Friday, July 24, 2020

Nickelodeon Named the Number One Network of the Year in India

Nickelodeon India (Nick) has been named as the number one network throughout the past year – from week 27, 2019 till week 28, 2020, as per BARC India data (Network Share, India U+R, 2-14)!

Nick has continued to be an undisputed leader in the kids category in India with a wide array of local and international animated IPs and curated content. It has consistently topped the list of ‘Top 5 Channels’ as per BARC’s weekly data for a long time now, even during the COVID-19 (coronavirus) pandemic. In fact, its kids favourite shows like Motu Patlu and Rudra have garnered huge viewership according to BARC data.

During the lockdown, the Nickelodeon network announced a new content line-up to its already popular programming catalogue, with fresh episodes of kids favourite shows such as Motu Patlu, Rudra, Ninja Hattori (Sonic), Pakdam Pakdai (Sonic), and PAW Patrol (Nick Jr.). Additionally, all of these content is available in eight local languages like Gujarati, Bengali, Marathi and Malayalam along with the existing ones – Hindi, Tamil, Telugu and Kannada, thus ensuring that kids across the nation are able to watch their favourite Nicktoons and enjoy the shows in the language of their choice.

Earlier, Viacom18 Hindi Mass Entertainment and Kids TV Network head, Nina Elavia Jaipuria stated in an official comment, “Kids are at the center of our universe and their wellbeing is of utmost importance to us. In the wake of COVID-19, we request all to stay safe indoors and have an enjoyable time at home. During this time when families must stay inside, we are offering our young viewers fresh episodes of their favourite shows so they can bond with their families while enjoying the company of their beloved Nicktoons. We at Nickelodeon believe this is a time to be positive, remain safe and we commit to do all that we can to make our viewers smile and feel upbeat.”

For week 28 2020 (11 July to 17 July) Nick reigns the ‘Top 5 Channels’ list followed by Hungama, POGO, Sonic and Cartoon Network. Motu Patlu: Kings of Kings holds the number one position among ‘Top 5 Programmes’ followed by Rudra vs Forces of Nature, Rudra vs Shakaal’s Army, Rudra: The Rise of King Pharaoh and Chhota Bheem & Krishna.

The kids broadcaster witnessed their consumption numbers soar quite naturally as the country witnessed an explosion in that category as kids watched content targeted to them more than usual, having limited or no access to outdoor entertainment.

Recently, Viacom 18 Content Creation, Channel Strategy & Research, Kids Cluster head Anu Sikka mentioned at AMS (Animation Masters Summit) 2020, “For the entire kids network at Viacom18, the numbers shot up across all the age groups between two to 14. We had seen our main premium channel, Nickelodeon touch close to 800 TVTs which is unprecedented. As a matter of fact for us, Nick Jr. today in the urban areas has a six per cent market share which we couldn’t anticipate but I guess the smaller kids are sitting at home and parents are feeling far safer to give them the remote and with brands like Nick Jr., they know the content is absolutely safe. So the entire category has seen a huge increase.”

More Nick: Nickelodeon India Brings the Playground Home for Kids with #HomeOkPlease Campaign!

Original; source: AnimationXpress.
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Nickelodeon Russia Continues Ratings Streak in June 2020

Nickelodeon Russia (Россия) continued its ratings success in June 2020, increasing its audience by 34% compared to the previous month!

Keeping viewers entertained during the COVID-19 (coronavirus) lockdown and the summer holidays, the channel experienced an increase in its average TV viewing time to 103 minutes, becoming the leading kids channel in the country.

In June, Nickelodeon has two premieres: an animated preschool series Corn & Peg (Рог и Пегги) and the animated series It's Pony (Это Пони).

about the adventures of a good-natured unicorn named Horn and his resourceful friend Peggy, as well as an animated show "It's Pony" about the unusual friendship between the girl Annie and her pet Pony. The most popular programming amongst viewers on Nickelodeon Russia in June was the SpongeBob SquarePants (Губка Боб Квадратные Штаны) Marathon.

Below is ViacomCBS Networks Россия's official press release announcing the exciting news!:


Июнь стал еще одним успешным месяцем для телеканалов медиахолдинга ViacomCBS: их рейтинги продолжили расти.

Июнь стал еще одним успешным месяцем для телеканалов медиахолдинга ViacomCBS: их рейтинги продолжили расти. У Nickelodeon Россия – рекордная доля аудитории за последние 4 года, которая увеличилась на 34% по сравнению с прошлым месяцем1.Телеканал смог не только удержать аудиторию в условиях отмены самоизоляции и начала летних каникул, но и повысить среднее время телесмотрения до 103 минут, став лидером среди детских тематических каналов2. В июне на канале состоялись две премьеры: в эфир вышел мультсериал для дошкольников «Рог и Пегги» о приключениях добродушного единорога по имени Рог и его находчивой подруги Пегги, а также анимационное шоу «Это Пони» о необычной дружбе девочки Энни и ее питомца Пони. Самой же популярной программой среди зрителей на Nickelodeon Россия в июне стал марафон эпизодов «Губка Боб Квадратные штаны».

Paramount Comedy вошел в топ-10 тематических телеканалов по доле аудитории, а также стал лидером по времени телесмотрения у возрастных групп 18-44, 12-34 и 25-44. Это говорит о том, что контент Paramount Comedy востребован среди самых разных зрителей, включая подростков. Сериал «Клиника» с самого старта в апреле остается лидером по смотрению на канале. Также в течение первого месяца лета большое внимание привлекли марафоны классических ситкомов – «Друзей» и «Теории большого взрыва».

Киноканал Paramount Channel в июне увеличил свою долю аудитории на 74%3 по отношению к тому же периоду 2019 года. У канала Spike с премиальным сериальным контентом выросло среднее времени телесмотрения на 17% по сравнение с маем этого года.

MTV Россия продолжает демонстрировать позитивную динамику: среднее времени телесмотрения выросло на 17% по сравнению с маем4.В июне телеканал показал благотворительный концерт «Global Goal: Объединимся ради будущего», на котором такие артисты как Coldplay, Джастин Бибер, Шакира, Майли Сайрус, Дженнифер Хадсон, Quavo, Usher, Chloe x Halle, Christine and the Queens, J Balvin и Yemi Alade выступили в поддержку тех, кого пандемия затронула больше всего. На MTV Россия вернулась передача «По домам» в виде специальных выпусков с участием игроков сильнейших футбольных лиг мира. Наконец, на канале стартовало новая передача «Поколение мафии» — реалити-шоу, героями которого стали люди, связанные криминальным прошлым своих родных.

