Thursday, December 31, 2020

Comedy Central Reportedly Shelves ‘The Ren & Stimpy Show’ Reboot

Update (12/31) - Voice actor Billy West, who voiced Billy West, the voice of Stimpy - and of Ren (for three seasons) - has revealed that Comedy Central's Ren & Stimpy reboot may still be in the works, suggesting that it has only been delayed due to COVID-19:


Update (9/14) - Bob Camp, co-founder of the studio that created Ren & Stimpy and successor to the show after John K's firing from Nickelodeon is reporting that he's heard that Comedy Central has decided to shelve the Ren & Stimpy reboot. Please note that this is unconfirmed. The news comes as a petition launched by Robyn Byrd, who publicly accused Kricfalusi of having a relationship with her during the 1990s, launched a online petition to get the project scrapped, which has garnered over 12,000 signatures.

Update (10/1) - Robyn Byrd has tweeted that she has had it confirmed from multiple sources that Comedy Central has shelved their Ren & Stimpy reboot.:




As part of a major push into adult animation, Comedy Central has given a series green light to a reimagening of Nickelodeon's cult Emmy-nominated animated series The Ren & Stimpy Show — 25 years after ending the Nicktoons' original run.


The Nickelodeon cartoon that gave the world Powdered Toast Man, Log, Canadian Kilted Yaksmen, Salve, every Christmas' number-one toy, 'Don't Whiz on the Electric Fence', and a shocking number of crudely rendered rubber nipples is set to return in a new form.

Comedy Central has been tapping into IP across ViacomCBS to build an original animated slate around stalwart South Park. The Ren & Stimpy Show will join the recently announced Beavis and Butt-Head reboot from Mike Judge and Daria spin-off Jodie on Comedy Central.

All four shows are being produced by ViacomCBS' in-house production studios, with Nickelodeon — home to the original Ren & Stimpy — overseeing the new take.

a new creative team at Nickelodeon Animation Studios will helm the project.

Update (8/14) - In a bit of a blow to fans, Bob Camp, co-founder of the studio that created Ren & Stimpy and successor to the show after John K's firing from Nickelodeon, will reportedly not be returning for the reboot. Though Camp seems unsurprised by his exclusion from the show's return.

The series followed the adventures of title characters Ren, an emotionally unstable Chihuahua, and Stimpy, a good-natured yet dimwitted cat often referred to by his pal as "EEEDIOT". (Their proper names are Ren Hoeck and Stimpson J. Cat.) It aired for nearly 100 episodes over five seasons on Nickelodeon, ending in December 1995. The following year, the series had a run on MTV.

Billy West, the voice of Stimpy — and of Ren (for three seasons) — is expected to return to the revival, along with several of the original writers.

It will not, however, involve Ren & Stimpy creator John Kricfalusi, whom a source tells Variety will have no creative input into and will receive no financial remuneration from the new series. Kricfalusi was accused in a 2018 Buzzfeed article of sexually abusing teenage girls.

Details beyond what was mentioned today are limited, including who is in the writer's room, when it will premiere, and how many episodes are attached.

“I want to thank our partners at Nick Animation as we re-imagine these iconic characters with a new creative team,” said Nina L. Diaz, President of Content and Chief Creative Officer for ViacomCBS Entertainment & Youth Group.

The announcement comes in conjunction with the news that ViacomCBS Entertainment & Youth Group has tapped Marvel Studios and Fox Entertainment alum Grant Gish to lead a newly created adult animation unit. Shows under his oversight include the Ren & Stimpy reboot, Comedy Central’s Beavis & Butt-Head revival, the Tracee Ellis Ross-led Daria spinoff, Jodie, as well as MTV’s reboot of Clone High.

“Grant has incredible instincts and a supercharged passion for animation. Along with his extraordinary reputation and impressive successes with some of the biggest hits in the genre, from Bob’s Burgers to American Dad – his vision is exactly what we’re looking for to lead our adult animation unit,” said Diaz.

“I grew up on MTV’s Animation Studios content where I’d run home from school to watch Beavis and Butt-Head eating pretzels on my couch,” added Gish. “With access to such a vast library of IP that will enable us to break through the clutter coupled with the opportunity to create a fresh slate, I couldn’t be more excited to join the E&Y Group that’s growing in droves under Chris and Nina’s leadership.”

Gish joins ViacomCBS from Marvel Studios, where he launched the Adult Comedy and Animation group within the former Marvel Television division. As VP of comedy and animation Gish spearheaded Marvel’s foray into half-hour comedy and adult animation with the upcoming Hulu series M.O.D.O.K. and Hit-Monkey. Before that, Gish served as VP, Animation Development & Current Programming, 20th Century Fox TV where he helped develop the Emmy-winning series Bob’s Burgers and oversaw American Dad. He also did a stint at Good Humor TV, where he worked on HBO’s animated series The Life & Times Of Tim and helped develop Good Vibes.

“We are thrilled to have Grant lead our new Adult Animation unit as we expedite the rapid expansion of our adult animation content,” said Chris McCarthy, President of ViacomCBS’s entertainment and youth group, in a statement. “Adult Animation is an incredibly powerful asset that truly works on every platform and around the world. It’s also pandemic-proof, which is why we are reimagining many of our beloved iconic [properties], unlocking incredible value.”

Gish’s hiring fits into ViacomCBS’ move to build content verticals across brands within the Entertainment & Youth Groups and is part of the Group’s broader strategy as they look to evolve from cable to content, developing and producing content for all platforms, including for ViacomCBS upcoming new shared streaming service (currently CBS All Access), linear cable networks, and digital platforms worldwide.

Nickelodeon launched the original Ren & Stimpy alongside Rugrats and Doug in 1991, where it quickly catapulted into the pop culture zeitgeist with its dark humor, vivid imagination and critical acclaim. The iconic dog and cat duo are consistently ranked among the top animated characters of all time.

Despite being a children’s show, Ren & Stimpy didn’t shy away from the dark or grotesque, and incorporated themes and jokes considered more “adult.” The series pushed many boundaries and has long been hailed for its ambitious artistry, but its legacy is controversial. Creator John Kricfalusi was famously fired from the show after repeated clashes with the network over production delays and the offensive content. Nickelodeon also took heat over the lack of educational value the show brought. Multiple segments were edited to remove references to religion, politics and alcohol. Fans would later discover through John K’s own airing of dirty laundry that the network had censored and buried episodes over hidden sex jokes that crossed the line.

The show’s notorious gross-out humor, scathing parody, and a meticulous art style that earned it critical acclaim also led to its downfall; the show eventually flamed out after John K’s dominating work style caused strife with the network and the staff, causing the whole operation to collapse at the height of its popularity.

Other titles from that era of television have been making comebacks in various forms, including the Rocko's Modern Life movie on Netflix, and Rugrats as a new TV series, set to premiere on Nickelodeon in 2021.

Kricfalusi has had a busy career, including the creation of shows like The Goddamn George Liquor Program and The Ripping Friends, numerous commercials and shorts, two The Simpsons couch gags, directing 100 episodes of The Powerpuff Girls, and producing music videos for Miley Cyrus.

John K would go on to try and replicate the success of Ren & Stimpy without the restraint of a kid’s network, churning out Ren & Stimpy’s Adult Cartoon Party, but it turned out the censorship battles made the show what it was. Walking the line was more entertaining than anything explicit. The series aired on the former Spike (now Paramount Network). Six episodes were produced as part of the animated programming block, but only three aired. A failure that put John K on an independent track.

The original cartoon series developed a loyal cult audience, with celebrities including Frank Zappa, Soleil Moon Frye, Mark Hamill and Phil Hartman playing incidental characters. The series also expanded into consumer products, including plush, video games and comics.

