South Park Season 26 continues with "Deep Learning", an episode centered around artificial intelligence and ChatGPT. As Stan patches up his relationship with Wendy and a cheating scandal is discovered at South Park Elementary, AI is at the center of everything that changes the students' daily lives. What is South Park trying to say about AI?
South Park's new episode feels like a return to form for the show. One of the episode's major highlights comes in the final few minutes with ChatGPT actually having a role in writing the resolution. Does AI South Park actually work?
About South Park:South Park is the Emmy and Peabody-award winning animated series co-created by Trey Parker and Matt Stone about four boys living in one screwed-up Colorado mountain town. Between local and global tragedies, as well as parental and celebrity interference, Kyle, Stan, Cartman, and Kenny manage to have themselves a time.
Stream a Mountain of Entertainment, including your Nickelodeon favorites on Paramount+! Try it FREE at ParamountPlus.com!
Stan Uses Open AI to Save the Day - SOUTH PARK - South Park Studios
With the help of Open AI Stan saves the day, and his relationship with Wendy. Watch the all-new full South Park episode "Deep Learning" for free now: https://cart.mn/deeplearning
ChatGPT, dude | South Park Studios
About South Park:South Park is the Emmy and Peabody-award winning animated series co-created by Trey Parker and Matt Stone about four boys living in one screwed-up Colorado mountain town. Between local and global tragedies, as well as parental and celebrity interference, Kyle, Stan, Cartman, and Kenny manage to have themselves a time.
Stream a Mountain of Entertainment, including your Nickelodeon favorites on Paramount+! Try it FREE at ParamountPlus.com!
After its chart busting premiere episode, which encored last week and continues to rack up views on streaming, South Park Season 27’s second episode drew even more eyeballs to the Comedy Central broadcast premiere. The Wednesday, August 6 installment, “Got a Nut,” blasted Homeland Security Secretary Kristi Noem, ICE agents and JD Vance (and of course, Satan’s new paramour President Trump).
South Park - "Got a Nut" [Comedy Central]
The second ep. pulled 838,000 viewers for its first airing, almost double the 430,000 who were the first to watch the July 23 season premiere. This makes the initial broadcast of “Got a Nut” the third-most-viewed in the past three seasons of South Park, after the March 2023 episode “Deep Learning,” which poked fun at AI text bot ChatGPT (1.04 million viewers), and the Season 25 premiere “Pajama Day” in February 2022 (844,000 viewers).
The ICE melting episode was the second biggest primetime show for adults 18-49 that night, pulling 455,000 pairs of eyeballs from the demo. The No. 1 slot went to Big Brother on CBS (800k+ viewers 18-49). The big turnout for South Park also helped lift numbers for Andy Samberg’s animated archaeologist comedy Digman!, which kept 264,000 viewers tuned in afterward.
The S27 premiere, “Sermon on the 'Mount,” caused huge buzz with its shipping of Donald Trump and South Park‘s Satan and some literally below the belt punches. The episode launched on Paramount+ the next day and racked up 5.9 million views in just three days through the platform and other delayed viewing.
A Bedtime Story for Wendy (Montage) - SOUTH PARK - South Park Studios
Instead of using a Thumbs Up emoji for all of his text responses to Wendy, Stan decides to use Open AI. Watch the all-new "Deep Learning" full episode for free now: https://cart.mn/deeplearning
About South Park:South Park is the Emmy and Peabody-award winning animated series co-created by Trey Parker and Matt Stone about four boys living in one screwed-up Colorado mountain town. Between local and global tragedies, as well as parental and celebrity interference, Kyle, Stan, Cartman, and Kenny manage to have themselves a time.
Stream a Mountain of Entertainment, including your Nickelodeon favorites on Paramount+! Try it FREE at ParamountPlus.com!
New Episode Preview: ChatGPT, Dude - SOUTH PARK - South Park Studios
Stan asks Clyde for dating advice, in an all-new episode titled, “Deep Learning”, premiering Wednesday, March 8 at 10/9c on Comedy Central.
About South Park:South Park is the Emmy and Peabody-award winning animated series co-created by Trey Parker and Matt Stone about four boys living in one screwed-up Colorado mountain town. Between local and global tragedies, as well as parental and celebrity interference, Kyle, Stan, Cartman, and Kenny manage to have themselves a time.
Stream a Mountain of Entertainment, including your Nickelodeon favorites on Paramount+! Try it FREE at ParamountPlus.com!
Billund – March 14, 2024: Today, the LEGO Group is thrilled to reveal the brand-new LEGO® DUPLO® PEPPA PIG sets in collaboration with leading toy and game company Hasbro. Inspired by everyone’s favourite pig, toddlers can immerse themselves into the colourful world of PEPPA PIG through LEGO DUPLO sets coming this summer.
This year marks the 20th anniversary of PEPPA PIG and it’s the perfect occasion for the new LEGO DUPLO PEPPA PIG sets to spark imagination and inspire fun play opportunities where toddlers can develop their fine motor skills. The new sets combine the building adventure of LEGO DUPLO play with colourful settings, iconic characters, and storytelling from the popular preschool animated series.
The four new sets offer great play experiences that inspire role-play and creativity, and like any LEGO DUPLO set, they have been thoughtfully designed with Learning through Play at the heart to provide kids with the opportunity to develop both EQ (Emotional Quotient) and IQ (Intelligence quotient) skills while playing out their stories. For instance, when roleplaying daily routines, toddlers learn to understand feelings, strengthen imagination and creativity and well as building relations, all while having fun. PEPPA PIG encourages kids to jump in together and explore the world around them and instils a powerful confidence to treat every first step as a new adventure - from the everyday to the epic.
Image of the new LEGO DUPLO PEPPA PIG set Peppa Pig House build with a blue background
Children ages 2+ can now bring their favourite PEPPA PIG moments to life with the new sets:
PEPPA PIG Garden and Tree House embraces Peppa’s joy of outdoor play. Builders can enjoy the wonders of nature, garden games and the activities that she is so fond of, role-play planting seeds and sunflowers and watering the garden with her brother George or spending time up in the tree house.