Mediascope, TV Index+, 01.05.20-30.06.20, 05:00-29:00, Россия, города 100.000, доля

Mediascope, TV Index+, 01.05.20-30.06.20, 05:00-29:00, Россия, города 100.000, среднее время смотрения

Mediascope, TV Index+, 01.06.19-30.06.19, 01.06.20-30.06.20, 05:00-29:00, Россия, города 100.000, аудитория 25-44, доля

Mediascope, TV Index+, 01.05.20-30.06.20, 05:00-29:00, Россия, города 100.000, аудитория 25-44, среднее время смотрения


Больше Nick: ViacomCBS Networks Russia Launches 'Together' Campaigns
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'SpongeBob SquarePants' the Most In-Demand TV Show for Week Ending July 18

SpongeBob SquarePants was once again the most in-demand TV series for the week ended July 18, according to Parrot Analytics, which reports that Nickelodeon's beloved animated series saw a demand 104.8 times higher than that of the average television show, representing an ever-so-slight increase of over the previous week.

The news comes as ViacomCBS announces plans to add all episodes of SpongeBob SquarePants, along with The SpongeBob Movie: Sponge on the Run, which is foregoing its theatrical release due to the on-going COVID-19 (coronavirus) and heading straight to digital, to a bulked-up and relaunched CBS All Access during early 2021. Internationally, the film will bow on Netflix.

Parrot Analytics provides readers with a weekly top 10 of the most popular digital original TV series in the United States, based on the firm’s proprietary metric called Demand Expressions, which measures demand for TV content in a given market through a wide variety of data sources, including video streaming, social media activity, photo sharing, blogging, commenting on fan and critic rating platforms, and downloading and streaming via peer-to-peer protocols and file sharing sites. Results are expressed as a comparison with the average demand for a TV show of any kind in the market.

From Variety:

R.I.P. Cable TV: Why Hollywood Is Slowly Killing Its Biggest Moneymaker

As subscribers and viewers flee, media companies that once relied on cable TV are chasing streaming dollars instead.

Earlier this year, people started noticing something peculiar about MTV’s schedule: The network had quietly morphed into an almost 24/7 offering of just one show. At one point in late June, “Ridiculousness” — a half-hour viral video-clip show hosted by famed skateboarder Rob Dyrdek — aired for 113 hours out of the network’s entire 168-hour lineup. Many took it as a sign that MTV, a pioneering force in reality television that only a few years ago had also made major investments in original scripted programming, had just given up.

Pundits had long predicted the death of broadcast TV, while basic cable feasted on a dual revenue stream of subscriber fees and advertising revenue. But that gravy train started going off the rails when the streaming services arrived. At first, Netflix was a friend, supplying yet another source of revenue and even acting as a marketing tool — helping to turn AMC’s “Breaking Bad” into a much bigger hit during its final season of originals on AMC, for example.

But as AMC soon learned, consumers began thinking of “Breaking Bad” as a Netflix show — and Netflix was using acquired library content to quickly change viewer habits. Last year, the streamer launched more original programming than the entire cable TV industry had a decade earlier.

Meanwhile, “cord cutting,” once pooh-poohed by the cable industry as a myth, has become a real threat: The number of pay-TV households peaked in 2010 at 105 million; now it’s down to approximately 82.9 million. And a study last year by eMarketer forecast that number to dip to 72.7 million by 2023. Now, it’s cable that’s on the ropes — and struggling for survival.

“I think it’s 10 years, and there’ll be a total change of the guard,” says former DirecTV/AT&T Audience Network programming chief Chris Long, who’s now a producer. “At some point, people will make that decision of ‘I can get everything I want [in streaming]. I no longer need to have 180 channels that I only watch 12 of.”

While a handful of lifestyle and older-skewing networks have managed to buck industry-wide declines, most general entertainment channels have suffered double-digit drops in ratings in recent years. According to Variety’s tally of the most-watched networks in 2019, Nick at Nite was down 24% among total viewers; AMC, down 22%; FX, down 21%; USA, down 19%; TBS, down 16%; and TNT, down 14%.

Until recently, it was cable that drove much of the entertainment industry’s bottom line. Those networks printed cash for the conglomerates, which is why the parent firms were so eager to build up their suite of channels. When Disney bought ABC in 1995, ESPN was the big prize. By 2001, cable distribution was so valuable that Disney paid a whopping $5.3 billion for the Fox Family Channel — rebranded first as ABC Family and now known as Freeform. When Viacom and CBS split in 2006, Viacom was seen as the better bet because of its channels.

Cable paid top dollar for movie packages and off-network broadcast shows, further enriching the ecosystem. As the cash grew, cable could afford pricey sports rights and original series, giving channels reasons to increase their subscriber fees. It was a growth cycle with no limit. Or so it seemed.

But even before the disruption of streaming, signs of trouble emerged. Distribution hit a wall as the domestic customer base was tapped out. That led to more clashes between multichannel video programming distributors (aka cable and satellite providers) and media conglomerates desperate to make up for losses by jacking up (or even holding steady on) those subscriber fees.

As the MVPDs and entertainment companies battled, they were distracted from coming up with a plan to fight the imminent OTT threat: First from Netflix, then from Amazon and now even from Apple. And so the declines continue — to what level, no one is quite sure.

“Where’s the future? Where are we going?” asks Mark Stern, the former president of original content at Syfy. “I think that where we’re headed is obviously into this on-demand, nonlinear space.”

Adds Henry Schleiff, group president of Discovery’s Travel Channel, Investigation Discovery, American Heroes Channel and Destination America: “I think [cable pioneer] John Malone’s initial dream back in the ’80s of a 500-channel universe, which we’ve long surpassed, has already come and gone. It was a great dream and a wonderful place to live in. I think the consolidation you’re seeing now is what you’ll see in the future.

The decline of cable isn’t a new story, but what has started to take hold is a change in narrative inside the industry. Rather than try to prop up what they all know to be a decaying linear business, cable executives are instead focusing on their still-healthy intellectual properties and the brands behind them.

Some of those cable brands are even aiming to carve out a space in the streaming world, like FX on Hulu, National Geographic on Disney Plus and the Turner team’s involvement in HBO Max.

“You’re just doing everything you can to run in place as a basic cable network,” says FX Networks CEO John Landgraf, explaining why creating an FX on Hulu portal, which includes original programming not aired on the linear channel, is necessary to grow the FX brand. “It allows us to maintain — even increase a little bit — our investment in our programming for our linear channels … but where all the growth from investment in the television industry is, is in streaming.”

Then there’s ViacomCBS, which has basically been telling people to stop thinking of it as a collection of channels and instead focus on the company as the steward of a wide variety of programs and IP. “I think more and more we look at each of those brands as content factories, as makers of content for a particular group or demographic or psychographic group that exists beyond the cable channel,” says CBS chief creative officer/Showtime Networks chairman and CEO David Nevins.

For all this hand-wringing over the death of cable, former Fox and WGN exec Peter Liguori says there’s no longer any such thing as a typical linear cable channel — and that’s fine: The business has already evolved. “As OTT takes over, you see how the great cable networks, the FXs and HBOs of the world, still maintain their brands, but are very much content creators more than they are necessarily just the old networks.”

