Thursday, February 09, 2023

Classic Rugrats Comic Strips for February 9-12, 2023 | Nickelodeon

Classic Rugrats Comic Strip for February 9, 2023 | Nickelodeon

Classic Rugrats Comic Strip for February 10, 2023 | Nickelodeon

Classic Rugrats Comic Strip for February 11, 2023 | Nickelodeon

Classic Rugrats Comic Strip for February 12, 2023 | Nickelodeon

Stream the classic and the all new CG-animated Rugrats series on Paramount+! Try it FREE at!

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: Paramount+ Renews 'Rugrats' For Season 3; Season 2 to Premiere in 2023!

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Kids’ Choice Awards 2023 Includes Kazakh Category For The First Time

The Nickelodeon Kids’ Choice Awards 2023 is making history by being the first ever Kids’ Choice Awards to include a country-specific category for Kazakhstan!

This year, fans in Kazakhstan can vote for their favourite influencers in the "Favorite Kazakh Influencer" category, featuring nominees Alina Kim, Amina Malgazhdar, Zhasmin Saideldinova, and Batyr White.

Fans can vote for their favourite Kazakh Influencer online by visiting, with the winner being announced during Nickelodeon 2023 Kids’ Choice Awards!

Nick Jr. UK to Premiere New 'PAW Patrol' Special 'All Paws on Deck' on February 20

It's "All Paws on Deck" in the brand new PAW Patrol 10th anniversary special, premiering on Nick Jr. UK & Ireland on Monday 20th February 2023 at 5:30pm!

The brand new PAW Patrol special, Ryder calls on every member of the Paw Patrol to stop a hi-tech kid inventor from demolishing Adventure Bay so she can build her own dream city in its place!

PAW Patrol: "All Paws on Deck" made its debut in Canada on December 10 and will also premiere on Nick Jr. Germany on Sunday 19th February 2023 at 19:10 Uhr, followed by on Nick Jr. channels across Central and Eastern Europe on Monday 20th February 2023 at 06:25/16:45 CET. A U.S. airdate has yet to be announced.

Paramount+ UK & Ireland is HERE! Stream a Mountain of Entertainment, including your Nickelodeon favourites! Try it FREE at!

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Paramount+ Expands International Offerings With 'Star Trek: Picard' and 'Star Trek: Lower Decks'


“Star Trek: Picard” Season Three to Premiere Internationally on Paramount+
Beginning February 16th

February 8, 2023 - Paramount+ today announced that STAR TREK: PICARD and STAR TREK: LOWER DECKS will be joining the service’s international streaming catalog outside Canada, part of a new deal with Prime Video. The third and final season of STAR TREK: PICARD will premiere day and date with the US in Latin America on February 16th and on February 17th in the UK, Australia, Italy, France, Germany, Austria and Switzerland with South Korea to premiere at a later date. Previous seasons of STAR TREK: PICARD will also be available in English speaking regions starting this February.

All seasons of STAR TREK: LOWER DECKS are currently available to stream on Paramount+ in Latin America and will be available later this year across all Paramount+ markets outside Canada.

Paramount+ is now the home to every series and every episode of the full catalog of “Star Trek.” This includes all seasons of the Paramount+ original series STAR TREK: DISCOVERY, STAR TREK: PICARD, the animated series STAR TREK: LOWER DECKS and STAR TREK: PRODIGY, and the newest addition STAR TREK: STRANGE NEW WORLDS.

In addition to streaming on Paramount+, STAR TREK: PICARD will also stream on Prime Video outside the US and Canada, and in Canada can be seen on Bell Media's CTV Sci-Fi Channel and streams on Crave.

STAR TREK: PICARD features Patrick Stewart reprising his iconic role as Jean-Luc Picard, which he played for seven seasons on “Star Trek: The Next Generation,” and follows this iconic character into the next chapter of his life. LeVar Burton, Michael Dorn, Jonathan Frakes, Gates McFadden, Marina Sirtis, Brent Spiner, Jeri Ryan and Michelle Hurd star alongside Patrick Stewart.  