PEPPA PIG Boat Trip allows kids to hop onboard Grandpa Pig’s incredible sailing boat with Peppa and imagine spending the day sailing on the sea or staying onshore to build a sandcastle, look for seashells or rest under the beach umbrella.
PEPPA PIG Supermarket lets toddlers' shop for all the ingredients on the list at the supermarket, pop them in the trolley, and purchase everything needed to make Peppa’s favourite cake.
PEPPA PIG Birthday House invites builders to the party at Peppa’s house with Peppa and her friends Suzy and Pedro. Kids can role-play unwrapping the colourful present and serve some delicious cake to guests.
“We are excited to finally reveal the LEGO DUPLO PEPPA PIG sets. They have been brought to life through an incredible team effort across both brands, where our goal was to capture the essence of the playful PEPPA PIG world and offer toddlers the opportunity to re-create and role-play their favourite scenes and moments from the TV series – and in parallel support their learning and development journey through play”, says Roberta Cardazzo, Design Manager at the LEGO Group.
“For two decades, PEPPA PIG has taught values of confidence, friendship and individuality to preschoolers around the world. These themes are carried through every touchpoint from the brand, from entertainment to live experiences, toys and more,” says Casey Collins, President of Licensed Consumer Products at Hasbro. “Crafted specifically for little hands, LEGO DUPLO is the perfect expansion to the world of PEPPA PIG. With these colourful sets, preschoolers build foundational skills and explore the world around them with their best friend Peppa by their side.”
But new products aren’t all that’s happening, as engaging new content and play experiences will be available for children soon.
The LEGO Group and Hasbro have teamed up with branded entertainment destination leader Merlin Entertainments to create unique play experiences with LEGO DUPLO PEPPA PIG play areas coming to select Merlin Entertainments attractions and theme parks. The first LEGO DUPLO PEPPA PIG play park area will open in Billund, Denmark on March 23rd at LEGOLAND® Billund. This will be followed soon after by Europe’s first standalone Peppa Pig Theme Park soon to open in Günzburg situated next to LEGOLAND® Deutschland.
The LEGO DUPLO PEPPA PIG app is also globally available for pre-order today. The app provides preschoolers with a fun and safe digital play experience where they can build, play, and learn on fun adventures with Peppa.
The LEGO DUPLO PEPPA PIG sets are available via LEGO Stores, www.LEGO.com/duplo and third-party retailers from June 1st and in Americas from August 1st. See the new LEGO DUPLO PEPPA PIG products here: www.LEGO.com/duplo
Product information
LEGO DUPLO Peppa Pig Garden and Tree House (10431)
Pieces: 20
Ages: 2+
Measurement includes a tree house measuring over 7.5 in. (19 cm) high, 7.5 in. (19 cm) wide and 2.5 in. (6 cm) deep.
Skills in focus:
IQ - Match and sort to make the sunflower grow.
EQ - Express care for nature and help the garden to grow and blossom.
Price: £17.99 / €19,99/$19.99
LEGO DUPLO Peppa Pig Boat Trip (10432)
Pieces: 21
Ages: 2+
Measurement includes a boat toy that measures over 4.5 in. (11 cm) high, 4.5 in. (12 cm) long and 7 in. (18 cm) wide.
Skills in focus:
IQ - Help kids develop observation and imitating skills as they act out PEPPA and Grandpa Pig sailing by the beach.
EQ - Offers kids an understanding of feelings. Labels emotions from the story and raises questions and bonding time.
Price: £24.99/€29,99/$29.99
LEGO DUPLO Peppa Pig Birthday House (10433)
Pieces: 59
Ages: 2+
Measures over 10 in. (26 cm) high, 8 in. (20 cm) wide and 15 in. (6 cm) deep.
Skills in focus:
IQ - Help kids develop observation and imitating skills as they act out the birthday story and birthday traditions.
EQ - Understand feelings and labels emotions from the story rand raises questions.
Price: £39.99/ €44,99/$44.99
LEGO DUPLO Peppa Pig Supermarket (10434)
Pieces: 63
Ages: 2+
Measures over 8.5 in. (21 cm) high, 22 in. (57 cm) wide and 8.5 in. (22 cm) deep.
Skills in focus:
IQ - Help kids develop observation and imitating skills as they act out PEPPA and her family grocery shopping.
EQ - Understand feelings and labels emotions from the shopping story.
Price: £59.99/€69,99/$69.99
Merlin Entertainments LEGO DUPLO PEPPA PIG Theme Park Areas
The exciting collaboration will see PEPPA PIG come to life in LEGO DUPLO form for the very first time in LEGO products, as well as incredible attractions and rides in Merlin Entertainments theme parks. The first experiences will launch this year in Germany and Denmark, including the world’s only LEGO DUPLO PEPPA PIG area at LEGOLAND® Billund and the brand-new PEPPA PIG Park in Gunzburg in Germany, situated next to LEGOLAND® Deutschland Park.
The theme park experiences will bring to life the LEGO DUPLO PEPPA PIG sets, iconic scenes, and characters from the TV show in real-life PEPPA adventures.
START OFF BIG with LEGO DUPLO PEPPA PIG!
As DUPLO bricks are larger bricks for smaller hands, we invite families to start off big, introducing kids ages 2+ to dive into the world of LEGO DUPLO with PEPPA PIG.
Our big bricks open a world of possibilities for pre-school play that’s endless, diverse and fun.
Visit the page to see all the new LEGO DUPLO PEPPA PIG products: www.LEGO.com/duplo
About the LEGO Group
The LEGO Group’s mission is to inspire and develop the builders of tomorrow through the power of play. The LEGO System in Play, with its foundation in LEGO bricks, allows children and fans to build and rebuild anything they can imagine.