In 2018, John K. faced his reckoning: two women accused John K of preying on and sexually harassing them while they were underage, a history of behavior the animator didn’t deny. As many of his former staff say in the upcoming documentary Happy Happy Joy Joy, which chronicles the rise and fall of the series, the misconduct put the entire legacy of Ren & Stimpy in question. The documentary hits streaming services Aug. 14.

“We are excited to reinvent this iconic franchise with a new creative team and our partners at the Nickelodeon Animation Studio,” said McCarthy. “Ren & Stimpy joins our rapidly expanding roster of adult animation including South Park, Beavis and Butt-Head and Clone High as we continue to reimagine our treasure chest of beloved IP for new generations.”

He added: "We are going to give them the edgy, irreverent, comedic voice that defined them but we’re going to tell all new stories and bring in new character."

Comedy Central is already home to the groundbreaking animated series South Park, now in its 23rd season. It’s been renewed through its 26th season, airs worldwide in over 130 countries in 30 different languages and has enjoyed multi-platform success. It was the top animated series on Hulu and now streams exclusively on HBO Max.

Meanwhile, a revival of the cult animated series Clone High (2002-03) will return to sister network MTV with original series creators Phil Lord, Chris Miller and Bill Lawrence.

“We’re not making the same shows,” says McCarthy, president, Entertainment & Youth Group, ViacomCBS. “The world has changed so much. To me they’re not remakes but re-imaginings. Beavis and Butt-Head, for instance, was so defined by GenXers, my generation, who are now having kids and raising GenZers.

This animation push is part-and-parcel of the ratings success enjoyed by corporate parent ViacomCBS, whose portfolio includes Paramount Network (and its hit cable series Yellowstone, starring Kevin Costner) and Pop TV, which found its breakout series in the Emmy-nominated comedy Schitt’s Creek, which ended its six-season run in April.

“We’re really making a dramatic shift on Comedy Central, where South Park is killing it,” McCarthy says. “The nice thing about animation is it helps you take the hard truth of life and process these through funny jokes — even when they’re not funny.

“It’s a visual manifestation of pure insanity… and the rise of adult animation is skyrocketing.”

Comedy Central is also the home of syndicated repeats of adult animated series including BoJack Horseman, Mike Judge's King of the Hill and Seth MacFarlane's The Cleveland Show. (It's worth noting that Judge and co-creator Greg Daniels had "preliminary conversations" with Fox for a King of the Hill revival in 2017.)

This is McCarthy's latest major programming acquisition for Comedy Central since he took over from former network president Kent Alterman as part of a larger ViacomCBS executive consolidation. Since then, Comedy Central has canceled Alternatino With Arturo Castro (which moved to Quibi) and Lights Out With David Spade while renewing its Crank Yankers revival, Awkwafina Is Nora From Queens and Tosh.0 (for four more seasons).

Adult animation continues to be a growth genre on broadcast, cable and streaming platforms. In success, shows like Rick and Morty repeat well and bring in younger audiences and can often lead to profitable merchandising lines. Franchises like Family Guy and Bob's Burgers, for example, are considered to be worth billions. What's more, animated series are able to be produced remotely during the (COVID-19) coronavirus pandemic that has shut down hundreds of film and TV projects.

In 2018, Kricfalusi offered something nearing apology to two women who had accused him of grooming them for sexual relationships when they were 13 and 15, blaming undiagnosed bipolar disorder and attention deficit hyperactivity disorder

"The last thing I want to do is aggravate bad feelings that already exist," he wrote. "These feelings are obviously real and strong and I understand them much better now.

"It’s not pretty to have to stare myself in the face and see myself the way those who I’ve hurt see me. I imagine many other men are waking up and feeling the shame I’ve felt for years. I welcome a social change in our attitudes towards women and how we should treat them with respect and equality."

The Ren & Stimpy Show is currently available to stream on CBS All Access.

Below is Comedy Central's official press release announcing the news!:

Comedy Central greenlights reimagined The Ren & Stimpy Show

Show joins growing roster of iconic adult animation hits at ViacomCBS Entertainment & Youth Group, including South Park and reinventions of Beavis & Butt-Head, Clone High and Jodie

New York – August 5, 2020 – Today, Comedy Central announced a reimagination of the Emmy®-nominated cult hit The Ren & Stimpy Show as it continues to double down on adult-focused animation, unlocking and reinventing a treasure chest of IP across ViacomCBS to complement South Park, including the newly announced Beavis and Butt-Head from Mike Judge and Daria spin-off Jodie.

“I want to thank our partners at Nick Animation as we re-imagine these iconic characters with a new creative team,” said Nina L. Diaz, President of Content and Chief Creative Officer for ViacomCBS Entertainment & Youth Group.”

Nickelodeon launched the original Ren & Stimpy alongside Rugrats and Doug in 1991, where it quickly catapulted into the pop culture zeitgeist with its dark humor, vivid imagination and critical acclaim. Often thought of as an adult series at the time, the iconic dog and cat duo are consistently ranked among the top animated characters of all time.

“We are excited to reinvent this iconic franchise with a new creative team and our partners at the Nickelodeon Animation Studio,” said Chris McCarthy, President of ViacomCBS Entertainment & Youth Group. “Ren & Stimpy joins our rapidly expanding roster of adult animation including South Park, Beavis and Butt-Head and Clone High as we continue to reimagine our treasure chest of beloved IP for new generations.”

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From CBR:

After Ren & Stimpy's Troubled History, a Reboot Is Still Worth It

The Ren & Stimpy Show is making a comeback, but given the show's troubled history, maybe the reboot shouldn't happen.

Though the pop culture hit The Ren & Stimpy Show is coming back to Comedy Central with a "re-imagined" take on the classic '90s animated series, it's unclear if a resurrection is really worth the trouble because of the show's dark history, However, even though the show comes with some unwanted baggage that Comedy Central would love to leave buried, with a lot of it excluded from the reboot, the pros might just outweigh the cons.

One can't think of iconic '90s cartoons without Ren & Stimpy. The show was a trailblazer, garnering widespread critical acclaim and anchoring Nickelodeon's cartoon block with Rugrats and Doug. The show ingrained itself into pop culture and would actually influence future cartoons such as SpongeBob SquarePants. Considering its impact on a generation of fans and its influence on a newer one, rebooting this series for another generation to enjoy would actually do more good than harm.

Seeing as this isn't the first time a Ren & Stimpy reboot has been attempted, there definitely seems to be a market for this innovative program. This time, however, Comedy Central can get this reboot right and avoid the same mistakes that the previous incarnations had suffered through. There's no reason why a new generation can't enjoy classic characters like Mr. Horse, Muddy Mudskipper and Powdered Toast Man without thinking of the baggage of the previous two series.

One of the main reasons for that is most of the toxicity behind Ren & Stimpy won't be returning. The show's creator, John Kricfalusi, won't be involved with the reboot after a slew of sexual harassment accusations, meaning his constant disagreements with Nickelodeon that caused episodes to be late or shelved are a thing of the past. On top of that, many of the show's original writers, including the original voice of Stimpson J. Cat, Billy West, are expected to return.

However, on a slightly disappointing albeit surprising note, Bob Camp, co-founder of the studio that created Ren & Stimpy and successor to the show after John K's firing from Nickelodeon, will not be returning. Though Camp seems unsurprised by his exclusion from the show's return, many fans believe the show will lose its appeal without his involvement. Although, the 2003 reboot Ren & Stimpy: Adult Party Cartoon had John K's fingerprints all over it and that reboot couldn't even survive more than three episodes before Spike TV pulled the plug, meaning the old creative team may not have the charm it used to.

Sure, without Ren & Stimpy's original creators, the show may lack some of its original pizzazz, but in the long run, losing them may actually be another positive. Many original series episodes under Camp's direction were so bad that not even the History Eraser Button can remove them from memory. To put it simply, without Bob Camp and John K's influence, the new Ren & Stimpy should be an improvement.