The series is produced by CBS Studios in association with Secret Hideout and Roddenberry Entertainment. For season three, Alex Kurtzman, Akiva Goldsman, Terry Matalas, Patrick Stewart, Heather Kadin, Aaron Baiers, Rod Roddenberry, Trevor Roth, Doug Aarniokoski and Dylan Massin serve as executive producers. Terry Matalas serves as showrunner for season three.

STAR TREK: LOWER DECKS focuses on the support crew serving on one of Starfleet’s least important ships, the U.S.S. Cerritos, in 2380. The crew have to keep up with their duties and their social lives, often while the ship is being rocked by a multitude of sci-fi anomalies.The Starfleet crew residing in the “lower decks” of the U.S.S. Cerritos includes Ensign Beckett Mariner, voiced by Tawny Newsome; Ensign Brad Boimler, voiced by Jack Quaid; Ensign Tendi, voiced by Noël Wells; and Ensign Rutherford, voiced by Eugene Cordero. The Starfleet characters that comprise the U.S.S. Cerritos’ bridge crew include Captain Carol Freeman, voiced by Dawnn Lewis; Commander Jack Ransom, voiced by Jerry O’Connell; and Doctor T’Ana, voiced by Gillian Vigman.

STAR TREK: LOWER DECKS is produced by CBS’ Eye Animation Productions, CBS Studios’ animation arm; Secret Hideout; and Roddenberry Entertainment. Secret Hideout’s Alex Kurtzman, Roddenberry Entertainment’s Rod Roddenberry and Trevor Roth, Katie Krentz (219 Productions) and Heather Kadin serve as executive producers alongside creator and showrunner Mike McMahan. Aaron Baiers (“Secret Hideout”), who brought McMahan to the project, also serves as an executive producer. Titmouse (“Big Mouth”), the Emmy Award-winning independent animation production company, serves as the animation studio for the series.

About Paramount+

Paramount+ is a global digital subscription video streaming service from Paramount that features a mountain of premium entertainment for audiences of all ages. Internationally, the streaming service features an expansive library of original series, hit shows and popular movies across every genre from world-renowned brands and production studios, including SHOWTIME®, CBS, Comedy Central, MTV, Nickelodeon, Paramount Pictures and the Smithsonian Channel™, in addition to a robust offering of premier local content. The service is currently live in the U.S., Canada, the U.K., Australia, Latin America, the Caribbean, Austria, France, Germany, Ireland, Italy, Switzerland and South Korea.

About “Star Trek” on Paramount+

In the 55+ years since the legendary creator Gene Roddenberry introduced the world to a “Star Trek” universe where “Infinite Diversity in Infinite Combinations” remains its proud legacy, the series has continued to break barriers – inspiring generations of fans with a celebration of cultural diversity and inclusion, scientific exploration, and the pursuit of uncharted frontiers.  Paramount+ is now the home to every series and every episode of the full catalog of “Star Trek.” This includes all seasons of the Paramount+ original series STAR TREK: DISCOVERY, STAR TREK: PICARD, the animated series STAR TREK: LOWER DECKS and STAR TREK: PRODIGY, and the newest addition STAR TREK: STRANGE NEW WORLDS. The “Star Trek” franchise is distributed by Paramount Global Content Distribution.

For additional info on and photography from Paramount+’s STAR TREK: DISCOVERY, STAR TREK: PICARD, STAR TREK: LOWER DECKS, STAR TREK: STRANGE NEW WORLDS and STAR TREK: PRODIGY, please click here.  You can also follow Star Trek on social on Twitter, Instagram and Facebook @StarTrekonPPlus and @StarTrek.  