The LEGO Group was founded in Billund, Denmark in 1932 by Ole Kirk Kristiansen, its name derived from the two Danish words Leg Godt, which mean “Play Well”.
Today, the LEGO Group remains a family-owned company headquartered in Billund. Its products are now sold in more than 130 countries worldwide. For more information: www.LEGO.com
About Hasbro
Hasbro is a leading toy and game company whose mission is to entertain and connect generations of fans through the wonder of storytelling and exhilaration of play. Hasbro delivers engaging brand experiences for global audiences through toys, consumer products, gaming and entertainment, with a portfolio of iconic brands including MAGIC: THE GATHERING, DUNGEONS & DRAGONS, Hasbro Gaming, NERF, TRANSFORMERS, PLAY-DOH and PEPPA PIG, as well as premier partner brands.
Hasbro is guided by our Purpose to create joy and community for all people around the world, one game, one toy, one story at a time. For more than a decade, Hasbro has been consistently recognized for its corporate citizenship, including being named one of the 100 Best Corporate Citizens by 3BL Media, one of the World’s Most Ethical Companies by Ethisphere Institute and one of the 50 Most Community-Minded Companies in the U.S. by the Civic 50. For more information, visit www.corporate.hasbro.com.
About PEPPA PIG
Peppa Pig is a British animated television series that has been airing for 20 years, across ten seasons in over 180 territories as of 2024. The series follows Peppa Pig, a cheeky little piggy who lives with her family - younger brother George, Mummy Pig and Daddy Pig - as well as her diverse community of friends. Globally successful, the brand connects with consumers across every touchpoint, from TV to theme parks to retail. As a lifelong friend, Peppa Pig encourages kids to jump in together and explore the world around them, while giving kids the confidence to treat every first step as a new adventure, from the everyday to the epic.
About Merlin Entertainments
Merlin Entertainments is a global leader in branded entertainment destinations, operating over 140 attractions, 23 hotels and 6 holiday villages in 23 countries and across 4 continents. Merlin’s purpose is to deliver memorable experiences to its millions of guests around the world, through its iconic brands and multiple attraction formats, and the commitment and passion of its employees.
Merlin’s inaugural PEPPA PIG Theme Park opened in Orlando, Florida; additional PEPPA PIG Theme Park locations in Dallas, Texas and Gunzburg, Germany are set to open in 2024. PEPPA PIG Theme Parks provide a fully themed world for a days-worth of activity, including roller coasters, shows, restaurants and a whole host of immersive family fun.
Merlin’s five PEPPA PIG World of Play locations are in the U.S. (Dallas, Michigan, Chicago), China (Shanghai), and Holland (Leidschendam); PEPPA PIG World of Play locations provide a shorter-stay indoor attraction, designed for preschool children with up to 14 themed areas, a retail store and more, all themed around Peppa and her family.
Two additional PEPPA PIG themed areas can also be found at Merlin’s most popular European Parks – including Heide Park in Germany and Gardaland in Italy - featuring interactive PEPPA PIG sets and experiences.
All of Merlin’s attractions and resorts have a strong emphasis on ‘fun for everyone’ with many accredited as sensory or Autism friendly and with a range of accessible rides, trained staff and specially designed rides for those in wheelchairs.
Merlin’s Partnership with the LEGO Group:
For 18 years, Merlin Entertainments has been the proud operator of ten LEGOLAND® Parks and Resorts across the globe, including locations in the U.S. (Orlando, California and New York), the UK (Windsor), South Korea, Japan, Malaysia, Dubai, Germany, and the original LEGOLAND® in Denmark.
In Orlando, Florida and soon in Gunzburg, Germany, LEGO and PEPPA PIG fans will be able to visit LEGOLAND® Resorts and PEPPA PIG Theme Parks, which are adjacent to each other. This will provide guests with a perfect entertainment cluster of educational and entertainment experiences that cater to a diverse range of ages and abilities.
There are currently 27 LEGOLAND® Discovery Centres, as well as six next generation LEGO® Discovery Centres. LEGO® Discovery Centres offer highly interactive indoor LEGO play where families are free to play, explore, create, and laugh together. The LEGO Discovery Centres offer experiences designed to allow more family learning-through-play activities, with immersive activities and workshops for children and their families to indulge their imagination with their own LEGO creations. www.legodiscoverycentre.com
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ViacomCBS Consumer Products Unveils ‘More The Dolls’ Study, Highlighting The Effects of Diversity and Inclusion Efforts in The Doll Category
The Top Driver of Doll Choice Among Girls is that the Dolls Look Like Them; 51% of Moms Say They Have Become More Conscious of their Choices Around Doll Purchases in the Past Year; 77% of Moms Surveyed Feel that Having Dolls of Diverse Race/Ethnic Mix Can Help their Girls Learn about Racial and Cultural Diversity
New York, NY – ViacomCBS Consumer Products today unveiled the results of “More Than Dolls,” a brand-new study commissioned to examine diversity in the Dolls category and factors that fuel the purchasing decisions of Black, Hispanic, White and Asian moms.
Inspired by the pivotal doll test conducted by Drs. Mamie and Kenneth Clark in 1947, “More Than Dolls” delves into diversity in the doll category, showcasing the positive impact that the greater availability of diverse dolls has had on Black, Hispanic, Asian girls, while highlighting the strides that still need to be made to fuel ongoing changes to with dolls that offer authentic representation and aspirational role models.
Said Pam Kaufman, President, Consumer Products, ViacomCBS: “ViacomCBS Consumer Products is committed to creating products that speak to and depict the full spectrum of diversity in the world consumers live in. Through our “More Than Dolls” study we aim to inform and help guide our amazing partners across the Consumer Products industry, where we have the ability to make a significant impact and contribute to positive and long-lasting social change.”
Added Ameeta Held, Vice President of Insights & Business Strategy, ViacomCBS Consumer Products: “Dolls are more than just toys, they are reflections of our society, showcasing the cultural standards of beauty that so many young girls internalize. The relationship that dolls have to girls’ self-esteem and their perceptions of themselves is a powerful one. It plays an important role in the development of their own aspirations and dreams.”