That leads us back to MTV and “Ridiculousness.” When asked about the program’s wall-to-wall scheduling, execs there say we’re missing the point: The linear network is just a single sliver of their business, as MTV fare might be found on Facebook Watch (like a “Real World” reboot), or Quibi (“Punk’d” and “Singled Out” reboots), or Pluto TV (which features multiple MTV-branded channels). Most recently, ViacomCBS announced a revival of MTV’s “Beavis and Butt-Head” that will run on Comedy Central.

“We continue to think of cable as just one piece of our ecosystem,” says Tanya Giles, the general manager of ViacomCBS’ entertainment & youth group. When it comes to finding an audience for old-school MTV, particularly during the pandemic, Giles says “Ridiculousness” grew the network’s frequency and time spent viewing the more it was added to the schedule. “We went from people coming one to two times a week to nearly six times a week to watch ‘Ridiculousness’.… Particularly when COVID hit, now there’s a lot of people at home. We knew that this was a show that many generations could watch. It cut across different genders; it’s laugh out loud; it’s escapist.”

Although not to the extreme of “Ridiculousness,” MTV isn’t the only network to now rely on a steady binge of a handful of repeatable shows to keep the lights on. That’s led some to wonder if cable TV has already turned into a collection of “barker networks” — like those channels you find in a hotel room, promoting their offerings on a loop.

At its height during the 2000s, basic cable is where the entertainment giants were pouring their money, and the buzziest successes came from broad entertainment networks — USA, TNT, FX and AMC — which offered scripted originals that in quality bested most shows on the broadcast networks and rivaled those on HBO and Showtime.

Indeed, it wasn’t that long ago that AMC’s “The Walking Dead” blew away anything on broadcast or cable, in 2015 averaging a whopping 13.2 rating among adults 18-49. And even now, Jerry Leo, who oversaw programming strategy at Bravo and Oxygen until last year, cites the ratings success of ESPN’s “The Last Dance” and Paramount Network’s “Yellowstone” and TLC’s 2020 ratings dominance (thanks to “90 Day Fiancé” and its multiple spinoffs) as proof that cable TV can still draw audiences.

Lauren Zalaznick, the former NBC Universal chairman who ran several of the company’s cable channels and its digital networks, says, “Someone has to be defending this beautiful, money-making, not-growing area of the business.”

Zalaznick thinks it would be foolish for the content companies to abandon their once-vaunted cable channels solely in pursuit of the elusive streaming dragon.

“It seems ugly and messy and not fully baked to chase something much smaller with only one revenue stream,” she says. “Advertisers still need to advertise! Do you want to put yourself in the place that newspapers found themselves, with no advertising and hardly any subscribers? What signal do you want to send your customers if you completely defund and make unattractive the place you get half your money?”

Van Toffler — who ran MTV for years, and until 2015 was the president of Viacom Media Networks — is familiar with cable channels being counted out. “People said MTV was dead every three years. And then we’d have ‘Beavis and Butt-Head’ or ‘The Osbournes’ or ‘Jackass’ or ‘Punk’d,’” Toffler says.

But a lot has changed since then. And now comes COVID-19 and further uncertainty about where that puts linear TV. Leo thinks the coronavirus-triggered production shutdown, as well as the economic impact of the recession, will be profound. “The whole playbook has completely changed since the pandemic,” he says.

Those financial pressures will, Leo posits, put the cable networks that were able to produce new shows during quarantine — TLC, Food Network — in even stronger positions. “They have this machine that looks pretty unstoppable right now; to be surging this much in this cluttered environment is remarkable,” he says.

Ironically, during cable’s height, niche channels without scripted shows — such as Food Network and HGTV — were out of favor. But now, the more specific, the better, Stern says: “I think a big piece of this is, do you have a brand that is distinct?”

Food Network, for instance, saw ratings spike during the coronavirus quarantines and has been drawing its biggest audiences in years. “We’re in better shape than scripted,” says network president Courtney White, “and I also think we’re in better shape having such a well-defined brand and a very specific swim lane of food.”

Stern sees basic cable as retrenching and returning to its ’80s origins — “kind of niche, fighting for audience and trying to figure out where it fits,” he says. “A lot of basic cable is going to basically go back to where it started, which is lower-cost programming — unscripted programming.”

In fact, that has already happened: In a last-ditch effort to increase their subscription fees in the mid-2010s, several networks entered the scripted world, only to leave it again at the end of the decade: MTV, Discovery, Bravo, WGN America, A&E and E! Entertainment were among the networks that spent heavily on drama and comedy series before determining the investment wasn’t worth it. In the case of WGN and Pop TV, another network that is exiting the originals game, both earned raves for their brief dip into the waters of prestige TV — but ironically their shows weren’t seen until viewers found them on streaming platforms.

“Obviously, the rise of the streamers is a huge factor in this,” Stern continues, “but even before that, there was so much content out there that fighting to get eyeballs to your content was already starting to be a struggle.”

The studios’ business model, in which they would profit not only from domestic license fees but from DVD sales, international sales and, eventually, syndication — the total of which added up to an incredibly lucrative business — has mostly evaporated, compounding the economic pressures of scripted programming on cable.

Once upon a time cable channels were so important to media companies’ portfolios that firms would spend significant marketing dollars not only to promote shows but also to carve out clear-cut branding for each network. TNT’s tagline was “We know drama”; TBS’ was “Very funny” — viewers, as well as advertisers, got the difference between their two philosophies immediately. Executives within larger corporate structures were teams of rivals, competing with one another for the best scripted fare.

Those days appear to be gone. At WarnerMedia, “Snowpiercer” was developed for TNT, then moved to TBS before heading back to TNT; over at Viacom, “Younger” hopped from TV Land to Paramount Network, then back to TV Land. “Killing Eve,” a BBC America show, has aired its premiere episodes both there and on AMC for the past two seasons. It’s a strategy that certainly has increased the show’s ratings and exposure — but at the expense of eroding both channels’ brands, once constructed to be distinct.

Still, some believe this is just a precursor to further consolidation: Once cable and satellite operators balk at so many different channels in the marketplace, and they all share programming anyway, perhaps more channels will be trimmed until each conglomerate has just a handful.

Zalaznick wonders how much “poor customer service” at the cable and satellite companies have contributed to cable TV’s problems over the years. “What I also like to never forget is that cable providers are regional monopolies, and monopolies can have crappy customer service,” she says.

Even Stern, the former Syfy executive who now runs Echoverse, a scripted podcasting studio, often considers cutting the cord. “I’ve got a DirecTV subscription,” he says. “But every month I look at that $150 bill, and if my wife wasn’t still watching live Bravo shows or whatever she’s watching, I don’t know how long I would hang on to that.”

Young viewers, and kids in particular, don’t think in terms of channels anymore, and the tremendous cratering of linear ratings at Nickelodeon, Disney Channel and Cartoon Network bears that out. Viewers are still watching those networks’ shows on streaming — when they’re not on YouTube or gaming platforms, of course. But the fact that Gen Z has no loyalty to cable whatsoever — and has no patience for commercials on TV — should sound plenty of alarm bells for anyone thinking about the business long term.