About CBS Studios

CBS Studios is one of the world’s leading suppliers of entertainment programming, with more than 60 series currently in production for 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, which includes genre-defining franchises such as “NCIS,” “CSI” and the ever-growing “Star Trek” universe, award-winning late night and daytime talk shows, as well as an extensive library of iconic intellectual property. The Studio also develops and produces local language and international content originating outside of the U.S. with series in the U.K., Europe, the Middle East and Australia.


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The Decision-Makers: Top Kids TV Buyers Talk Content Strategies at 2023 TV Kids Festival

The 2023 TV Kids Festival opened on February 7 with Paramount UK & Ireland’s Louise Bucknole, Sky Kids’ Lucy Murphy, TFO’s Marianne Lambert and Future Today’s David Di Lorenzo articulating their acquisition strategies in a lively panel discussion moderated by TV Kids’ Kristin Brzoznowski.

Bucknole is the general manager of kids and family at Paramount Global UK & Ireland. Murphy serves as director of kids’ content for Sky in the U.K. and Ireland. Lambert is the director of acquisitions and co-productions at the Canadian French-language channel TFO. Di Lorenzo serves as senior VP of kids and family for Future Today, the parent company of the HappyKids streaming service. You can watch the session in its entirety here.

At Paramount Global in the U.K. and Ireland, Bucknole’s remit covers the Milkshake! free-to-air block and the Nickelodeon portfolio of channels. “We have VOD, linear channels, a FAST platform with Pluto and an SVOD with Paramount+. We’re always looking for content for all of these platforms, so acquisitions are really important.” These sit alongside the company’s internal content pipeline. “We do a lot of commissioning in the U.K. for the Milkshake! block, which is on Channel 5, so we look at about two to three additional acquisitions to bolster what we have and complement that in the U.K. And for the Nick network, this could be anything from preschool to older kids, live action and animation. We look at what gaps we have. It could be franchises or particular IP that is of interest to us.”

HappyKids, a connected TV streaming app, is in the market for a range of programming, Di Lorenzo said, “whether it’s early-learning content from CoComelon or user-generated content in gaming from Roblox or Minecraft or popular IPs like Transformers or Ninjago to YouTubers like KidCity or Diana. Today’s audience is looking for broad-based content across multiple platforms. Our job is to find content that our audience wants to watch.”

Acquisitions are also crucial at TFO, Lambert said, noting they make up about 85 percent of the overall slate. “We also do co-productions and independent productions, but mostly for all our platforms, it’s acquisitions.” TFO operates a linear channel for kids, an educational website for teachers and, “which we’re transitioning into an OTT platform with our linear channel. We also have a YouTube channel, but we mostly use it for promotional purposes. When we buy, it’s for all those platforms at the same time.”

Murphy is catering to an audience of 1- to 10-year-olds at Sky in the U.K. and Ireland. They expect to see “premium entertainment” across multiple genres and formats, she said. “We currently have around 10,000 episodes of on-demand content, and a lot of that comes from the partner channel deals that we have. We carry eight premium channels, such as Nickelodeon and Nick Jr., as well as Cartoon Network and Cartoonito.” This month, Sky is rolling out a Sky Kids linear service, targeting children aged 1 to 7. “In terms of the acquisition deals we do, we buy large packages, e.g., from LEGO or DreamWorks or Moonbug, but we also cherry-pick one-off titles so that we’ve got that entire demographic served with the right shows that they want to watch.”

Brzoznowski asked the panelists about the brand values they keep top of mind when evaluating pitches.

Bucknole stressed the importance of British content for Milkshake!, although she and her teams will consider shows from elsewhere. “We celebrate kids and families within this content.” Nickelodeon’s approach is “kids first,” Bucknole noted. “We want to focus on their point of view. It’s larger-than-life characters and how we bring that slice of life into our content. We follow the brand values of heart, smart and fart! We want it to be entertaining to them. We want them to learn something and also feel that emotion as well.”