Key findings from “More Than Dolls” study include:
When surveyed to find out what girls owned in terms of the perceived race and ethnicity of their dolls the results were: Black girls were most likely to own dolls that reflect their own race. Both Hispanic and Asian girls tended to own a diverse mix of dolls, followed by white dolls. White girls owned predominantly white dolls by a wide margin (61% owned predominantly white dolls); and while a diverse mix of dolls ranked as their number two choice, they were the least likely to own diverse dolls.
51% of moms surveyed agree they have recently become more conscious of the choices they make around the dolls they purchased this past year.
66% of moms surveyed said they encourage their daughters to play with dolls of a different race/ethnicity than their own.
77% of moms surveyed feel that having dolls of diverse race/ethnic mix can help their girls learn about racial and cultural diversity.
The number one driver of doll choice among girls surveyed was that the doll looked like them. It was also the top driver of doll choice for moms.
However, 52% of Black moms and 49% of Hispanic moms say there are not enough dolls of their race/ethnicity in general.
Specific variables that were top of mind for moms of color as they considered dolls for their girls include: matching skin tone (71% average), matching hair (56%), the same body type (31%) and matching eyes (26%).
53% of moms surveyed said there not enough dolls/toys that represent strong, positive, Black/Hispanic/Asian role models – but beyond that moms want authentic dolls that reflect possibilities for their daughters.
Nearly 66% of Black and Hispanic moms go out of their way to buy brands that are making the effort to be more racially inclusive and diverse.
It also extends beyond just appearance, as the doll’s identity was also important to the moms/daughters. Elements like clothing/accessories, the doll’s name, profession/hobbies and reflections of her culture all needed to be authentically relatable.
Conducted in 2021, in partnership with Horowitz Research and C Space, the “More Than Dolls” study included surveys with 900 moms and their daughters (aged 2-9), as well as interviews and video diaries to expand on the findings. The questions explored what kind of dolls the girls had and why, how they play with them, and unmet gaps in the marketplace. An additional deep dive was designed to probe how attitudes around racial awareness are shifting in today’s consumer landscape.
Shontae Savage, the head of Black Lives Matter Licensing in the US, praised the research paper, and said it shows exactly why representational licensing is so important to society as a whole, and particularly for children.
“As a child everything that happens at that developmental stage in life is a lesson and that includes play,” said Savage. “Doll-play is an important form of play for impressionable children because it teaches the child to care and nurture others. Because at its core doll-play is teaching a child how to love and nurture another, it is crucial to that child’s development and identity that they are represented. Otherwise, they are learning the wrong message.”
Savage says that change is critical for children in minority families, who in the past were not represented in entertainment or in toys. “Representation or lack of representation in dolls speaks volumes to children,” she explained. “The message representation tells children is that you matter, you belong. When that representation is missing on toy shelves and reinforced through a lack of representation in figures of authority and again in their favorite TV shows, it sends a completely opposite message: you don’t matter.
Savage also says that’s something she was very aware of as a child.
“As a Black child growing up in the 80’s, my mom was very cognizant of buying dolls that looked like me,” she recalled. “At the time, dolls were either white with beautiful blond or brown locks of hair and various facial features, or dolls had a dark complexion with painted-on black plastic hair to convey the coils of black hair. I had spirally curly hair and did not look anything like the typical black baby doll. So, my mom sought out dolls, intended for Hispanic children, that looked more like me with a similar brown complexion, big brown eyes and spirally curly hair. In doing so, she imbued a sense of pride in me and reinforced that my baby, and I, were beautiful and deserved to be cared for.”
Conducted in 2021, in partnership with Horowitz Research and C Space, the “More Than Dolls” study included surveys with 900 moms and their daughters (aged 2-9), as well as interviews and video diaries to expand on the findings. The questions explored what kind of dolls the girls had and why, how they play with them, and unmet gaps in the marketplace. An additional deep dive was designed to probe how attitudes around racial awareness are shifting in today’s consumer landscape.
ViacomCBS Consumer Products (VCP) oversees all licensing and merchandising for ViacomCBS Inc. (Nasdaq: VIACA, VIAC), a leading global media and entertainment company that creates premium content and experiences for audiences worldwide. Driven by iconic consumer brands, VCP’s portfolio includes a diverse slate of brands and content from BET, CBS (including CBS Television Studios and CBS Television Distribution), Comedy Central, MTV, Nickelodeon, Paramount Pictures and Showtime. With properties spanning animation, live-action, preschool, youth and adult, VCP is committed to creating the highest quality product for some of the world’s most beloved, iconic franchises. Additionally, VCP oversees the online direct-to-consumer business for CBS and Showtime programming merchandise, as well as standalone branded ecommerce websites for Star Trek, SpongeBob, South Park, and MTV.
For more research detail from Reflecting Me: Global Representation On Screen, visit Insights.ViacomCBS.com.
The Natural History Museums of Los Angeles County and Nickelodeon Celebrate World Oceans Day with Launch of Brand-new “Science Of SpongeBob” Educational Program
Initiative Brings Together Scientists and the Undersea World of Bikini Bottom to Encourage Marine Science Exploration
LOS ANGELES, CA (June 8, 2021)—In honor of World Oceans Day, the Natural History Museums of Los Angeles County (NHMLAC) and Nickelodeon will today launch “Science of SpongeBob,” a new initiative based on the iconic SpongeBob SquarePants animated series that will introduce kids and families to the science that inspired the undersea world of Bikini Bottom and its beloved inhabitants. With the help of Natural History Museum (NHM) experts, audiences will learn about a variety of scientific disciplines, including marine biology, paleontology, ichthyology, and mammalogy, as well as the scientific discovery process that contributed to the creation and development of SpongeBob, which has reigned as the number one animated series on television in the US for the last 18 years. Dynamic videos, activities and live programs with NHM scientists and educators will kick off today at NHM.ORG/spongebob.