“They’re not even turning to their TV as the focal point when they go wandering,” Toffler says. “They pick the content, the show they want, and then they binge-watch it. So I don’t see life getting any easier for linear cable networks.”

There’s a sizable portion of the audience (albeit, aging) that will hold on to cable because they still see it as a utility. Some pundits believe that cable penetration will bottom out at around 30 million households — still a business, but no longer one with enough reach to justify pricey expenditures like sports.

“More and more we look at brands as content factories for a particular group or demographic or psychographic group.”
David Nevins, CBS chief creative officer; chairman & CEO, Showtime Networks

Eventually, the conglomerates with sports rights will either have to include a streaming component (adding NBA to HBO Max or NFL to Disney Plus, for example), or risk losing exclusivity as major leagues look to sell those streaming rights to a third party such as Google or Facebook.

Meanwhile, as they place their bets on their new OTT platforms — including the recent launches of Disney Plus, HBO Max and Peacock — the entertainment corporations are hoping to straddle a growing precipice over the next several years, keeping one foot in the old media while placing more of their investment in the new.

According to media research analysts LightShed Partners, WarnerMedia is spending between $4 billion and $5 billion on content this year for HBO Max (at least half of that on originals), while Disney has a $2 billion to $3 billion targeted for Disney Plus, with half of that going to new shows. Comcast is believed to be committing $2 billion to Peacock in its first two years as well. (These are all pre-COVID projections; the pandemic will likely change some of these plans.)

Disney Plus launched with impressive subscriber numbers — having, as of May, racked up 54.5 million subs, according to the conglom. But the jury’s still out on the long-term health of the streaming behemoths.

Netflix has started regularly canceling shows as it begins to pay more attention to economics after years of seemingly limitless budgets. Besides an ever-increasing debt load (not uncommon for media companies), it has billions in off-balance-sheet content-spending obligations, most of which are due soon. Whether the company, which has financed its ascent to dominance by accruing billions in debt, is overly leveraged is a question. But at the end of March, Netflix announced it had an astounding 182.9 million paid global subscribers for its first quarter, and added 10 million more in the second quarter.

Yet even though audiences have embraced the streaming age, it doesn’t mean they’re hungry to consume all that new content: According to a recent YouGov survey provided to Variety Intelligence Platform, only 15% of respondents said they’d be interested in watching a new show on HBO Max, and just 6% said they’d watch one on Peacock.

But Netflix’s rise has forced all of its competitors to change radically. Toffler cites the example of “Friends” as a show that traveled from NBC, to broadcast and cable syndication, to Netflix and now to HBO Max as the cornerstone of the WarnerMedia service: “If you have a frictionless consumer experience provided by technology that allows you to watch as many episodes as you want of ‘Friends’ — whichever season or episode, without any commercials — and then you have ‘Friends’ in syndication, what’s the preferable experience?”

Another former top-level cable exec admits he doesn’t see how the business can extricate itself from this predicament. “It’s going away at some point,” he says. “Not tomorrow, because they are managing it very well. They now have a lot of great, smart bean-counter-y types running all these companies. They’re managing their decline, but make no mistake about it, it’s a decline. It feels irreversible.”


From Observer:

The Pandemic’s 10 Most Popular TV Shows Are All Over the Place

As we sadly saw on Thursday when a bundle of Hollywood blockbusters were delayed (again), the entertainment industry is no closer to resuming business as usual as it was when the coronavirus pandemic first began in March. As such, audiences are left with a trickle of fresh new content to look forward to rather than the steady stream we’re accustomed to. Naturally, this has forced us to adjust our viewing habits which has resulted in some very tangible power shifts throughout the industry—we’re basically one more quarter away from Netflix establishing New World Order.

As the majority of Americans remain restricted to home confinement, which at-home entertainment options have emerged as the most popular? According to data provided to Observer by Parrot Analytics, a data firm that tracks TV popularity through social media, fan ratings, and piracy to figure out who’s watching what, here are the 10 most in-demand TV titles in the United States over the last 60 days.

1. SpongeBob SquarePants
2. My Hero Academia
3. Game of Thrones
4. Stranger Things
5. Avatar: The Last Airbender
6. Rick and Morty
7. The Flash
8. WWE Raw
9. Steven Universe
10. The Walking Dead

It’s interesting to note that half of the top-10 titles are animated series that run the gamut of family-friendly kid-oriented shows, such as Nickelodeon’s SpongeBob, to the much more adult and mature, such as Adult Swim’s Rick and Morty. The genre has grown immensely in popularity over the last 20 years and is now considered a foundational building block of mainstream entertainment. Avatar: The Last Airbender, for example, is Netflix’s second most in-demand series of the last 60 days. How’s that for four-quadrant appeal?

It’s also wort noting that while many of the above series exist on secondary streaming platforms such as Amazon Prime Video, Netflix, Hulu or HBO Max, just one (Stranger Things) is a streaming exclusive. The rest are linear series or shows licensed to streaming platforms by their original rights holders. While the production shutdown forced by COVID-19 may have something to do with that, it’s clear that streaming isn’t the only TV power these days.

Other than that, there aren’t too many patterns to pick up on. Americans clearly have a varied and eclectic taste for small screen entertainment during self-quarantine and self-isolation.


More Nick: Nickelodeon Announces Voice Cast for 'Kamp Koral: SpongeBob’s Under Years', First-Ever 'SpongeBob SquarePants' Spinoff!

Originally published: Monday, July 20, 2020.
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Classic Rugrats Comic Strip for Friday, July 24, 2020 | NickRewind

Classic Rugrats Comic Strip for Friday, July 24, 2020 | NickRewind

Rugrats, provided to Creators Syndicate by Nickelodeon, based off the popular animated television series has been created for children and family's to laugh and enjoy together.

Follow these comics and their take on real episodes of the show and their own spin on hilarious adventures.

Read more Rugrats comic strips!:

More Nick: Nickelodeon and Paramount to Bring 'Rugrats' Back for the Next Generation of Kids!
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MNC Licensing Opens Two Nickelodeon Pop-Up Stores in Indonesia

MNC Licensing has partnered with Nickelodeon to open two Nickelodeon-branded pop-up stores in Jakarta, Indonesia! MNC Media, a subsidsy of MNC Media, is the consumer products licensing agent of Nickelodeon properties in Indonesia.

Titled Knick Knack, the Nickelodeon marketplaces are available on and, and each sell a wide-range of officially licensed Nickelodeon merchandise, including apparel (shirts, hoodies, socks, yukatas) from labels Never Too Old, Show The Monster, home furnishings (cushions), bags and pouches, hats, wallets, suitcases, bows, shoes (sneakers and sandals), stationary, pencil cases, backpacks, lunch bags, and toys (miniature vehicles, jellyfishing net, and plushs) inspired by and featuring characters from hit Nickelodeon properties, including SpongeBob SquarePants, JoJo Siwa, PAW Patrol, Shimmer and Shine and Blaze and the Monster Machines.