For Di Lorenzo, safety is critical, with all content vetted by individuals.

For Lambert, content has to be in French, “which is not that easy to find,” she said. “We started programming a lot of dubbed series, so that’s helped a lot. It has to be educational, but it doesn’t have to be about a specific [subject] like math or science. It can be loosely educational. It can be about social-emotional responses, living in a group, relationships, critical thinking. It’s really important to us that casting be diverse. We want our shows to represent Canada as it is today, being inclusive of all communities, people with all kinds of bodies, different backgrounds and abilities, without making that the center of the story. We want the kids we’re casting to represent all communities and all shapes and sizes. We like to look for material that’s different, a unique way of telling that story. We’re always looking for innovation. And I guess our model is, how can we make them learn a little bit as they are having fun? Humor is really important. We want kids to laugh.”

Murphy at Sky Kids said she starts with, “Are kids going to love what they see? Is it premium, distinctive and original? Just as important, are parents going to love it too? Especially when you’re acquiring and commissioning shows for younger children, it’s really important that parents feel good about what their children are watching.”

Murphy also referenced the importance of representation. “We lean into inclusion and diversity and do an awful lot in that respect. We also have very clear principles around the environment. We want to have shows that demonstrate clear, planet-friendly principles. It doesn’t mean that all our shows are eco because they’re not. But we want shows that do represent planet-positive behaviors. We would shy away from shows with planet-negative behaviors unless we’re talking about that from a news or current-affairs perspective. We’re creating positive TV shows that kids will get something out of. It’s not an empty viewing experience.”

The panelists emphasized the importance of parent-approved content. “Co-viewing is important on all our platforms,” Bucknole said.

“The best shows become part of the family’s life,” Murphy added.

“For preschool, parents are choosing what their kids are watching,” Lambert said. “So if they can enjoy it as well, it’s very important.”

“Based on parental feedback, we’ve brought in family movies and tried to create a section within our app so families can have movie time together,” Di Lorenzo noted.

On current wish lists, Lambert said she’s looking for content for a broad audience segment of 3 to 18. “It’s difficult to find content for teenagers,” she noted. “We want innovation and different ways of telling stories. We have a hard time finding content for 6- to 9-year-olds. Live action also is difficult for us because it has to be dubbed. Since we are educational and our content is used to teach, there are certain things like STEM and examples of girls in science, those kinds of role models. It’s really hard to get a show about math, so we’re always on the lookout for that. Indigenous perspectives are really important. And also, environmental concerns are big right now.”

“We’re looking for killer, not filler,” said Bucknole. “We want the shows that are going to stand out. We’ve got a lot of franchise shows on the Nickelodeon channels. Comedy is really important, and that could be with animation or with live action. Those are the formats that we’re looking for that will work globally. It needs to be lovable characters that will carry globally for the Nickelodeon networks. Specifically for animation, we will look for characters and storylines that will complement what we already have on the channels. How is this going to sit with SpongeBob and PAW Patrol? For Milkshake!, we’re very interested in game shows at the moment and also slapstick and comedy silliness. We’re also looking for content that has a lot of STEM. Sustainability is also very important to us. We know kids love animals, so we’re looking at various animal and pet care [shows]. We obviously would look at any shows that have a great story or are book-based IP, or have the potential to be a franchise. Fact-ent formats are quite interesting for Milkshake! because we’re a public-service broadcaster. Those formats where they’re representing kids and showing their world. Preschool animation is very important to us. We don’t need another Peppa Pig; we don’t need another show about amazing puppy dogs because we have PAW Patrol. It’s always looking for that uniqueness and what makes this stand out. What will make the kids draw the picture, hum the theme tune and play based on that show? They’re always going to be the winners for us.”

“That for me is when you know you’ve got a hit,” Murphy added, “when you hear someone in the street singing the theme song or watch someone coloring in the book. It’s the most lovely thing when you see that that show has landed in that way.”