Activities include: Creating an ocean journal; making a sea turtle puppet; creating a ocean costume, and going on a storm drain walk.
“We are thrilled to be working with Nickelodeon again on a program that demonstrates the excitement of scientific research and discovery, as well as the range of career pathways available in Museum Science,” said Dr. Lori Bettison-Varga, President and Director of the Natural History Museums of Los Angeles County. “As we continue to encourage scientific exploration and share our research and collections, we hope that kids and families are inspired to take responsibility for the care of our natural world.”
NHMLAC has collaborated with Nickelodeon to create eight videos featuring scientists from NHM’s Research and Collections department that feature clips from episodes of SpongeBob SquarePants that demonstrate how science has been incorporated into the beloved TV show, its characters and storylines. In addition to providing information on the underwater ecosystems that comprise the world of Bikini Bottom by exploring various topics, the videos will feature behind-the-scenes looks at NHM’s collections, allowing access to many items rarely seen by the public. Scientists will also share some tips for overcoming ocean fears, how to observe marine life, and break down misconceptions about marine science. Plus, viewers can learn about the real-life ocean animals that SpongeBob and the citizens of Bikini Bottom are based on, the small steps individuals can take to protect the oceans, how scientists create unique species names, the different types of ocean habitats, deep sea dangers, prehistoric Bikini Bottom, silly sea facts, and more.
“SpongeBob SquarePants has entertained and educated audiences about marine life for more than 20 years, and we are so excited to partner with NHMLAC to honor the legacy of series creator Stephen Hillenburg through ‘Science of SpongeBob,’ which brings the characters and world of Bikini Bottom to life with engaging, accessible and informative content,” said David Bruson, Director, Public Affairs, Nickelodeon.
A video featuring Dr. Regina Wetzer, Director of NHM’s Marine Biodiversity Center, and Kathy Omura, Collections Manager of NHM’s Marine Biodiversity Center, explains how scientists name new species and provides two examples, a type of sea star named after Patrick Star and a crustacean named after the microplastics found in its stomach. Viewers will also learn about whale poop and its beneficial impact on the marine ecosystem with Dr. Jorge Velez-Juarbe, Associate Curator of Mammalogy (Marine Mammals); the details of sea snail teeth with Dr. Jann Vendetti, Associate Curator of Malacology; and what SpongeBob SquarePants, Squidward Tentacles and Patrick Star's distant relatives might have looked like with Dr. Austin Hendy, Assistant Curator of Invertebrate Paleontology.
Visitors can also participate in fun at-home activities, including steps to create an ocean diorama, start an ocean journal, make a sea turtle puppet, and more. In July, additional DIY activities developed by NHM’s 2021 Marine Science Interns will help audiences continue their at-home exploration with simple step-by-step activities and projects.
Audiences can also join virtual events in June and July with NHM’s experts and educators for some deep dives into the sea. From home, viewers can explore the ocean through a series of events looking at easy-to-access environments like tidepools, NHM’s Mobile Museums and so much more.
Current Programming Schedule
Tuesday, June 8 at 11 am
Dive into the Science of SpongeBob: Ocean Plastics and the Future of Bikini Bottom
Welcome to the Science of SpongeBob! All month long, join NHMLAC researchers, educators, and special guests as we dive into ocean learning with topics exploring the real species behind the show's Bikini Bottom characters, in partnership with Nickelodeon. To celebrate World Oceans Day, we're kicking things off with Dr. Britta Baechler, Senior Manager of Ocean Plastics Research at Ocean Conservancy, as she helps us break down ocean plastics and microplastics, the impact these have on marine life, and what kids and grown ups can do to protect our oceans. Learn more here.
Thursday, June 10 at 11 am
Dive into the Science of SpongeBob: Get to Know Gary the Sea Snail!
Join Dr. Jann Vendetti, NHM's Associate Curator of Malacology, and Museum Educator Steven Mendoza to explore the fascinating world of snails! Uncover fact and fiction about the real life species behind SpongeBob's beloved pet sea snail, Gary, and discover the different ways these animals use their slime, teeth and shell for everyday survival. Learn more here.
Tuesday, June 15 at 11 am
Dive into the Science of SpongeBob: All About Pearl
Explore the mighty world of whales with Dr. Jorge Velez-Juarbe, NHM's Associate Curator of Mammalogy, and Museum Educator Diana Sanchez! From its large teeth and unique skull shape to its use of echolocation, learn how the real species of sperm whale inspired the character of Pearl. Learn more here.
Thursday, June 17 at 11 am
Dive into the Science of SpongeBob: Swimmin’ with the Fishes
Discover some of the spectacularly strange and surprising fishes that swim beneath the ocean's surface--and not just in Bikini Bottom! Join Dr. Bill Ludt, Assistant Curator of Ichthyology at NHM, and Museum Educator Michelle Vanegas as they tackle some fascinating fish facts and explore the various species featured in the SpongeBob universe. Learn more here.
Visit NHM.ORG/spongebob for full information regarding additional virtual events through July. For videos or images, please contact Sally Marquez, smarquez@nhm.org.
Scientist Bios
Dr. Britta Baechler, Senior Manager of Ocean Plastics Research, Ocean Conservancy
Dr. Britta Baechler is Ocean Conservancy’s Senior Manager of Ocean Plastics Research. She earned her undergraduate degree in Biology at Lewis & Clark College and PhD in Environmental Science at Portland State University, both located in Portland, Oregon. She has worked in numerous fisheries and marine conservation roles, including as a shellfish fishery manager in the Bering Sea/Aleutian Islands region of Alaska, and as the Marine Protected Area Coordinator in Saipan, Northern Mariana Islands. Her broad interests at the intersections of plastic pollution, fisheries, and fishing communities have been longstanding; as such, Britta’s recent doctoral work focused on determining the ecological and social dimensions of microplastics in Pacific Northwest shellfish. In her role with Ocean Conservancy, Britta is working to develop a policy-relevant ocean plastics research agenda and contribute new insights to the growing body of scientific literature on ocean plastics.