Fans can follow the Knick Knack Nickelodeon Store on Instagram at @knickknackofficial_.


Bingung Cari Koleksi Asli Nickelodeon? Kunjungi Knick Knack Official Store

JAKARTA - Pemegang lisensi Nickelodeon di Indonesia, MNC Licensing menghadirkan pop-up store pertama mereka. Bernama Knick Knack Official Store, pop-up store tersebut dapat ditemukan di dua marketplace ternama di Indonesia, thefthing.comdan

Ini merupakan salah satu kontribusi MNC Licensing dalam memenuhi keinginan masyarakat untuk membeli barang-barang orisinal, terutama dari merek dagang Nickelodeon. Ditambah lagi pada masa work from home, masyarakat Indonesia cenderung melakukan transaksi online, namun sering tanpa jaminan keaslian produk. Untuk itu, Knick Knack Official Store hadir sebagai jawaban penyedia barang-barang asli di pasar online Indonesia.

Knick Knack Offical Store menghadirkan dua kategori barang yakni fashion-merchandise dan mass product. Untuk kategori fashion-merchandise seperti hoody, t-shirt, outerwear, bags, socks, dan sejenisnya.

Knick Knack Official Store dapat ditemukan melalui, marketplace Indonesia pertama yang fokus pada fesyen dan merchandise. Sedangkan untuk mass product, seperti stationary, botol minum, tas anak, boneka, mainan dan sebagainya, Knick Knack Offical Store bekerjasama dengan marketplace papan atas Indonesia,

Semua barang-barang resmi yang tersedia di Knick Knack Official Store merupakan kumpulan berbagai karakter yang tidak asing untuk masyarakat Indonesia seperti SpongeBob SquarePants, PAW Patrol, Blaze Monster Machine, Shimmer & Shine, Jojo Siwa dan Dora The Explorer. Ke depannya Knick Knack Official Store akan terus memberikan kejutan-kejutan baru hasil kolaborasi dengan karakter-karakter orisinal lainnya.

Jangan lupa, follow Knick Knack Official Store di theFthingdan Tokopedia, serta follow Instagram @knickknackofficial_ untuk mendapatkan update terbaru dan diskon menarik lainnya. Yuk, kunjungi


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'Alien Dawn' Star Kenny Sosnowski Passes Away After Horrific Motorcycle Crash, Aged 26

Lavallette, New Jersey - Actor Kenneth "Kenny" B. Sosnowski, who starred in Nickelodeon's popular live-action sci-fi series Alien Dawn in 2013, sadly passed away after being involved in a motorcycle crash on Tuesday, July 21. He was aged 26. The former teenage actor, who worked as an emergency medical technician, was pronounced dead at the scene. Below is a tribute to Sosnowski from the Asbury Park Press. Sosnowski's obituary, along with an option to send flowers are available on Legacy. To offer condolences to the family, please visit

Lavallette man killed in Wall motorcycle crash was EMT, teenage actor

The Lavallette man killed in a motorcycle crash in Wall Tuesday night was a former teenage actor who worked as an emergency medical technician, his family said.

Police identified the crash victim as 26-year-old Kenneth B. Sosnowski. He was heading eastbound on Route 138 when he crashed near Old Mill Road after losing control of his 2013 Kawasaki EX6 motorcycle, police said.

He was pronounced dead at the scene.

Sosnowski, who was born in Texas, spent all but the first four years of his life living along the Jersey Shore, "a place he loved and never wanted to leave," according to his obituary. He graduated from Wall High School in 2012.

"He was the light of our lives, thoughtful, loving, funny and kind, and the world is a lesser place without him in it," his obituary read.

Both sides made mistakes: We showed Ocean Township police arrest video to experts

Sosnowski was an artist, musician and actor who worked on several short films and television shows as a teenager. His young acting career peaked with a starring role on the Nickelodeon children's sci-fi comedy series "Alien Dawn" in 2013.

More recently, he received degrees from New Jersey City University and Brookdale Community College, studying national security studies and criminal justice, respectively.

Sosnowski, who had a day job in sales, also worked as an EMT, first for South Wall Community First Aid Squad and most recently at Dover-Brick First Aid Squad in Toms River.

Relatives remembered Sosnowski as a perennially curious young man who enjoyed competitive shooting, political debates, the Mansasquan Inlet and riding his motorcycle.

"His love of the open road began when he got his moped at age 15, accumulating more than 11,000 travel miles," the obituary read. "he graduated to riding motorcycles and loved his Kawasaki Ninja 650. He would often say he found peace and joy when he rode, and he rode that Ninja straight into the gates of heaven."

Visitation will be held Sunday from 2 to 5 p.m. at the O'Brien Funeral Home on New Bedford Road in Wall. A Mass of Christian Burial will take place at Saint Martha Church in Point Pleasant Monday at 11 a.m.

"Perhaps the greatest gift to Kenny's memory would be your commitment to treat other people as he did, to be kind, to strive to help ease pain - physical or emotional - and to always recognize that no matter your circumstance, there is always someone whose life you can positively impact simply by taking the time," the obituary read.


From Jersey Shore Online:

Police Release ID Of Lavallette Man Killed In Crash

WALL – The Lavallette man killed in a motorcycle crash Tuesday night has been identified as Kenneth B. Sosnowski.

According to multiple reports and his obituary, he had been a member of Wall First Aid from 2014-2018.

He had been heading east on Route 138 when he apparently lost control of his motorcycle, police said.

The crash took place near Old Mill Road. The 26-year-old man was pronounced dead at the scene.

Wall Township police are asking that if anyone has any information regarding the crash, contact Lt. Chad Clark of the Wall Township Police Department Special Services Divisions at (732) 449-4500 extension #1143 or at

His obituary was posted on

Kenneth Bradford Sosnowski, 26, of Wall Township and Lavallette died in a motor vehicle accident in Wall on Tuesday, July 21, 2020. Kenny was born in Houston, Texas and spent all but the first four years of his life on the Jersey Shore, a place he loved and never wanted to leave. He was the light of our lives, thoughtful, loving, funny and kind, and the world is a lesser place without him in it.

Kenny earned his Bachelor of Science degree in National Security Studies at New Jersey City University in 2016, attending on a full ride Presidential Academic Scholarship, graduating Summa Cum Laude, and was a recipient of the Asa S. Knowles Student of the Year Award, and a member of several honor societies. He also graduated as a Distinguished Scholar from Brookdale Community College in 2014 with an Associate of Science degree in Criminal Justice. Kenny is a 2012 Wall High School graduate.

After college, Ken enjoyed a career in sales and had been slated to start a new job as a medical laboratory account manager, a step he believed would help him prepare for a career in pharmaceutical sales like his father. Kenny served his community as an Emergency Medical Technician, first at South Wall Community First Aid Squad, and most recently at Dover-Brick First Aid Squad in Toms River. Ken loved being an EMT; it was his vocation.