As for her own wish lists, Murphy stated: “We’re always on the lookout for really good storytelling, whether that’s live action or animation. We’re particularly looking for half-hour specials with that real evergreen longevity. We’re keen to find something for younger viewers that gets them up and moving around. We’ve got lots and lots of songs and sing-alongs, so we’re not necessarily looking for that but something that encompasses music and singing. We’re also looking for shows that spark a bit of curiosity in a child. It’s not necessarily a didactic educational show but something that will make them wonder about the world around them. We’re looking for shows that have follow-through and a lasting value to them.”

HappyKids is fairly well served on the preschool front, Di Lorenzo said. “Our focus right now is really on our 6-plus audience. We’ve been focusing on live-action series, trying to find more movies for our audience, looking at science exploration and things that will bring the family together to watch.”

The panelists then spoke in more detail about the kinds of shows they’re struggling to find in the market today. For Bucknole, live action for 7 to 12s is particularly tricky, especially comedy-driven series. She’s also on the hunt for preschool game-show formats.

Murphy picked up Bucknole’s point, adding, “Particularly as kids get to 7 and over, they narrow down into the enthusiasms and the types of shows they want to watch, whether that’s comedy or something as simple as gaming.” She urged producers and distributors to “come to us with a show idea that demonstrates you understand the audience and why they’re watching what they’re watching and looking at new ways of doing it.”

Lambert cited the difficulties in finding content dubbed into French and shows that will specifically target kids in the 6-to-9 set.

For Di Lorenzo, the biggest hurdle has been finding live-action sitcoms.

The conversation wrapped with a discussion about exclusivity.

“We don’t need exclusivity,” Lambert said. “We work well with other French-Canadian broadcasters, having co-exclusivity or sharing rights. We do have exclusivity for our independent productions, and that’s fine. But acquisitions, we’re fine with sharing.”

For Murphy, “it’s not a deal-breaker,” but a show that isn’t exclusive to her services “won’t attract the acquisition fees it would if it were! There are some shows you want to have because they’re really popular. But if it is everywhere all at once, it will be a much lower fee. The key for us is transparency. We need to know where else shows are going to be playing. We are a pay service, so our customers don’t want to be paying for things that are everywhere. We need to make sure there’s a balance of premium shows that we do have exclusivity for and popular franchises that may be on more than one platform.”

“For us, it’s not really about the exclusivity of owning a show, but maybe exclusive content around a particular show,” Di Lorenzo said. “For example, we did a deal with Moonbug last year where we got exclusive content around Blippi. Blippi is on several platforms, but we were able to take ownership in some specific episodes that were only available on HappyKids.”

Milkshake! is “flexible in the rights and the shows,” Bucknole said. “It depends on the lane you go down, whether it’s a commission or a co-pro or an acquisition, and it depends on the price point. Some shows are franchise IP, so exposure on lots of different platforms is beneficial to build that brand. For the Nick content, it depends if it’s a local pickup or something we look at that is multi-territory or a global pickup—in which case, we probably would want all exclusive rights for all platforms. It depends on the IP, the show and the deal itself. We share a lot of content in the U.K. with other broadcasters, particularly indigenous languages.”

Bucknole added, “We’re much more fluid now because we know that budgets are very challenged, and we have to be smart in our commissioning and acquiring.”

You can watch the The Decision-Makers session in its entirety here.

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Kevin & Dan Hageman Talk Star Trek: Prodigy’s New Frontiers at TV Kids Festival 2023

Kevin and Dan Hageman discussed making the first animated series for kids set in the beloved Star Trek universe at the TV Kids Festival on Wednesday, February 8.

Star Trek: Prodigy has rolled out on Paramount+ and Nickelodeon, with a second season in the works. You can watch the brothers’ keynote conversation with TV Kids’ Kristin Brzoznowski here.