Dr. Austin Hendy, Assistant Curator, Invertebrate Paleontology
Austin Hendy is NHM’s Assistant Curator of Invertebrate Paleontology. After obtaining his doctorate at the University of Cincinnati, Austin was a post-doctoral fellow at Yale University, the Smithsonian Tropical Research Institution, and Florida Museum of Natural History. An author on numerous scientific papers, he has conducted research in many parts of the world, but especially tropical South America. There he studies the biodiversity, biogeography and paleoecology of Cenozoic mollusc faunas. He is also interested in bioinformatics and the application of natural museum specimens and data for K-12 education.
Dr. Bill Ludt, Assistant Curator, Ichthyology
Dr. Bill Ludt joined NHM as Assistant Curator of Ichthyology in 2019. Prior to that he was the first Collette Postdoctoral Fellow in Systematic Ichthyology at the Smithsonian National Museum of Natural History. He holds a Ph.D. from Louisiana State University, a M.S. from the University of Texas at Austin, and a B.S. from the University of Arizona. Bill's research aims to understand how speciation and evolution occur within the largest group of vertebrates – fishes. To accomplish this, he uses a multifaceted approach, applying a variety of methods across recent and ancient time scales. Central to his research are museum specimens and the data associated with them, which he uses to obtain a diversity of information from entire genomes to digital CT scans.
Kathy Omura, Collections Manager, Marine Biodiversity Center
Kathy was the first person to join the NHM Marine Biodiversity Center when it opened in 2000. She earned a B.S. in Wildlife Management from the University of Alaska-Fairbanks and came to the Natural History Museum with 13 years of marine invertebrate taxonomy experience.
Dean Pentcheff, Project Coordinator, DISCO
Dean Pentcheff coordinates NHM’s Diversity Initiative for the Southern California Ocean (DISCO). Prior to that, he was a co-founder and coordinator of NHM’s BioSCAN survey of urban-to-non-urban arthropod biodiversity. He has a background in bioinformatics related to taxonomy and specimen collections and, prior to that, research experience in marine biomechanics focusing on animal-fluid interactions.
Dr. Jorge Velez-Juarbe, Associate Curator, Mammalogy (Marine Mammals)
Jorge Velez-Juarbe holds a Ph.D. from Howard University, where he studied the morphology, systematics, and paleobiology of fossil sirenians and cetaceans. After receiving his doctorate in 2012, Dr. Velez-Juarbe held Post-Doctoral Associate positions at the Florida Museum of Natural History, the Smithsonian Tropical Research Institute in Panama, and at California State University Fullerton before being hired as Assistant Curator of Marine Mammals at NHM. Dr. Velez-Juarbe's appointment involves curatorial responsibility for both our fossil and extant marine mammal collections.
Dr. Jann Vendetti, Twila Bratcher Chair in Malacological Research and Associate Curator, Malacology
Jann Vendetti is NHM’s Associate Curator of Malacology (Mollusks) and Twila Bratcher Chair in Malacological Research. She is a founding member of the Urban Nature Research Center. She is interested in the natural history, evolution, systematics, and conservation of marine and terrestrial snails—an extremely diverse group of organisms. Jann joined the museum in 2014 and has focused on collections-based research and the Snails and slugs Living in Metropolitan Environments (SLIME) project, championing the important role of community science to understanding urban-living biodiversity.
Dr. Regina Wetzer, Curator and Director, Marine Biodiversity Center
Dr. Wetzer earned her PhD in Biological Sciences from the University of South Carolina. She had been with NHM in the mid-'80s and returned in 1999. Since 2003 she has been a Research Scientist and Director of NHM’s Marine Biodiversity Center. Her research focuses on crustacean systematics and isopod phylogeny, and she has a special fondness for sphaeromatid isopods. Dr. Wetzer's research has taken her all over the world, including Africa, Mongolia, the South Pacific, South America, and Australia.
The "Science of SpongeBob" exhibit follows the success of NHMLAC and Nickelodeon's "Science of Slime" exhibit in 2020.
Since its launch July 17, 1999, SpongeBob SquarePants has reigned as the number-one animated series on TV for the last 18 years, while generating a universe of beloved characters, pop culture catchphrases and memes, theatrical releases, consumer products, a Tony Award®-winning Broadway musical and a global fan base. SpongeBob SquarePants is the most widely distributed property in ViacomCBS Networks International history, seen in more than 170 countries and territories, translated in 30+ languages, and averaging more than 100 million total viewers every month. SpongeBob SquarePants was created by Stephen Hillenburg and produced by Nickelodeon in Burbank, CA. The character-driven cartoon chronicles the nautical and sometimes nonsensical adventures of SpongeBob, an incurable optimist and earnest sea sponge, and his undersea friends.
About the Natural History Museums of Los Angeles County
The Natural History Museums of Los Angeles County (NHMLAC) include the Natural History Museum in Exposition Park, La Brea Tar Pits in Hancock Park, and the William S. Hart Museum in Newhall. They operate under the collective vision to inspire wonder, discovery, and responsibility for our natural and cultural worlds. The museums hold one of the world’s most extensive and valuable collections of natural and cultural history—more than 35 million objects. Using these collections for groundbreaking scientific and historical research, the museums also incorporate them into on- and offsite nature and culture exploration in L.A. neighborhoods, and a slate of community science programs—creating indoor-outdoor visitor experiences that explore the past, present, and future. Visit NHMLAC.ORG for adventure, education, and entertainment opportunities.
About Nickelodeon
Nickelodeon, now in its 42nd 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).
Follow NickALive! on Twitter, Tumblr, Reddit, via RSS, on Instagram, and/or Facebook for the latest Nickelodeon, SpongeBob SquarePants and Kamp Koral: SpongeBob's Under Years News and Highlights!