With that being said, though, despite all the positives of a reboot, the show's behind-the-scenes chaos may be too much for Comedy Central to overcome. While it's great that he no longer has anything to do with the show, the stigma that John K left will undoubtedly linger over the reboot series. At a time where people have had enough of abusive people being in power, bringing back a show one had a hand in creating is a difficult thing to sell.

In addition to past controversies hanging over the show, it's fair to wonder if people really want more Ren & Stimpy. Reboots of Beavis and Butt-Head and Clone High are already in the works, as well as a spin-off of Daria, creating what would seem to be an overabundance of remakes, all stemming from Comedy Central. Unfortunately, reboots tend to be frowned upon as of late, with fans and critics alike panning them as unoriginal. Hopefully, that isn't the case with Ren & Stimpy, as the show has a lot more to offer audiences than the drama it has become synonymous with.

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More Nick: Nickelodeon to Bring 'Rugrats' Back for the Next Generation of Kids!

Originally published: Wednesday, August 5, 2020 at 19:07 BST.

Sources: Deadline (II), TheWrap, The New York Post, Los Angeles Times, The Hollywood Reporter, Ponygon, Rolling Stone, Entertainment Weekly, Animation World Network, Chortle; H/T: Special thanks to @WalterSalmon13 and @MariaJliaSanta3 for the news!; Additional sources: ZeeEllToons95, PennLive, @snorbertd1.

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"Day 76" on the Odyssey II | The Astronauts Trailers + Sneak Peek | Nickelodeon

do. not. cross. Matilda. Catch the brand new The Astronauts episode "Day 76", Friday 1p/12c, only on Nickelodeon! Check out a super sneak peek below!:


Missed any episodes? Catch up on demand today!







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Nickelodeon Takes Ratings Hit in 2020

As viewers turn more and more to streaming platforms for entertainment, linear television channels have been taken big hits in terms of ratings this year, reports Variety.


Some of the hardest hit channels were Nickelodeon (down 32%), Nick Jr. (down 17%), Nicktoons (down 42%), and Teennick (down 35%). The channel which was hit the hardest, however, was Disney Channel (down 33%), with Disney Junior (down 27%) not faring much better. Cartoon Network was also hit.quite hard, losing 29% of its viewers. A few exceptions came from the small network end, with Discovery Family, Universal Kids and Baby First TV posting a touch of growth.

The news comes as ViacomCBS is looking to bulk up its streaming service, CBS All Access, which will be rebranded Paramount+ earlier next year. The service has already added several hundred of hours of Nickelodeon programming, which more on the way, including the brand new SpongeBob SquarePants spin-off, Kamp Koral: SpongeBob's Under Years.

In terms of the Top 50 Most-Watched Networks of 2020 (by Total Viewers), Nickelodeon was the 34th most watched channel, with an average of 494,000 viewers; Nick at Nite (viewers down 20%) was 40th, with 442,000 viewers; Nick Jr. was 52nd with 332,000 viewers; Nicktoons was 87th, with 87,000 viewers; and TeenNick was 118th, with 58,000 viewers (tied with Discovery Family Channel).

SOURCE: NIELSEN, NPM (12/30/2019-12/06/2020, LIVE+7 AND 12/07/2020-12/22/2020, LIVE+SD VS. 12/31/2018-12/08/2019, LIVE+7 AND 12/09/2019-12/24/2019, LIVE+SD) MON-SAT 8PM-11PM/SUN 7PM-11PM, AD-SUPPORTED AND PREMIUM PAY NETWORKS. NAT GEO MUNDO BASED ON NPM-H. RANKED BY 2020 YEAR-TO-DATE.

Meanwhile, in the Top 50 Most-Watched Networks of 2020 (by Viewers 18-49) list, Nick at Nite was the 31st most watched channel, with 194,000 viewers (-14%); Nickelodeon was the 35th, with 162,000 viewers (-26%); and Nick Jr. was 47th with 104,000 (-10%).

SOURCE: NIELSEN, NPM (12/30/2019-12/06/2020, LIVE+7 AND 12/07/2020-12/22/2020, LIVE+SD VS. 12/31/2018-12/08/2019, LIVE+7 AND 12/09/2019-12/24/2019, LIVE+SD) MON-SAT 8PM-11PM/SUN 7PM-11PM, AD-SUPPORTED AND PREMIUM PAY NETWORKS. RANKED BY 2020 YEAR-TO-DATE.


WHICH MEDIA EMPIRES ARE FEELING LINEAR TV’S DECLINE HARDEST

It's no secret that primetime TV viewing is shrinking and has been for a while. Year-over-year, audiences have shown declines, per Nielsen data. While a few networks have bucked this trend, the overall prognosis is grim. When comparing 2020 average audiences versus those from 2014, just 21 out of the 105 networks measured in both years saw an increase.

Among the networks seeing a decline over that time span, the average audience erosion was -393,452 viewers. The greatest decline was almost 10 times this size, with CBS seeing 3.8 million viewers vanish. Broadcast networks saw the greatest total decline. Given these networks have a greater exposure level than cable, it is stunning to see the viewer rejection of their content.

Among the eight major media network owners, the vast majority have seen overall viewing declines. Only Fox, buoyed by Fox News in an election year, saw an overall increase. Of the conglomerates seeing declines, Discovery is the least impacted, with AMC on a tier below. The remaining media companies see big losses, with Disney, ViacomCBS and NBCUniversal feeling the worst of it, and, pointedly, not all the blame can be laid at the door of their broadcast networks.

A&E Networks (co-owned by Disney and Heart Communications in a 50-50 split) 

None of the tracked A&E Networks channels saw greater viewership in 2020 than in 2014. History sees the greatest decline, down by -44% (827,000 viewers), although it remains A&E's most watched primetime network. Other A&E nets to see primetime declines north of 40% are LMN (-43%; 214k viewers) and Lifetime (-40.5%; 457k), with A&E Network down by 36%, or 463,000 primetime viewers.

While A&E lacks its own streaming service, it has been savvy in licensing out content to SVODs Discovery+ and Peacock, as well as creating linear streaming channels that are distributed across services including Pluto, Samsung TV+ and Roku Channel. This at least means they are able to reach some of the departed linear viewers, although it will not make up the viewing shortfall.

AMC Networks

As former ratings juggernaut "The Walking Dead" grew tired and nothing else caught viewer attention to that degree, AMC Network has seen primetime viewership decline by more than half (-56.6%) versus 2014, or by 775,000 viewers. In terms of total viewers lost between 2014 and 2020, AMC is 15th on the list.

The other cable networks operated by AMC see either minor declines in viewing (BBC America, down by 30k, or -11.2%, WE tv, down by 10k versus 2014, or -2.1%) or report small gains. In fairness, these are what would be considered niche cable, but IFC's 12,000 more viewers (+6.2%) and SundanceTV's 76k increase (+55.9%) show it is possible to grow on cable by curating specific content and themes.

Discovery

Discovery has six English-language networks that exited 2020 with greater average audiences watching in primetime than in 2014, bucking the general decline trend seen in TV. Leading the way in pure numbers was TLC, with 269k more primetime viewers (+24.5%). Other networks that saw growth over time were HGTV (+1k; 0.7% growth), DIY (+50k; 25.6%), Cooking Channel (+33k; 30.3%), Great American Country (+22k; 31%) and Motor Trend (+73k; 42%).

With such a wide swath of networks, invariably some will have suffered primetime viewing declines versus 2014's levels, but, tellingly, none made the top 20 greatest declines list. Travel Channel saw the smallest % decline, down by -3.7% (-17k). Other nets seeing audiences shrink were Science (-17k; -5.5%), ID (-46k; -5.6%), Food Network (-142k; -13%), flagship network Discovery (-376k; 26.7%), Discovery Life (-28k; -33.7%), Animal Planet (-244k; -37%), OWN (-187k; -38%), American Heroes Channel (-131k; -57.5%), Destination America (-135k; -59.2%) and Discovery Family Channel (-94k; -61.8%).