Kenny was born with a white streak in his hair that seemed to signal right from the beginning that he was special. He was a gifted artist, musician, and actor. As a teenager, he worked on several short films and network television shows, his acting career culminating in his lead character role as Boris Waleskaya on Nickolodeon’s Alien Dawn. Ken enjoyed competitive shooting, trap and range shooting and was NRA qualified as a sharpshooter with long guns. Kenny was curious about everything and devoted himself to finding answers to all his questions. He loved all animals, especially his beloved cat Franklin. He lived for robust political debate and always came prepared to defend his position. He enjoyed playing video games, especially with his brother, and watching YouTube videos. Kenny loved music; his iTunes collection was eclectic and extensive. The Manasquan Inlet was his favorite place in the world and he spent countless hours there in every season. Kenny’s passion was riding his motorcycle. His love of the open road began when he got his moped at age 15, accumulating more than 11,000 travel miles. Yes, on a moped! He graduated to riding motorcycles and loved his Kawasaki Ninja 650. He would often say he found peace and joy when he rode, and he rode that Ninja straight into the gates of heaven. Kenny was the world’s best hugger. We will miss that most of all.

Kenny was pre-deceased by his paternal grandmother Mary Tomascik Sosnowski and his maternal grandfather Spencer Bradford Hall. He is survived by his loving parents Robert and Katherine Sosnowski of Wall, his beloved brother and sister-in-law Jonathan and Iriana Sosnowski of Lake Worth Beach, FL, his biological sisters Amelia (and Chace) Randall, Baltimore, MD and Madison (and Jose) Lopez, and his niece Carmen and nephew Cameron. He is also survived by his maternal grandmother Nancy Allen Nichols of Spring Lake, paternal grandfather Edward Stephen (and Frances Tomala) Sosnowski, Aunt Elizabeth (and James) Herberick, New Milford, CT, Uncles Steven (and Cyndi) Hall, Palmyra, PA, Michael Hall, Grand Haven, MI, Reverend John (and Cynthia) Sosnowski, Leland, NC, Mark (and Patricia) Sosnowski, Torrington, CT, and cousins Cara Hall (Nicholas) Turilli, Elora Herberick, Slade and Ryder Hall, and Julia Sosnowski. He is also survived by his girlfriend Erin Phalon, as well as many other family members and friends, all of whom will love and miss him every day of their lives.

Visitation will be on Sunday, July 26th from 2:00pm to 5:00pm at the O’Brien Funeral Home, 2028 Hwy. 35 at New Bedford Rd., Wall, NJ.

A Mass of Christian Burial will be celebrated at Saint Martha Church in Point Pleasant on Monday, July 27, 2020 at 11 am. Please go directly to the Church on Monday, there will not be a procession from the funeral home. Interment will be private.

In lieu of traditional remembrances, please consider a contribution in Kenny’s memory to the Dover-Brick First Aid Squad or to his alma mater’s NJCU Foundation. Perhaps the greatest gift to Kenny’s memory would be your commitment to treat other people as he did, to be kind, to strive to help ease pain – physical or emotional – and to always recognize that no matter your circumstance, there is always someone whose life you can positively impact simply by taking the time.

In order to protect the health and safety of all, masks and physical distancing will be enforced. Also please be respectful that all indoor gatherings in our state have limited capacities that are generally reserved for the immediate family and their invited guests only. We cannot exceed more than 50 visitors at any given time.

To offer condolences to the family, please visit


R.I.P. Kenneth B. Sosnowski, 1994 - 2020.

'PAW Patrol' Feels Fan Pressure to Give Chase The Police Dog The Chop

Update (7/24) - No, PAW Patrol isn't canceled, no matter what White House press secretary Kayleigh McEnany claims:

Originally published: Thursday, June 11, 2020.

Television has already seen some changes as protests against police brutality following the tragic death of George Floyd have continued around the U.S. and the world.

On Monday, Cops was canceled after 32 seasons on the air. LivePD, which airs on A&E, was also canceled after it was originally placed on hold, according to Deadline. HBO Max also drew criticism for pulling the Civil War-era film Gone With the Wind from its library due to its depiction of black people. The streaming platform says the film will be re-uploaded once the Oscar-winning film is given "historical context."

Now, many people are pushing to change PAW Patrol, the Canadian CG-animated preschool series about a group of rescue dogs that work together to solve problems and protect a seaside town which airs on Nickelodeon. Could PAW Patrol be next?

The controversy started when the show tweeted out a message of solidarity toward the Black Lives Matter and #amplifymelanatedvoices movements. The post said it would be muting its content until June 7 “to give access for Black voices to be heard so we can continue to listen and further our learning.”

The post drew some criticism from other users, albeit some of it was in jest.

“All dogs go to heaven, except the class traitors in the Paw Patrol," one user tweeted.

“How much will Paw Patrol be donating to bail funds?” another posted.

"Euthanize the police dog," a fan wrote. "Defund the Paw Patrol," another said. "Chase merchandise gonna sell poorly now," one person quipped.

"You've already brainwashed a bunch of kids into thinking law enforcement is a noble and just profession," a third chimed in. "Better to scrap production forever if you want to make lasting change"

"For a paramilitary organisation Chase breaks so many privacy laws it's ridiculous. Sky also in direct violation of international standards preventing dogs from flying helicopters," one Twitter user noted.

However, some thought getting rid of Chase, who is always on the case on the children's show was unnecessary. "My kids love Chase. Leave him on. Enough is enough. It's a cartoon. If people don't like Chase they don't have to watch," one Twitter user insisted.

"To the people who think canceling @pawpatrol is called for, have you lost your mind? It's a children's show! It teaches them to always lend a hand no matter who needs it. Stop making everything political and just be parents," another wrote. "A bunch of horrible people in these comments! You shame the human race. Chase should be the standard for a cop to follow, he's a good dog," a third added.

The response lead the New York Times to publish a opinion piece on the backlash against the children’s cartoon, its police dog Chase and other good cops on TV sitcoms.

Critic Amanda Hess wrote in the article:

“Even big-hearted cartoon police dogs — or maybe especially big-hearted cartoon police dogs — are on notice. The effort to publicize police brutality also means banishing the good-cop archetype, which reigns on both television and in viral videos of the protests themselves. 'Paw Patrol' seems harmless enough, and that’s the point: The movement rests on understanding that cops do plenty of harm.”

With Hess’ column bringing attention to the outcry, others on social media noted that things had gone too far.

While the Paw Patrol protests may not be totally real, Eric Trump and Sen. Ted Cruz seem to think fans are serious: both tweeted that the protests for Paw Patrol are “truly insane,” and they blasted the left for “targeting” cartoons. As a result of the back and forth — is the Paw Patrol protest real, or do Eric Trump and Ted Cruz just not understand humor? I'm guessing the former rather than the latter.