The Rediscovered Prescience of SpongeBob’s ‘Squirrel Jokes’
Trying to reflect on the year in comedy at the end of 2021 is like trying to look through a rearview mirror that’s got bird poop on it: There are trees and trucks and billboards laid out behind you, but it’s all kind of obscured by the bird poop.
The bird excrement is Dave Chappelle’s The Closer. Released in October as the last special of Chappelle’s multimillion-dollar deal with Netflix, much of the special consists of the stand-up defending transphobic jokes from his past specials, railing against "cancel culture", comparing trans women presenting themselves in a gender-affirming way to blackface, siding with TERFs, misgendering a trans acquaintance who died by suicide, and then using his friendship with her as a scapegoat for why he’s allowed to make these jokes.
It was upsetting to members of the trans community, the comedy community, and any erstwhile fans of Chappelle who have had to put up with years of this from him.
Things escalated when Netflix CEO Ted Sarandos released a series of statements in defense of the special. He argued that the purpose of comedy was to “push boundaries” and wrote that Netflix has “a strong belief that content on screen doesn’t directly translate to real-world harm.” (Sarandos later walked back his comments and admitted that he “screwed up.”) It’s a condescendingly dumb argument, particularly to anyone who’s ever seen a map of the United States where the “gay and trans panic” defense is still admissible in court …
… or anyone who’s ever seen the season-two SpongeBob SquarePants episode “Squirrel Jokes.” The episode, which first aired in September 2001, shows SpongeBob winning over an audience at an open mic night by making “squirrel jokes” at the expense of his good squirrel friend, Sandy Cheeks. As he makes jokes about how squirrels are stupid and look strange, SpongeBob whips the crowd into a frenzy. Sandy is hurt and asks him to stop, but SpongeBob says that he knows she’s smart, and he’s only joking, and she shouldn’t take it so seriously, and she should be a supportive friend. But Sandy is a minority as the only squirrel in Bikini Bottom, and people begin to treat her differently in public, talking down to her like she’s stupid and not letting their children near her in the store. She ends up teaching SpongeBob the error of his ways via some trademark slapstick, and everything’s neatly wrapped up by the end of the 11-minute episode.
Two days after the release of The Closer, queer Black comedian Kid Fury tweeted, “Remember when Spongebob got into standup and kept telling the same lame ass squirrel jokes because that’s all his audience thought they wanted to hear … even though he knew it was harmful to the squirrel just minding her own damn business? Good episode.” The tweet was shared thousands of times, with more people sharing the sentiment that even kids can understand the message and sharing clips of the episode. It was apt for the Closer controversy, but it also illustrated how we’ve been having these conversations about punching down, albeit in different ways, for decades now.
“Squirrel Jokes” was written by Walt Dohrn, Paul Tibbitt, and Merriwether Williams. SpongeBob was only the second show Dohrn had worked on after graduating from CalArts, but during his time there he co-wrote classic episodes like “Frankendoodle” (2002), “Procrastination” (2001), and “Imitation Krabs” (2000). From there, he had a hand in basically every element of 2000s childhood: the Shrek films (in addition to working in the story department on the sequels, he voiced Rumpelstiltskin in the fourth film), Madagascar, and Dexter’s Laboratory. More recently, he directed the Trolls movies. Vulture spoke with Dohrn about comedy, cartoons, and what SpongeBob knew in 2001 that people like Chappelle and Sarandos still don’t get 20 years later.
What was the inspiration behind writing this episode?
I’m trying to remember. This was 21 years ago! I went back and watched the episode a couple of days ago to remind myself, and it did come back to me, as far as some of our discussions. Process-wise, SpongeBob creator Stephen Hillenburg and creative director and writer on all episodes Derek Drymon were a big part of writing and putting the episode together. So as far as the inspiration, it was kind of built-in by the time I got there; there was a list of things they wanted to make the show about.
This was my first TV gig, and as comedy writers, there was this complete commitment to jokes. It was boot camp for me. We would work all night long, like, What’s the funniest drawing? What’s the funniest idea? We were absorbed in the idea of comedy, and the conversation came to be about this desire to get the laugh. And we started talking about that — about how you could be so desperate in the moment that you’ll say or do anything to get the laugh. So I think that was really the core of the episode — the idea that you reach for this low-hanging fruit to get the laugh, especially if you’re bombing. Then we talked about the personal consequences of that and how in this desperation to get the laugh you could end up really hurting people.
It’s interesting that you were having those conversations on a show that isn’t necessarily associated, in my mind, with mean humor. What was it exactly that you were noticing in the writers’ room — or in media you were consuming at the time — that led to this angle of the dangers of finding the laugh at any expense?
I’m trying to get this right because it was so long ago, but a lot of it had to do with the nature of pitching the show as part of our job. It made me endlessly nervous because I was a very shy person, and I was learning how this is part of the process. Not only do you write the episode and draw it, but you have to put all your drawings on the wall. Paul and I would do this together because we were a team on all of our episodes. You’d have to stand up in front of the entire crew and perform the episode. And if you’re bombing, you may, in the room, go for the low-hanging fruit and do some humor that wasn’t part of the episode just to get the laugh. That was part of the conversation — this desperation to have the laugh at all costs.
But that scenario could have played out anywhere in a SpongeBob episode, like at the beach or work or whatever. Instead, you made the Krusty Krab an after-hours comedy club, and you made SpongeBob a stand-up, and you’re skewering a specific type of insult comedy. The jokes are specifically coded as being about a minority group.
Did you know the episode had gone viral in relationship to the Chappelle controversy?
I didn’t until your contact. I was excited to see that it had that kind of relevance. It had been so long since I returned to those episodes. I’m just so heads-down, working in animation. I was excited that it was part of the conversation. Then when I watched the episode, I was like, Oh! I wasn’t surprised, but some of the conversation has changed since then. Because in the episode, he kind of ends with — it’s a nice sentiment — we can all laugh at ourselves. We definitely believed then and believe now that comedy should tackle more difficult parts of the human experience. That’s what comedy served then; that’s what it serves now. But I think the conversation is But at all costs, it shouldn’t be at someone else’s expense.