This suggests there are some reality formats that are able to act as viewer lightning rods even in 2020, most notably the Day franchise on TLC, which bodes well for Discovery's new Discovery+ service. Even so, the wide range of content types Discovery offers has mostly declined in audience as viewers embrace the streaming age.

Disne

Disney has been hit by declines across its portfolio. ABC is down 2.4 million viewers versus 2014, or -34.4%. Kids networks are down across the board, but Disney Channel has shed 1.6m viewers, which is an eye-watering -81.8%, over six years. The general entertainment cable nets purchased from Fox, led by FX, are down, with FX seeing primetime viewing levels fall by -60.5% (-877k). Even sports has seen audience erosion, with ESPN down by 705,000 primetime viewers, which translates to -32%.

The only Disney-owned network to see greater average primetime audiences in 2020 than in 2014 is Nat Geo Wild, which rose by 10.6%, or 26,000 viewers. While investors are exceptionally happy with Disney+'s progress, the stunning decline of nets like Disney Channel suggest there will be a time in the relatively near future where the affiliate revenues from these cable networks dry up. Whether Disney+ will be able to plug that gap remains to be seen.

Fox

Fox is the only media conglom to see total viewership across its portfolio greater in 2020 than in 2014. This is due to the increasing reliance upon the performance of Fox News. The record viewership in 2020 floated the boats belonging to the broadcast network and sports, with Fox News reporting 1.8m more viewers in 2020 than in 2014 (an increase of 105.5%).

Fox Business News also benefited but on a much more minor scale (up 59k, representing a boost of 134% against 2014's levels). A worry at Fox will be how much steam is left in the Fox News gravy train. Already cyclical in viewing, 2021 comes with Republicans out of the White House and news networks like Newsmax and One America nipping at Fox's heels to draw away some viewers.

With Fox News the only crown jewel at Fox, any decline in viewership will hit the company hard. Equally, if the news network were to hang onto its audience amidst a backdrop of an ever-increasing polarized nation, it is feasible to anticipate it overtaking Fox in average audience within a few years.

NBCUniversal

The suspension of the 2020 Olympics didn't help NBC, though it helpfully laid out how stark the waning of NBC's audience has become. The broadcast network posted the second greatest decline over the past 6 years, with primetime audiences tumbling by -2.7m (-35.2%).

Of particular concern will be USA's erosion since 2014. The cable network has seen audiences dissolve, falling by 1.3m (a decline of -59%), placing it as the general entertainment network seeing the greatest decline over the period. Sister channel Syfy fares little better, with audiences down by -697k, representing -60.7% fewer primetime viewers.

MSNBC is NBCU's only English-speaking success story (Hispanic cabler Universo saw modest gains of 13k, or +17.6%). Fueled by the 2020 election, the news network posted gains over 2014 of an astonishing 260.6%, or 1.5 million more viewers. With the political audience MSNBC caters to energized for 2021, seeing this growth sustain itself is likely.

ViacomCBS


Of the 19 ViacomCBS networks with viewership data going back to 2014, only two - Pop (+38k; +22.2%) and Smithsonian (+47k; +62.7%) - see increases in primetime viewing in 2020. CBS has the unfortunate distinction of seeing the greatest total audience decline over the last 6 years, losing 3.8m viewers, or down by 40.2%.

The CW, which ViacomCBS co-owns with WarnerMedia, has seen audiences decline by more than half (-51%; -844k). Other ViacomCBS networks seeing more than half of their viewers evaporate since 2014 are MTV2 (-131k; -70.4%), Nick at Nite (-902k; -67.1%), Nicktoons (-173k; -66.5%), VH1 (-370k; -52.3%), and Comedy Central (-362k; -51.5%).

Of concern will be the erosion of what have been part of ViacomCBS' core media brands. BET has lost 317,000 primetime viewers over the last six years, representing a decline of -45.5%. MTV is down by 367k, a loss of -45.5%, and Paramount Network - the rebranded Spike & is down by 329,000 (or -41.6%). Nielsen didn'T share data on Nickelodeon until 2016, but over the last four years the kids-TV giant has shed 819,000 primetime viewers, a loss of -62.4%.

These losses across the board point to a world where 2021's launch of Paramount+ is close to a final roll of the dice to recapture audiences. The backup for ViacomCBS is it does produce high-performing content for rival services, such as Emily in Paris and 13 Reasons Why for Netflix, but the media conglom will need more than that for continued success in the next decade.

WarnerMedia

CNN represents the sole bright spot for WarnerMedia';s TV networks. The news network closed 2020 up by 1,265,000 viewers versus 2014, a gain of +241%. That's not enough to offset the high losses seen for cable giants TNT (down by 1.1m viewers, or -51.8%), TBS (824,000 fewer primetime viewers, a decline of -44%) and Adult Swim (-827k; -61.5%).

With corporate owner AT&T putting all non-news eggs into the HBO Max basket, the pivot from cable TV is already underway. Should the rumors that CNN will launch a streaming service come true, expect that one positive to also begin to fall as WarnerMedia transitions for a digital future.

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‘Avatar: The Last Airbender’ Comics Reveal What Actually Happened to Zuko’s Mom

‘Avatar: The Last Airbender’: Comics Reveal What Actually Happened to Zuko’s Mom


Avatar: The Last Airbender originally aired on Nickelodeon from 2005 to 2008, and the animated series is one of the most beloved TV shows of all time. The series was added to Netflix in May 2020, bringing a resurgence to its popularity among fans.

The series follows Aang, a 12-year-old elemental bender known as the Avatar, and his friends Katara, Sokka, Toph, Zuko, and Suki. While the series finale wraps up many of the characters’ storylines, the fate of Zuko’s mother is left unknown. After Avatar: The Last Airbender ended, comic books revealed what happened to Zuko’s mother.

In Avatar: The Last Airbender, Ursa is the mother Zuko and Azula. Her husband Ozai wants to be Fire Lord over his older brother Iroh. Fire Lord Azulon instructs Ozai to kill Zuko for requesting to be Fire Lord, and Ursa discovers that Ozai intends to murder Zuko.

To save Zuko’s life, Ursa promises Ozai the throne and to leave the palace forever. She crafts a poison for Ozai and then leaves the palace after saying goodbye to Azula and Zuko. She is never seen again in the series.

“When we wrote the finale of Avatar: The Last Airbender, we had so much to wrap up, that I thought it was more intriguing to have the fate of Zuko’s mother remain unresolved,” co-creator Michael Dante DiMartino wrote in a now-deleted blog post.

He continued, “It implied that his story wasn’t over, that the lives of these characters would continue on, even though the series had ended. Plus, I thought that the story was full of possibility and that a quick wrap-up would not be satisfying.”

After Avatar: The Last Airbender ended, co-creators DiMartino and Bryan Konietzko pitched a TV series about Zuko’s search for his mother. Nickelodeon rejected the pitch and elected to renew The Legend of Korra for a second season.

Instead of making a TV show, DiMartino and Konietzko worked with writer Gene Yang to create graphic novels as a follow-up to Avatar: The Last Airbender.

“We decided against having 'The Search' be the first trio of graphic novels, but knew that the graphic novels were a great place to ultimately tell the story,” DiMartino wrote. “It was a collaborative back and forth and Gene did a terrific job with the scripts. I’m proud of the books and I think it does Zuko and Ursa’s story justice.”

What happened to Zuko’s mother after Avatar: The Last Airbender

"The Search" graphic novels were released in 2014 and followed Zuko and Azula’s search for Ursa. Through the comic books, fans learn that Ursa returned to her hometown after leaving the palace and rekindles a relationship with her ex-fianc茅 Ikem.

Ikem had visited the Mother of Faces, changed his face, and went by the name Noren. Ursa visits the Mother of Faces where she changes her face and has her memories wiped in order to forget her pain. She starts going by Noriko and has a daughter named Kiyi with Noren.