Despite the “protests” against the show, there are no signs that Paw Patrol is in danger of being canceled any time soon. Chase is one of the franchise's most popular characters, with the police K9 regularly making live costumed appearances for meet and greets at events. He even has his own cereal in the U.K. The franchise also generates millions of dollars from toy sales. In fact, Nickelodeon recently renewed the series for an eighth season and a theatrical film Paw Patrol: The Movie is scheduled to be released in August 2021.

Sources: PennLive, Decider, Newsweek, Fox News, Snopes, @NickAndViacomCBSUpdates.

Which Nickelodeon Character Are You? 📺 Nick Quiz

Which Nickelodeon Character Are You? 📺 Nick Quiz

Are you more like SpongeBob? Lincoln? Ronnie Ann? Henry? Let's ask the Nick Quizzard! Take this quiz to find out which Nickelodeon character you are!

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7 Most Shocking Moments EVER from Legend of Korra! | LoK | Avatar: The Last Airbender

7 Most Shocking Moments EVER from Legend of Korra! | LoK | Avatar: The Last Airbender

In a world of psychic bloodbenders, anti-Avatar anarchists, and super-powered vines, there are bound to be a few shocking moments. Legend of Korra never leaned away from these, no matter how dark and mature they got. Beyond the maturity of many scenes in the show, there were also some that were just plain surprising (looking at you, Flying Zaheer). Here are the most shocking moments ranging from Amon to Zaheer!

Watch Avatar: The Last Airbender on Netflix & CBS All Access and The Legend of Korra on CBS All Access!

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Why "I Had an Accident" is a LEGENDARY Episode of SpongeBob 😷

Why "I Had an Accident" is a LEGENDARY Episode of SpongeBob 😷

Remember that time SpongeBob broke his butt? And then he ended up staying INDOOOOORS with his friends chip, penny, and used napkin. These are all the reasons why "I Had an Accident" is one of the most LEGENDARY episodes of SpongeBob!

Watch SpongeBob SquarePants on Nickelodeon!

Listen to The SpongeBob Musical here!:

SpongeBob SquarePants: Battle for Bikini Bottom - Rehydrated is now available on PC, Xbox One, PlayStation 4 and Nintendo Switch!

CALLING ALL GOOFY GOOBERS! (ROCK!) Are ya ready for a deep dive into the world of SpongeBob SquarePants? The SpongeBob YouTube channel is THE PLACE for all fan-favorite SpongeBob moments! We’re serving up everything from legendary scenes to remixes of classic songs to deep dives into Bikini Bottom lore. Be sure to check back every week for Music Mondays, Wumbo Wednesdays, and Flashback Fridays! Subscribe now at!

Shop SpongeBob!: - SpongeBob face masks now available, with ALL proceeds going to charity!

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Messy Egg Challenge | READY SET DANCE | Crew Tube | Easy Kids Challenge

Messy Egg Challenge | READY SET DANCE | Crew Tube | Easy Kids Challenge

Girls v Boys in the READY SET DANCE Egg Challenge. You will want to try this one at home after you watch the Kid Crew compete in this hilarious game. The challenge takes an interesting turn when the boys decide to start an egg fight.

Visit for information about READY SET DANCE dance classes for preschoolers.

Watch READY SET DANCE season one on Nick Jr. channels globally!

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Hide & Seek Game w/ Peek-A-Blue! | Blue's Clues & You!

Hide & Seek Game w/ Peek-A-Blue! | Blue's Clues & You!

Blue and Magenta toys play Hide and Seek together! They each count down to 10 before finding one another! Do you want to play?

Featuring Blue's Clues & You! toys!

#HideAndSeek #PeekABlue #BluesCluesAndYou

Kids can watch their favorite Nick Jr. shows weekdays on Nickelodeon and all week long on the Nick Jr. channel:

Subscribe to the official Blue’s Clues & You! YouTube channel! Subscribe today at!

More #KidsTogether Content!:

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JayJay bevindt zich op onbekend terrein: de skatebaan! Hier ontmoet hij Keet, die volgend jaar naar de Olympische Spelen in Tokio gaat. Ze vertelt over het moment dat ze besefte dat ze beter was dan 'best goed', de prijzen die ze binnen heeft gesleept en over de naam waar ze een tijdje terug afstand van heeft genomen. JayJay, een echte sportman (en soms een beetje een uitslover 😜), wil het zelf ook leren. Hij gaat de uitdaging aan, maar wellicht dat 'ie daar aan het einde van de video nog op terugkomt.

In deze nieuwe serie De Kampioen gaat sportman JayJay Boske het hele land door op zoek naar jonge mensen die ergens - het maakt eigenlijk niet uit wat - heel goed in zijn. Dat kan voetballen, skaten of rolschaatsen zijn; maar ook drone racen, schoonspringen of graffitikunst zijn.

#DeKampioen #Nickelodeon #NickelodeonNederlands

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What Did You Think of the New 'PAW Patrol' Special 'Dino Rescue: Pups Save a Pterodactyl'? | Nickelodeon Fan Poll

What did you think of the first brand-new PAW Patrol "Dino Rescue" special "Dino Rescue: Pups Save a Pterodactyl"? Vote in the poll and sound off in the comments below!

Does 'The SpongeBob SquarePants Movie' Take Place After Every Episode of 'SpongeBob SquarePants'? The Show's EP Sets The Record Straight

Ever since The SpongeBob SquarePants Movie, the first theatrical movie based on Nickelodeon's hit animated comedy series SpongeBob SquarePants was released in 2004, fans have been speculating that the film serves as the series finale, taking place after every episode made before and after the movie. Now, long-time SpongeBob SquarePants executive producer Vincent Waller has confirmed whether the rumor is true or not!

In a series of Tweets, Waller has confirmed that the rumor is false, and that The SpongeBob SquarePants Movie has never been officially thought of as the show's series finale!:

Waller went on to confirm that SpongeBob SquarePants has never really been officially chronological, that that he knows that it "breaks peoples’ brains":

When asked whether Stephen Hillenburg, the late creator of SpongeBob SquarePants ever mentioned anything about the first movie taking place after every episode, Waller said that he wasn't aware of Hillenburg ever saying anything like that along those lines:

More Nick: Nickelodeon Announces Voice Cast for 'Kamp Koral: SpongeBob’s Under Years', First-Ever 'SpongeBob SquarePants' Spinoff!

Originally published: Friday, July 24, 2020.
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Nickelodeon to Premiere 'Star Trek: Prodigy' in 2021; Unveils Show Logo | Nick SDCC

Update - Official Nickelodeon Press Release:


Nickelodeon and CBS Television Studios today officially revealed the title and logo for its all-new animated series STAR TREK: PRODIGY, which follows a group of lawless teens who discover a derelict Starfleet ship and use it to search for adventure, meaning and salvation. The series is developed by Emmy(R) Award winners Kevin and Dan Hageman (Trollhunters and Ninjago) and overseen for Nickelodeon by Ramsey Naito, EVP, Animation Production and Development, Nickelodeon.