Alex Kurtzman approached the Hageman brothers about delivering an animated spin for the franchise, targeting younger viewers. “Our first thought was, this is very daunting,” Dan said.

Star Trek: Prodigy is the franchise’s first animated series that solely uses CGI. “The original animated series of Star Trek was 2D,” Kevin explained. “We came from a background of a lot of CG animation (The LEGO Movie, Ninjago, Trollhunters). We always loved being on these things that were pushing the art and animation. We wanted something that was treated almost like it was real. We wanted our characters to hopefully someday interact with the actual live-action actors or vice versa. We wanted to make it real and grounded and just cinematic and gorgeous. And then we brought on Ben Hibon, our supervising director. Disney has such an amazing, big presence with the style of a lot of animation out there. He was bucking the system a little bit. And we created an original voice and look to our show.”

Dan added: “Because it’s animation, we’re able to do some things that some live-action shows can’t do. Our ship is all windows. You’re looking right out into space. The simple cost of doing that in live action is just too much. We wanted to have the whole cast be aliens. Not just prosthetics stuck to your forehead. We wanted to make sure we pushed and pulled what these characters looked like and what they could represent throughout the galaxy.”

Kevin then weighed in on the character development at the heart of the series. “We always come from a place of wish fulfillment. The Goonies is one of our favorite films. And these are like real kids, right? Even though our cast is a bunch of aliens, they will hopefully feel like real kids with real issues.”

Dan added: “These protagonists have to figure out how to stay one step ahead. We never have keystone cops. We never have people slipping on banana peels. We don’t make it easy for them. This is space, and this is the canon of Star Trek. We want to make sure we fit within that believability.”

Kevin noted: “We wanted the whole family to be able to sit down and enjoy it. If you look at all aspects of our show, we’re constantly thinking about that.”

On assembling the writers’ room, Kevin stated: “We weren’t necessarily looking at animation writers who have done a lot of the close-ended 22-minute format or 11-minute format. A lot of our writers come from the live-action world. With our show, we take the time for it to breathe, and we need those dramatic moments. It’s a little bit of a different animal than a lot of other young animated shows.”

You can watch the brothers’ keynote conversation with TV Kids’ Kristin Brzoznowski in full here.

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Funko and Paramount Announce Nickelodeon Cartoons x Funko Digital Pop! Series 2

Funko and Paramount are partnering once again to launch a new Digital Pop! line based on Nickelodeon’s beloved cartoon programming. Releasing on February 14, Nickelodeon Cartoons x Funko Digital Pop! Series 2 features characters from some of the network’s most memorable animated series including Rugrats, Invader Zim, CatDog and Rocko’s Modern Life.

Funko Digital Pop! incorporate non-fungible tokens into animated digital trading cards based on Funko’s stylized figures, which fans can collect and trade via the platform. The cards are available in both standard and premium collectible packs. Standard packs (5 Digital Pops!) retail for $9.99 USD and premium packs (15 Digital Pops!) for $29.99 USD. Each of these offerings is limited to 21,250 packs.

With every pack purchased, fans have a chance to reveal a rare Funko Digital Pop! Collectible. These rare Digital Pop! can be redeemed for one of six corresponding limited-edition physical collectibles. Redeemable Digital Pop! in Nickelodeon Cartoons Series 2 include Tommy, Chuckie, Phil, Susie and Cynthia (Rugrats), Professor Membrane (Invader Zim), Rocko, Spunky and Ed Bighead & Bev Bighead (Rocko’s Modern Life), Winslow (CatDog), Norbert and Daggett (The Angry Beavers), and Freddy Funko as Reptar (Rugrats).

Funko Digital Pop! are available to purchase through the platform via credit card, Apple Pay or Google Pay. For more information, visit

For the latest information on Funko Digital Pop! drops, follow @OriginalFunko on Twitter, Facebook and Instagram. #FunkoDigitalPop

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Source: Digital Chumps; H/T: License Global; Additional source: ARODIE.

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