Zuko and Azula eventually find Noriko, and Noriko decides to have her old face and memories restored by the Mother of Faces. She returns to the Fire Nation with her family.


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More Nick: Toph Beifong to Feature in Her Own Standalone 'Avatar: The Last Airbender' Graphic Novel!

Original source: Showbiz Cheat Sheet.

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Voice Actor Tom Kane Suffers Stroke

Tom Kane — best known to Nickelodeon viewers for providing his voice to Eliza's chimpanzee sidekick Darwin in The Wild Thornberrys, has suffered a stroke.

Credit: tomkane.com

According to Kane’s family, the veteran voice actor suffered a stroke and is currently still suffering damage that prevents him from verbally communicating. Recovery is possible but his doctor has warned: “that he may not do Voiceovers again.”

The following statement has been released by Kane’s family via the actor’s Facebook page:

"Hi everyone! This is Tom’s daughter, Sam. Our family wanted to share why my dad has been MIA. About two months ago he had a left side stroke that gave him right sided weakness and damage to the speech center of his brain. This means right now he cannot efficiently communicate verbally, nor read or spell. He is still competent and very much himself, but can only get out a few words right now. As many of you might know about strokes, it is possible for him to gain these functions back and we have found him excellent care in Kansas City for speech, occupational, and physical therapy, but for now, we have been warned by his Neurologist that he may not do Voiceovers again.

My dad still remains in good spirits and his extreme stubbornness has helped him already show improvements in speech. He is fully on board with me sharing this and he will see anything you guys post.

Lots of love from our family to yours.

Here are some recent photos of dad ♥️"


In addition to The Wild Thornberrys, Kane also lent his voice to characters such as Evil Eric in CatDog, Dean Cain in The Adventures of Jimmy Neutron, Boy Genius, and Lorenzo Suave in The X's, as well as various characters in Avatar: The Last Airbender, The Legend of Korra (Judge Hotah), Angry Beavers (including Oxnard Montalvo, Mayor and Jack Stagger), Power Rangers S.P.D. and Duckman: Private Dick/Family Man.

In the Star Wars universe, Kane is known for his work in The Clone Wars for voicing Jedi Master Yoda and Admiral Yularen as well as narrating the series. He also portrayed Admiral Ackbar in Star Wars Episode VIII: The Last Jedi

Kane has also been part of other major franchises including Woodhouse in Archer and Professor Utonium in The Powerpuff Girls, Magneto in Wolverine and the X-Men and Marvel vs Capcom 3: Fate of Two Worlds, Ultron in Next Avengers: Heroes of Tomorrow and The Avengers: Earth’s Mightiest Heroes, and Robot Chicken.

Additionally, Kane was known for narrating a handful of Disney and Pixar film trailers including Cars, which you can view here.

In the gaming industry, Kane has provided his iconic voice for Star Wars: The Force Unleashed, Call of Duty: WaW and Black Ops I – III.

And if you are a Disney Parks fan, you may recognize his voice on Walt Disney World’s Monorail System. Kane is also the narrator of the Happily Ever After fireworks spectacular at Magic Kingdom and he was rumored to be a host of Celebrate! Tokyo Disneyland, along with Mickey Mouse at the theme park. You can read more about Kane’s work on his official website, tomkane.com.

NickALive!'s thoughts and well-wishes are with Tom Kane and his family during this time.

Original source: Inside the Magic.

Nickelodeon Renews 'The Casagrandes' for Season 3; Season 2 to Premiere Friday, October 9

NICKELODEON PICKS UP THIRD SEASON OF THE CASAGRANDES

Hit-Animated Series Ranks Number Two Across All Television with Kids 2-11
on the Heels of Sister Series, The Loud House

Danny Trejo, Ally Brooke, Jorge Gutierrez, Stephanie Beatriz, Justin Chon and More
To Lend Voices Throughout Season Two, Kicking off October 9 at 7:30 p.m. (ET/PT)

The Casagrandes family and friends gather together in Nickelodeon’s The Casagrandes.

Share it: @Nickelodeon @TheCasagrandes @NickAnimation #Nickelodeon

BURBANK, Calif. – September 24, 2020 – Nickelodeon, the number-one network for kids, has greenlit a third season of The Casagrandes, which will find Ronnie Anne and her family members on a variety of adventures while exploring different areas of the city. A spinoff of Nickelodeon’s top-rated animated series The Loud House, Emmy Award-winning The Casagrandes has ranked as the number two animated property across television with Kids 2-11 since its Oct. 2019 debut.  Season three is currently in production by Nickelodeon Animation Studio.

“Our audience has loved the diverse characters, relatable stories and rich animation found in The Casagrandes since the series debuted last year,” said Ramsey Naito, President, Nickelodeon Animation. “The success of the show is due to the creative leadership who continue to showcase the love and laughter of this family, living in an environment that reflects the global world we live in today.”

Since its debut, The Casagrandes has told stories infused with humor, heart and the everyday escapades of family and friends. Season two of The Casagrandes kicks off with “Fails from the Crypt,” where the kids try to break a local record for staying in the cemetery overnight. Followed by “Bad Cluck,” where a haunted chicken is pestering the Casagrandes, on Friday, Oct. 9, at 7:30 p.m. (ET/PT) on Nickelodeon. Season two will debut internationally later this year.


The original animated series will feature a variety of guest stars giving voice to new and returning characters throughout season two, including Danny Trejo (Dora and the Lost City of Gold, Spy Kids), pop star Ally Brooke, Jorge Gutierrez (El Tigre: The Adventures of Manny Rivera, The Book of Life), Stephanie Beatriz (Brooklyn Nine-Nine), Justin Chon (Twilight) and more.

The Casagrandes voice cast includes: Izabella Alvarez (Westworld) as Ronnie Anne; Carlos PenaVega (Big Time Rush, WebHeads) as Bobby; Eugenio Derbez (Dora and the Lost City of Gold) as Arturo; Carlos Alazraqui (Rocko's Modern Life, The Fairly OddParents) as Carlos, “Tio;” Roxana Ortega (The League) as Frida, “Tia;” Alexa PenaVega (Spy Kids) as Carlota; Jared Kozak (Born this Way) as CJ; Alex Cazares (The Boss Baby: Back in Business) as Carl; Ruben Garfias (East Los High) as Hector, “Abuelo;” Sonia Manzano (Sesame Street) as Rosa, “Abuela.” Additionally, Ken Jeong (Wonder Park, Dr. Ken) gives voice as Stanley; Melissa Joan Hart (Clarissa Explains It All, Sabrina the Teenage Witch) as Becca; Leah Mei Gold (Legion) as Sid; and Lexi Sexton (The Loud House) as Adelaide.

Emmy Award-winning The Casagrandes tells the story of Ronnie Anne, who moves to the city with her mom and older brother to live with their big, loving family, the Casagrandes. A spinoff of The Loud House, the series showcases the culture, humor, and love that’s part of growing up in a multigenerational Mexican-American family. The series is executive produced by Michael Rubiner. Miguel Puga serves as co-executive producer, Alan Foreman is supervising producer and Miguel Gonzalez serves as art director, with award-winning cartoonist Lalo Alcaraz as consulting producer and cultural consultant.

The series also has a companion podcast series, The Casagrandes Familia Sounds.

About Nickelodeon

Nickelodeon, now in its 41st year, is the number-one entertainment brand for kids. It has built a diverse, global business by putting kids first in everything it does. The brand includes television programming and production in the United States and around the world, plus consumer products, digital, location based experiences, publishing and feature films. For more information or artwork, visit http://www.nickpress.com. Nickelodeon and all related titles, characters and logos are trademarks of ViacomCBS Inc. (Nasdaq: VIACA, VIAC).

# # #


Diversity in TV Animation: Finally, Some Progress!

