original show premiered is still true today: kids are fascinated with the world of babies. We can’t wait for today’s kids to meet Tommy, Chuckie and pals.”

The 26-episode comeback season is already under production at Nickelodeon’s Burbank studio, under the supervision of original creators and series executive producers Arlene Klasky, Gábor Csupó and Paul Germain. The as-yet-untitled fourth Rugrats movie, slated for a November 13, 2020 release, will be a live-action film with CGI characters.

Nickelodeon’s vault holds some of the most iconic names in children’s entertainment, and the network is moving deliberately to resurrect select properties that resonate with today’s audiences, both on Nick’s networks and on third-party platforms. Last year’s Hey Arnold! special sent the Hillwood crew back to television, and an updated Blue’s Clues series is in the works, along with special events featuring fan favorites Rocko’s Modern Life and Invader Zim. Through a studio model that is proliferating across Viacom, Nick will also produce two full animated seasons of infectiously positive teenage hotdog Pinky Malinky for Netflix.

Rugrats, which last aired new episodes in 2004, has always proved popular with moviegoers. The trio of Paramount Pictures-distributed films – The Rugrats Movie, Rugrats in Paris: The Movie, and Rugrats Go Wild – grossed nearly $300 million in total box office between 1998 and 2003. The forthcoming film will be the seventh project announced by Paramount Players, which develops and produces co-branded feature films with Viacom Media Networks.

“Now feels like the ideal time to reintroduce this iconic cast of characters to a whole new generation of young fans,” said Paramount Players President Brian Robbins. “Kids who grew up with Tommy Pickles and the Rugrats crew will now be able to share that experience with their own children.”

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.”

“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.

“We’ve Made a Lot of Progress at Viacom” – CEO Bob Bakish Touts Achievements at MoffettNathanson

by Stuart Winchester, Viacom

Growing viewership, building new management teams, finding efficiencies, delivering content on next-generation platforms. Viacom President and CEO Bob Bakish sat down with Michael B. Nathanson at last week’s MoffettNathanson Media & Communications Summit in New York City, where they discussed these and other ways that Viacom is strategically positioning itself to thrive in a rapidly evolving media landscape.

“I fundamentally believe we’ve made a lot of progress at Viacom in the last year or so,” Bakish said. “That starts with having a plan and laying it out for our teams, our employees, and quite frankly, the rest of the industry and the financial community. … For the last couple of quarters, we’ve seen consistent share growth, including in the last quarter. And in fact, we’re seeing improvement relative to last quarter and the current quarter we’re in. So that’s clear progress.”

Additional highlights from the conversation are below. Listen to the full exchange here.

Next-generation platforms and solutions are driving a huge potential growth market for Viacom

Viacom Digital Studios, announced late last year and launched in earnest at the recent Newfronts in New York, is just getting going, but has already stoked strong digital consumption, with video views up 110 percent year-over-year last month. This is just one part of a broad suite of digital initiatives – from vMVPD (virtual multichannel video programming distributor) distribution over Sling and DIRECTV NOW to deals with Telfonica (across Latin America), Telkomsel (Indonesia) and other mobile providers – that is positioning Viacom to evolve with its increasingly digital-first fanbase.

“So when we talk about next generation, we’re talking about vMVPDs. We’re talking about OTT (over the top). We’re talking about sort of AVOD (audio/visual on demand), in front of the wall, social, et cetera. And we have initiatives going in all of those spaces. And the reason we’re in all of those spaces is we believe that’s a very powerful complement to what we’re doing in the traditional space and is critical to driving growth.”

New management is driving ratings growth across the core television business

MTV is riding an unscripted boom to 10 straight months of ratings growth under network President Chris McCarthy, while ratings are up at BET behind a scripted programming push and at Comedy Central as Trevor Noah solidifies himself as a major voice in late-night.

“So, I feel good about our trajectory there, and in fact, again, when you met with advertisers and we did dinners with each of the agency holding companies over the last three weeks or so … what we typically heard … was, ‘wow, you guys made a lot of sort of promises and commitments when we saw you last year … And we were somewhat skeptical but it’s really incredible how far you’ve come and seeing these brands and we’re very excited about your upcoming slates,’ as are we, by the way,” Bakish said.

Paramount Pictures’ new management team is turning the studio around…

Under Chairman and CEO Jim Gianopulos, the iconic movie studio has installed a new management team and reoriented its slate so that half of its films are co-branded with Viacom’s media networks. With A Quiet Place – the first film produced, marketed and distributed under the new team – rolling out to more than $300 million in worldwide box office receipts (so far), on a $20 million budget, the studio has plenty of momentum moving into the summer.

“And if you look at Paramount, we have a plan that management is totally bought into that is about, that addresses some of our historical problems and our historical problems were a slate construction that didn’t make sense, was not balanced, didn’t leverage the assets Viacom had and then frankly poor execution,” said Bakish “… look at the branded films, the first one in this kind of era is going to be a BET film shot by Tyler Perry [starring Tiffany Haddish] … That’s a film that we made at a very attractive price point, and it’s going to benefit from the BET brand, and that’s why Tyler came and left a perfectly good existence at Discovery and Lionsgate to unify his content output with Viacom … So we are going to rapidly take share, it’s going to be profitable share and we’re going to combine that with our television business and that’s going to take us back very quickly to a very nice business.”

…while the Paramount TV production studio evolves into a premium content force

With 19 network projects in the pipeline and hits such as Netflix’s 13 Reasons Why and TNT’s The Alienist stamping the studio’s premium content credentials, Paramount Television is expected to deliver $400 million in fiscal 2018 revenue.

“When suddenly Viacom split with CBS, the TV production went with CBS and therefore we had a kind of naked film-only studio, which is not a good place for a studio to be because very lumpy,” Bakish said. “Television tends to kind of flatten out the volatility year-to-year, as well as, of course add value. … Paramount is rapidly being appreciated as a place that makes hits in television too.”

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