The CG-animated series, which expands the Star Trek Universe, will debut exclusively on Nickelodeon in 2021 for a new generation of fans. The title and logo were revealed during the Star Trek Universe panel at Comic-Con@Home.

The series will be from CBS' Eye Animation Productions, CBS Television Studios' new animation arm; Secret Hideout; and Roddenberry Entertainment. Alex Kurtzman, Heather Kadin, Katie Krentz, Rod Roddenberry and Trevor Roth will serve as executive producers alongside Kevin and Dan Hageman. Aaron Baiers will serve as a co-executive producer.

STAR TREK: PRODIGY joins the expanding Star Trek franchise for ViacomCBS as the first Star Trek series aimed at younger audiences for Nickelodeon. The Star Trek Universe on CBS All Access currently includes hit original series STAR TREK: PICARD, STAR TREK: DISCOVERY, the animated series STAR TREK: LOWER DECKS, the upcoming STAR TREK: STRANGE NEW WORLDS and the development of a Section 31-based series with Michelle Yeoh.

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. Nickelodeon and all related titles, characters and logos are trademarks of ViacomCBS Inc. (Nasdaq: VIACA, VIAC).

About CBS Television Studios

CBS Television Studios is one of the industry's leading suppliers of programming with more than 70 series currently in production across broadcast and cable networks, streaming services and other emerging platforms. The Studio's expansive portfolio spans a diverse slate of commercially successful and critically acclaimed scripted programming, genre-defining franchises including the ever-growing "Star Trek" universe, award-winning late night and daytime talk shows, and an extensive library of iconic intellectual property.


Original post:

Nickelodeon today revealed that the network's brand new CG-animated Star Trek animated series will be titled Star Trek: Prodigy, and will premiere on Nickelodeon in 2021! Along with the news, announced today at Comic-Con@Home, Nickelodeon also unveiled a first look at the logo for show. This news was first reported by Deadline.

First announced back in April 2019, the series from Trollhunters scribes Kevin and Dan Hageman and overseen by Ramsey Naito, Nick’s Animation Production and Development EVP will follow a group of rebellious teens who commandeer an old Starfleet ship and head off into the universe for adventure and more.

Prodigy comes from CBS’ Eye Animation Productions, CBS Television Studios’ new animation arm, plus Secret Hideout; and Roddenberry Entertainment. Trekverse overlords Alex Kurtzman, Heather Kadin will serve as EPs will Katie Krentz, Rod Roddenberry, Trevor Roth and the Hageman siblings. Aaron Baiers will serve as a co-executive producer.

This move to a younger audience comes as the Trekverse has recently seen the conclusion of the first season of the renewed Star Trek: Picard with the legendary The New Generation captain and Sir Patrick Stewart. Having started this latest expansion of Roddenberry’s creations back in 2017, the Sonequa Martin-Green-led Star Trek: Discovery is set to return for a third season on CBS All Access later this year. Additionally, as the animated comedy Star Trek: Lower Decks prepares to debut on August 6, the Trekverse has the Spock starring Star Trek: Strange New Worlds in the pipeline and another series featuring Michelle Yeoh’s Discovery character and the mysterious Section 31.

CBS execs once said that they foresaw having a Star Trek show on at every point year-round – looks like that time, to paraphrase The Smiths, is now.

The Star Trek Universe mega-panel launches the virtual Comic-Con@Home today at 10 AM PST.

Starting off with a chat with Trekverse EPs Kurtzman and Kadin of Secret Hideout, the panel will shift to a partial reading of the Discovery Season 2 finale ‘Such Sweet Sorrow, Part 2.’ Commander Michael Burnham herself Martin-Green there along with Michelle Yeoh (Philippa Georgiou) and other key cast and creatives – Strange New Worlds stars Rebecca Romijn (Number One), Anson Mount (Captain Christopher Pike), and Ethan Peck (Spock). That’s to be followed by a Lower Decks panel with showrunner Mike McMahan the bottom tier characters of the U.S.S Cerritos.

Finally, the Trekverse mega-panel comes to an end with headliner Star Trek: Picard as Sir Patrick is joined by TNG alum and director Jonathan Frakes, Brent Spiner, Jonathan Del Arco Marina Sirtis, and the Season 2 returning Jeri Ryan. Also on board are castmates Alison Pill, Isa Briones, Evan Evagora, Michelle Hurd, and Santiago Cabrera.

Comic-Con@Home runs until July 26.

More Nick: Nickelodeon Upfront 2020 Roundup!

Originally published: Thursday, July 23, 2020 at 18.38 BST.

Additional source: NickAndViacomCBSUpdates; Press Release via

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Nickelodeon NOT Currently Working on New 'SpongeBob' Spin-Off Featuring Squidward

SpongeBob SquarePants executive producer Vincent Waller has confirmed on Twitter that Nickelodeon isn't currently producing a music-based SpongeBob SquarePants spin-off centered on Squidward Tentacles - however, he doesn't completely rule out a Squidward spin-off in the future:

Waller also addressed the rumor that Stephen Hillenburg, the late creator of SpongeBob SquarePants, purportedly didn't want the beloved animated series to have any spin-offs:

The news comes as Nickelodeon is preparing to bow the network's first SpongeBob SquarePants spin-off, Kamp Koral: SpongeBob’s Under Years.

Although there are currently no plans for a Squidward spin-off, Nickelodeon is reportedly producing two feature-length SpongeBob spin-off movies for Netflix.

The CG-animated prequel (13 episodes) follows 10-year-old SpongeBob during his summer at sleepaway camp and stars Tom Kenny (SpongeBob SquarePants), Bill Fagerbakke (Patrick Star), Rodger Bumpass (Squidward), Clancy Brown (Mr. Krabs), Carolyn Lawrence (Sandy Cheeks) and Mr. Lawrence (Plankton), all of whom are reprising their iconic roles in this new series.

Kamp Koral: SpongeBob’s Under Years will also feature returning SpongeBob SquarePants voice cast members Mary Jo Catlett (Mrs. Puff), Jill Talley (Karen) and Lori Alan (Pearl), among others. Additionally, Carlos Alazraqui (Rocko's Modern Life, The Casagrandes) and Kate Higgins (Blaze and the Monster Machines) will join the cast as new characters Nobby and Narlene, narwhal siblings who live in the woods surrounding the camp.

In the new series, SpongeBob and his pals spend the summer building underwater campfires, catching wild jellyfish, and swimming in Lake Yuckymuck at the craziest camp in the kelp forest, Kamp Koral.

Marc Ceccarelli and Vincent Waller (SpongeBob SquarePants) serve as co-executive producers on Kamp Koral: SpongeBob’s Under Years, which is produced by Nickelodeon in Burbank.

More Nick: Nickelodeon Announces Voice Cast for 'Kamp Koral: SpongeBob’s Under Years', First-Ever 'SpongeBob SquarePants' Spinoff!

Originally published: Thursday, July 23, 2020 at 20:07 BST.
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