***This article originally appeared in the February ’21 issue of Animation Magazine (No. 307)***

In recent years, we’ve witnessed a much-needed effort to have women and people of color play more prominent and influential roles as creative forces in animation. While change hasn’t come easily or overnight, a quick look at the types of shows being made and the artists who are making them are indications that a shift is finally happening.

Recent TV series such as Nickelodeon’s The Casagrandes and Disney Channel’s Mira, Royal Detective feature characters from diverse backgrounds, and the creatives behind the scenes are often just as diverse. When hiring, many shows seek out writers who can speak to a culture based on their own background or personal history. Other times, consultants are brought in to make sure the details included in a story are correct and reflect the authentic culture. Netflix has brought on animation powerhouses such as Chris Nee (Doc McStuffins) and Jorge Guti茅rrez (Book of Life, El Tigre) to develop a slate of projects for the streamer. Cartoon Network, Amazon, Hulu, HBO Max, Disney +, Apple TV+ and much all the other streamers and cablers have several shows created by and featuring people of color in their pipelines in 2021.

L.A.-based animation veteran Elizabeth Ito has seen the animation industry become more inclusive in recent years. Over the last 15 years, Ito worked as a supervising director on Adventure Time and a feature storyboard artist on Hotel Transylvania, Astro Boy and The SpongeBob Movie: Sponge Out of Water. She’s currently developing City of Ghosts, a much-anticipated hybrid documentary-style show about Angeleno ghosts for Netflix.

“There have definitely been some big changes,” says Ito. “There are women creating and running shows, and more women writing, storyboarding and directing in general. We’ve had more diverse characters on screen, in both design and substance. We’ve also seen more minority directors. Studios are finally being more conscious about who voices characters, and whether they could make better choices when casting.”

Real Representation

Another industry veteran, Sascha Paladino, believes there is greater awareness of the need for diversity and inclusion. Paladino is currently executive producer on Mira, Royal Detective, where aside from himself, there is an all-female writers room. The show’s cast is also made up of performers who are South Asian or of South Asian descent.

“I’ve been working in TV for 20 years and I feel like almost all of the shows that I’ve worked on, [diversity] has been top of mind for the creatives behind it,” says Paladino. “But in the last couple of years it’s definitely become a much more important topic, something that’s baked in. To me, it’s really the most important thing that shows are discussing these days. There’s such a movement in the culture toward better and more fair representation, and I think that is reflected in kids’ TV both in the content and by the people making it.

He adds, “For Mira, Royal Detective, we’re portraying South Asian culture, which is a first for Disney Junior so it’s a huge responsibility. It’s something that I, as executive producer of the show, think about and wrestle with a lot because we want to portray this culture in an authentic and thoughtful and sensitive way so that South Asian kids really see themselves on screen and so that non-South Asian kids learn about the culture in a way that makes them want to learn more.”

The Only POC in the Room?

While there has been concentrated effort to bring in voices that can authentically speak for a culture or perspective in some cases, it’s part of a long process. Jeff Trammell, head writer on Cartoon Network’s hit show Craig of the Creek and a voice actor, points out there’s still work to be done.

“I do believe that rooms have become slightly more inclusive and diverse, but I both hope and believe that in the coming years this will become more commonplace,” he notes. “I’ve been fortunate enough to work in a lot of writers’ rooms, but more often than not I’m the only POC in the room and I’d love to see that change going forward.”

Diego Molano is the creator/showrunner of Cartoon Network’s Victor and Valentino, which incorporates Mesoamerican folklore and culture into the show’s storytelling. Molano believes there are many benefits for audiences and studios alike when diverse stories are told.

“Animation is changing, but slowly,” says Molano. “I think companies are just now noticing that we have stories that are not only relevant and entertaining, but that there is a gigantic demand from audiences for it. And if they don’t change with the times, they’re leaving money on the table. It’s honestly encouraging to see more people of color get a chance to tell their stories. This is important, we need to hear those voices because it would be a shame for these stories that we can all learn so much from, be forgotten. Historically, it has been hard for people of color to get traction with anything that isn’t the same story, told in a way that companies are comfortable with. But now with so much demand for all sorts of different content, there is hope.”

The Power of Reflection

Miguel Puga, co-executive producer on Nickelodeon’s The Casagrandes, also wants to tell authentic stories about his culture and hopes the children who watch the show — regardless of their background — will gain perspective.

 “It’s a window into the Latin culture and to normalize that and show their stories count,” says Puga. “Hopefully, I’m leaving the door open behind me so they can come into this industry. And I’m not the first one to do it. There have been so many before me, like Jorge Guti茅rrez and Bill Melendez, that opened the door for me and showed that change is attainable and hard work and dedication pays off. Authenticity makes a great show because kids can tell when something isn’t authentic. It makes a better story, it makes a better cartoon, or a better show or movie. We create these characters so viewers can see themselves. The power of reflection is a huge issue for us.”

As the U.S. population changes, reflection takes on a new meaning and a new mandate. The viewing audience for animation is changing quickly.

“The truth is that 50 percent of kids under the age of 12 are not white,” says Ramsey Naito, president of Nickelodeon Animation. “This is a very, very diverse day and time in kids’ television, so the emergence [of diverse content] is quite natural, I think. We want our kids, our audience to watch our shows and see themselves and identify with our characters in an authentic way. Kids love to see themselves. They want to see themselves, and seeing themselves empowers them.”

Meredith Roberts, senior vice president/general manager of television animation for Disney Channels, sees their audience becoming more diverse, too.

“We know from monitoring census statistics that the population is changing and we want to change with it,” says Roberts. “In addition to our current slate, the future development also reflects the work to be much more inclusive and authentic with underrepresented writers and directors. We do a lot of work reaching out to historical black universities to identify new writing talent.”

Throughout the last few years, cultural movements have celebrated diversity and inclusion and that’s bound to impact how audiences see shows. This could be especially true for kids who are growing up in a more inclusive and sensitive culture.

An Inclusive Generation

“We are also looking at ourselves across the inclusion and equity spectrum — race/ethnicity, gender, socio-economic status, body type, disability and LGBTQIA+ — to evaluate projects in development, production and in the greenlight process to make sure that our content is truly reflective of the kids/families watching,” says Amy Friedman, head of programming for Cartoon Network and HBO Max Kids & Family.

There’s no doubt animation audiences have incredible access to past animated shows and that might even make the thirst for something new that gives a more real and respectful view of different cultures even stronger.

“With kids being exposed to entire catalogues of animation on streaming sites, I think they expect new animation to be more advanced and considerate in the way we tell our stories, and present them,” says Molano. “Kids are way more knowledgeable about animation than 15 years ago, and I think it’s really awesome that they’re demanding stories that reflect themselves. Historically, kids have only watched what has been presented to them, but now, it’s nice to know they’re taking part in creating what gets made.”

Ito believes audiences still want many of the same things — but with a caveat. “I think audiences are always genuinely looking for a compelling story they can relate to, and in that way, they haven’t changed at all,” says Ito. “The part that has changed is that audiences who have been underrepresented have made it clear how much it means to them when big studios take chances on projects that make them feel seen.”

Karen Idelson is a journalist who loves writing about animation, VFX and technology. She lives in the South Bay Area of L.A. with her husband, daughter, a dog named Disco and a jalape帽o plant that won’t die regardless of how much it is ignored.

###

Watch The Loud House & The Casagrandes on Nickelodeon!

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More Nick: Nickelodeon Greenlights 'The Loud House' Season 6!

Originally published: Thursday, September 24, 2020 at 17:39 BST.

H/T: TheFutonCritic.com; Additional source: @NVidsCentral.
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Misty Copeland Dances onto 'Blue's Clues & You!' - Sneak Peek

"Blue's Big Dance Party," guest starring Misty Copeland, airs Friday at 11 a.m. ET on Nickelodeon

Misty Copeland on Blue's Clues & You! | Credit: Nickelodeon

Josh and Blue have a very special guest: Misty Copeland!

In an upcoming episode of Blue's Clues & You! titled "Blue's Big Dance Party," the titular pup and host Josh "find out Magenta's favorite dance and help Bunny Jo learn a new dance," according to a release, all while playing Blue's Clues to figure out Blue's favorite dance.

In an pawsome clip release by PEOPLE, Blue and Josh receive their daily email from Mailbox — and after singing their "We Just Got an Email!" song, they're in for a big surprise as Copeland, 38, greets them in a video message.

Misty Copeland on Blue's Clues & You! | Credit: Nickelodeon

"Hey, Josh and Blue! I'm going to show you my favorite dance move. It's a cha卯n茅 turn," says the prima ballerina of the technique, which is defined by Merriam-Webster as "a series of short usually fast turns by which a ballet dancer moves across the stage."

Following an impressive demonstration of the move on her toes, Copeland says, "Voila! Bye, Josh and Blue!" and gives them a wave.

After bidding the ballerina adieu with a "Wow!", Josh tells viewers, "I love dancing, don't you?"

'Santiago of the Seas' Voice Actor Kevin Chac贸n Features in New Song 'Survivors'

Nick News Mini: Voice actor Kevin Chac贸n, the voice of Kevin Chac贸n in Santiago in Nickelodeon's brand new CG-animated preschool series Santiago of the Seas, features as part of the choir of the brand new song, "Survivors"! Released on December 24, the humanistic song is created by composer and producer Juan Cristiani (#1 on the US Billboard charts in 2017), and written and performed by singer-songwriter and activist, Sophia Angelica, and brings together almost 30 international artists, including Got Talent Uruguay winner Diego Coronel. The song aims to give listeners a message of hope and unity, in these moments of a global pandemic, social isolation and uncertainty. The song is presented in en Espa帽ol.



Survivors: un mensaje de esperanza para las nuevas generaciones




El estreno oficial de la canci贸n fue este 24 de diciembre, por Youtube y redes sociales, y cuenta con la destacada participaci贸n del ganador de Got Talent Uruguay, Diego Coronel, y una in茅dita selecci贸n de casi treinta artistas internacionales.

“Survivors” es una canci贸n humanista, creada por el compositor y productor Juan Cristiani (#1 en el ranking de Billboard de Estados Unidos en 2017), y escrita e interpretada por la cantautora y activista, Sophia Angelica. “Survivors” reuni贸 a veintinueve reconocidos artistas de diferentes puntos del planeta, que fusionaron sus distintas sensibilidades creativas para dar un mensaje de esperanza y unidad, en estos momentos de pandemia global, aislamiento social e incertidumbre.

Esta canci贸n es un claro ejemplo de que “la m煤sica nos conecta a pesar de la distancia y las diferencias culturales”, concordaron sobre este proyecto de colaboraci贸n creativa, Angelica y Cristiani. El proceso musical de esta pieza -que transita g茅neros desde el pop hasta el cl谩sico- fue totalmente armado y coordinado desde las casas de los artistas.

El desaf铆o tecnol贸gico de articular las voces, que grabaron, cada uno desde sus celulares, diez ni帽os de la escuela art铆stica de Nueva York, Rybin Entertainment, queda totalmente recompensado al escuchar el resultado final que eleva la exquisita melod铆a con un sensible coro.

“A los m煤sicos se les dio toda la libertad para que se expresaran”, explic贸 Cristiani sobre c贸mo se logr贸 el sonido org谩nico de “Survivors”. “Con cada artista que se un铆a, la canci贸n cambiaba y volv铆a a crecer”, subray贸 el productor uruguayo.

“Tatita” M谩rquez, otro uruguayo

El tenor Diego Coronel, flamante ganador de Got Talent Uruguay, emociona con su inmensa voz y sensibilidad musical.

El bajo del ic贸nico Guillermo Vadal谩 (Fito P谩ez, Spinetta, Alejandro Sanz) traza una l铆nea elegante entre el ritmo y la melod铆a, que se conjuga a la perfecci贸n con la poderosa bater铆a a cargo de David Haynes (Stevie Wonder y Prince); la profundidad del viol铆n de Javier Casalla (Pavarotti, Bajofondo, Gustavo Santaolalla); la armoniosa llevada de piano de la compositora Florencia Di Concilio; las guitarras ac煤sticas, estilo folk americano, de Nicol谩s Bereciartua; los frescos toques de percusi贸n de Daniel “Tatita” M谩rquez y con la desgarradora voz del cantante g贸spel, Lee Taylor.

Los j贸venes talentos del coro son: Kevin Chac贸n (Santiago of the Seas/ Nickelodeon, Jessica Jones/Netflix); Jes煤s Del Orden (Kinky Boots y The Lion King/Broadway); Agatha Celleri (Orange Is The New Black); Adriana Del Orden (Gotham); Madison Kline; Julia Arredondo; Joshua Monge; Ari Vanunu; Katie Miranda y Lesli Hern谩ndez. Brindaron su aporte creativo los m煤sicos: Ivan Macagno (guitarra el茅ctrica); David Stabilito (sintetizador); Paolo Farina, Agust铆n Simon, Sam Wahl y Marcel Benasus (arreglos).

La mezcla del sonido fue realizada por Max Scenna (ganador de un Latin Grammy); y el arte de tapa fue una brillante idea del artista Marco Melgrati.

El broche final de “Survivors” lo puso Bernie Grundman, que tambi茅n masteriz贸 el 谩lbum m谩s vendido en la historia de la m煤sica: “Thriller” de Michael Jackson; entre otros 茅xitos como “We Are the World” y canciones del gran Frank Sinatra.

La letra

Survivors (Sobrevivientes)

El mundo sufre
Se siente mal
Tan incierto
Que va a pasar

No perdamos la fe
Seremos fuertes
Como sobrevivientes
Ganaremos la guerra

Abran sus corazones
Y sus mentes
El uno con el otro
Podemos recuperarnos
Lo que perdimos
Lo encontraremos
No nos pueden dividir
Porque somos sobrevivientes

Aunque est茅s aislado
No est谩s s贸lo
A pesar de la distancia
Lucharemos con amor

Ganaremos la guerra
Volveremos a casa
Somos sobrevivientes

###


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Nickelodeon Iberia Announces Christmas 2020 Highlights

Nickelodeon Iberia has unwrapped their Christmas programming highlights, full of festive specials old and new of fan-favourite shows, plus a sneak peek of the brand new show Spyders!:


The following article is presented in Spanish (Espa帽ol); All times for Nickelodeon Spain (Espa帽a), deduct one-hour for Nickelodeon Portugal.

Update (18/12) - To further celebrate Christmas, Nickelodeon Spain has partnered with Movistar to open activations inspired by SpongeBob SquarePants, Henry Danger, Danger Force (Equipo Danger) and PAW Patrol in Madrid and Barcelona! Admission is free. For more information, visit: https://granestaciondenavidad.es.

Nickelodeon India Announces Kids' Choice Awards 2020 India

Nickelodeon India has announced Nickelodeon Kids' Choice Awards 2020 India!


Following in the footsteps of the U.S./global edition of Kids' Choice Awards as well as the localised KCAs in Germany, Switzerland and Austria, due to the on-going COVID-19 (coronavirus) pandemic, Nickelodeon Kids' Choice Awards 2020 India will take place virtually. However, this year's ceremony will be bigger than ever before!

This year with Nickelodeon Kids’ Choice Awards the promise is to present the show in a whole new format, new style, focused on taking it virtually and getting kids to not only vote but also get closer to their stars in a never seen before avatar.

For Kids' Choice Awards 2020 India, Nickelodeon is adding six brand new categories, giving kids across India the chance to vote and honour their favourite content and stars that kept them entertained through the lockdown, empowering kids to decide who takes home the coveted Nickelodeon Blimp.

Over the years, Kids’ Choice Awards have featured a glittering host of celebrities gracing the orange carpet and with our iconic Nicktoons. With mind-blowing performances by renowned celebrities like Sara Ali Khan, Varun Dhawan, Alia Bhatt, Ranveer Singh and more, as well as raking in more than five lakh votes, kids had a gala time at the legendary award show. This year’s edition will witness nominees that have come through a special online research to determine who entertained children the most during the lockdown.

Kids will get a chance to vote for a whole lot of nominees across several new categories such as favourite online learning apps, YouTubers, Instagram personalities, sportspersons, and food enjoyed during the lockdown, amongst others. The voting starts on 4 January 2021 exclusively at voot.com and via the Voot App. The date of the gala is yet to be officially announced.

Nominees in the "Best Movie Actor (Female)" category are Alia Bhatt, Deepika Padukone, Sara Ali Khan, Kriti Sanon, Kiara Advani and Shraddha Kapoor.

In the "Best Movie Actor (Male)" category, Salman Khan is pitted against Shah Rukh Khan, Varun Dhawan, Ranveer Singh and Tiger Shroff.

Blockbusters Baahubali 2, Baaghi 3, Street Dancer 3, War and Golmaal Again are competing in the "Best Bollywood Movie" category.

In the "Best Bollywood Movie Song" category, the nominees are: "Coca Cola", "Bala", "Care ni karda", "Aankh maare", and "Apna time aayega".

Honey Singh, Badshah, Raftaar, Guru Randhawa and Divine are pitted against each other in the "Favourite Rapper/Rap Music Star" category.

Bollywood star Hrithik Roshan is nominated in the "Favourite Dancer" category alongside Prabhu Deva, Tiger Shroff, Allu Arjun, and Varun Dhawan.

The "Favourite TV Actor (Male)" category will see contest between Kapil Sharma, Dilip Joshi, Mukesh Khanna, Shivaji Satam and Arun Govil.

Hina Khan, Disha Vakani, Surbhi Chandana, Shivangi Joshi and Shehnaaz Gill are nominated in the "Favorite TV Actor (Female)" category.

There is also a "Favourite TV Show" category, in which Taarak Mehta Ka Ooltah Chasma, Kaun Banega Crorepati, The Kapil Sharma Show, India's Best Dancer and Mahabharat have each been nominated for a blimp award.

In the "Favourite Show on Kids Channel" category, Nickelodeon favourite Motu Patlu goes head-to-head with Chhota BheemLittle SinghamSab Jholmaal Hai, and Bandbudh aur Budbak.

Meanwhile, Bheem, Motu, Shiva, Patlu and Rudra are all battling out to be named ""Favourite Indian Toon Character".

A full list of Kids' Choice Awards 2020 India nominees can be found below.

On the decision to go virtual this year, Nina Elavia Jaipuria – Hindi Mass Entertainment & Kids TV Network at Viacom18, said, “In these challenging times our commitment is to ensure that our young viewers remain entertained and positive. Keeping this in mind we at Nickelodeon are going to celebrate all that is new with Kids’ Choice Awards 2020.”

“In the virtual format, with the introduction of new categories, we aim to encourage and empower kids to cast their vote and choose their favourites who kept them going through the lockdown. Nickelodeon will also support Teach for India to help provide smart devices to children to enable online education,” Jaipuria  added.


The uniquely curated awards will support a cause that has emerged during the pandemic while emphasizing the need to celebrate the new normal. Due to the ongoing social distancing, the shift to e-learning, India’s education system is going through a reform. The prolonged closure of schools to maintain social distancing has caused educational inequality, especially due to limited access to internet and technology. To bridge the digital education divide and enable a smooth transition for all stratas of society, Nickelodeon has partnered with Teach for India, for the latter’s existing program “Sponsor A Device”. The partnership will kickstart during the voting process of the Kids' Choice Awards 2020 where Nickelodeon will donate one rupee for every vote garnered. Teach for India is a non-profit organization that works towards educational equity at all levels of the education system. Under the existing program, the community aims to enable the new form of learning by raising funds for putting a gadget in the hands of every student who needs one. 

Teach For India communications and marketing director added on the initiative, “We are delighted to partner with Nickelodeon for their most prestigious awards show. Their support to our #DontStopLearning campaign is important and we are deeply grateful to their commitment to sponsor a device to ensure our students continue learning. We are confident that this partnership will play a significant role in bridging the digital divide.”

Pivoting the media mix to the new normal, the marketing campaign is being promoted through a robust digital and social media plan, interesting on-line interactivity, support across the Nickelodeon franchise and social media challenges along with a push from the entire network. There are various innovations lined up on the digital front, including tons of quirky communication on YouTube. There will be a #KCAsquad with influencers giving the audiences all the latest updates on #KCAIndia2020. Further adding to the slime-tastic experience will be slime inspired digital games, contests, AR filters, virtual face-offs and series of engaging and interesting on-line interactivity that will create fun experiences for kids. Fans can also show their support with the #CelebrateTheNew hashtag.

While box office collections and critic reviews foretell how successful a film or performer is, it is time to find out which of them would make it to the hearts of the young ones. Get your kids ready to cast their vote and decide who takes home the Nickelodeon blimp!

Following is a sneak peek to the award categories for Nickelodeon Kid’s Choice Awards 2020:

Favourite Kid Influencer

Anantya Anand
Jayas Kumar
Kyra Kanojia
Ayat Sheikh
Pratham Singh

Favourite online learning app

BJYUS
Vedantu
Unacademy
White Hat Jr
Topper

Favourite Food enjoyed in Lockdown

Pizza
Noodles
Pasta
Samosa
Cakes

Favourite Youtuber

Vidya Vox
Amit Bhadana
Bhuvan Bam
Ashish Chanchlani
Prajakta Koli

Best Movie Actor (Female)

Shraddha Kapoor
Alia Bhatt
Deepika Padukone
Sara Ali Khan
Kriti Sanon/Kiara

Best Bollywood Movie

Baahubali 2
Baaghi 3
Street Dancer 3
War
Golmaal Again

Best Bollywood Movie Song

Coca Cola
Bala
Tu to Meri Care Ni karda
Aankh Maare
Apna Time Aayega

Favourite Rapper/ Rap Music Star

Honey Singh
Badshah
Raftaar
Guru Randhawa
Divine

Favourite Dancer

Hrithik Roshan
Prabhu Deva
Tiger Shroff
Allu Arjun
Varun Dhawan

Favourite TV Actor (Male)

Kapil Sharma
Dilip Joshi
Mukesh Khanna
Shivaji Satam
Arun Govil

Favourite TV Actor (Female)

Hina Khan
Disha Vakani
Surbhi Chandana
Shivangi Joshi
Shehnaaz Gill

Favourite TV Show

Taarak Mehta Ka Ooltah Chasma
KBC
The Kapil Sharma Show
India’s Best Dancer
Mahabharat

Favourite Mobile Game

Temple Run
Candy Crush Saga
Ludo King
Subway Surfers
Carrom Disc Pool

Favourite Child Entertainer on TV

Bhavya Gandhi
Dev Joshi
Aurra Bhatnagar
Ruhanika Dhawan
Aakriti Sharma

Favourite Mobile Game

Temple Run
Candy Crush Saga
Ludo King
Subway Surfers
Carrom Disc  Pool

Favourite Instagram Personality

Kapil Sharma
Niharika
Awez Darbar
Jose
Prajakta Koli

Favourite Show on Kids Channel

Motu Patlu
Chhota Bheem
Little Singham
Sab Jholmaal Hai
Bandbudh aur Budbak

Favourite Indian Toon Character

Bheem
Motu
Shiva
Patlu
Rudra

Best Movie Actor (Male)

Salman Khan
Sharukh Khan
Varun Dhawan
Ranveer Singh
Tiger Shroff