I liked the episode’s ending, but if I were to do it today, I think there would be a little bit more clarity about the responsibility we have to not perpetuate any kind of hurtful stereotype. Even if we’re saying, “We should be able to laugh at ourselves,” I just think the idea of laughing at someone else’s expense, we don’t need to do that. There’s plenty of material, plenty of odd and surreal and absolutely absurd things to talk about in comedy, whether it is a family show or anything else. We’re just very conscious now of who or what the jokes are directed at.
I’m glad you brought up that ending. It’s funny how people were holding clips of this episode up as an example of “Even a children’s show got the right idea 20 years ago,” but then you watch the full episode, and it ends on this very 2000s, South Park–era resolution of SpongeBob becoming an “equal opportunity offender.” It’s really indicative of the time.
Yeah, and it makes sense. Even not that long ago, we would have this sense as comedy-animation people of like, You know what? Nothing is off-limits. That’s what comedy is about. Equal opportunity. Everything is funny. And it’s just not the case. We’ve seen too many examples over the years of the kind of harm that can do, even to the point that self-deprecating humor feels kind of wrong now as well. Say you’re talking about yourself, and someone identifies with those things you’re making fun of in yourself? Then that’s hurtful to them.
What you’re saying is SpongeBob hadn’t seen Nanette at the time. Hannah Gadsby wasn’t around to teach him that.
[Laughs.]
You mentioned SpongeBob was your first TV writing job. What was your relationship to comedy at the time? Was anyone who co-wrote this episode involved in stand-up? I know Tom Kenny comes from the comedy world.
Do you remember a time where you pushed right up against the line, or crossed it, working on SpongeBob?
I think the line would be more on the surreal humor. The weirder it got, the stranger our drawings got. It felt psychedelic, drug-infused. At the time, we talked about how not only was it for kids and families but also for sleep-deprived college students. Anything that was so weird that it might turn off the core audience, there would be concern from the network or the studio. That would be the edge that we pushed: bizarre drawing, anything that felt like there was some odd innuendo.
How do you feel about the generation that grew up with things you worked on like SpongeBob, Shrek, and Dexter’s Lab becoming comedians and animators in their own right?
I’m so honored to have been a part of all these things that are so ubiquitous and make people feel good. That old adage that laughter is the best medicine is absolutely true. I was doing some presentation or something, and I looked into the science of what happens to your brain when you laugh, and comedy can really impact your physiology and improve your health. There’s a stigma attached to doing children’s entertainment, and maybe that’s more of a chip on my shoulder, but I just never looked at it like that. I made sure that it wasn’t too offensive, and that it was clear, but I never approached the humor any different way, whether it was for young people or families or sleep-deprived college students.
Do you have a favorite joke or visual gag from SpongeBob or from anything else that you worked on?
One thing that I have enjoyed doing and that I’ve been able to exercise is the performer part of myself, which is something I didn’t know I had until I was forced to do it on SpongeBob, and I would have to perform all the voices. Writing and directing is a hard thing to quantify for a lot of people, but I’ve been able to perform the characters. I was the antagonist of the fourth Shrek movie, which was very exciting and fun to do. Mike Mitchell and I made the first Trolls movie together, and I got to play this character called the Cloud Guy. That’s something I really like being able to do. Outside of pitching sequences on shows, that’s very close to stand-up comedy. Standing in front of a microphone and performing and improvising lines is the thing I’m definitely the most proud of.
You voicing Rumpelstiltskin in the fourth Shrek was a huge deal because by then there was this trend of only A-list celebs voicing these major animated studio movies in lieu of actual voice or character actors.
It was a real win at the time because we do all the voices before the celebrity marquee actors come in. It’s like workshopping a play. So people started getting it in their heads because I was doing that one role. So when I was awarded the role, regardless that I had no marquee value at all, there was this joke: “Myers! Murphy! Diaz! … Dohrn?” It felt like a win for the team, like the entire crew was that character.
Anyway, sorry for all these gotcha questions about an 11-minute episode of SpongeBob from 20 years ago.
I hope it was helpful! I think you opened up a little window into my brain. I’m going to go back and watch some of these episodes and kind of enjoy the people who enjoy them.
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 https://www.youtube.com/SpongeBobOfficial!
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With lots of brand-new shows and tons of brand-new episodes, 2017 is set to be another epic year on Nickelodeon! Check out Nickelodeon USA's highlights for Nick, Nicktoons, Nick Jr., Nick at Nite, TeenNick and TV Land in 2017 in the list below!:
PREMIERES BEGINNING FRIDAY, MARCH 26, AT 12:30 PM (ET/PT)
Share it: @NickJr #BabySharksBigShow
BURBANK, Calif.–March 2, 2021–Nickelodeon’s brand-new preschool series Baby Shark’s Big Show! will make a splash with its spring premieres, beginning Friday, March 26, at 12:30 p.m. (ET/PT), when preschoolers can join the pop culture phenomenon for jaw-some underwater escapades. Co-produced by Nickelodeon Animation Studio and SmartStudy, the global entertainment company behind the beloved children’s brand Pinkfong, the series (26 half-hour episodes) follows Baby Shark and his best friend William as they journey on fun-filled comedic adventures in their community of Carnivore Cove, make new friends and sing original catchy tunes along the way. New episodes of Baby Shark’s Big Show! will continue to air regularly Fridays at 12:30 p.m. (ET/PT) on Nickelodeon.
“With Baby Shark’s Big Show!, the Nickelodeon Animation Studio team has taken the most popular song on the planet and created a whole new world of characters,” said Eryk Casemiro, Senior Vice President, Nickelodeon Preschool. “It’s a series that celebrates family, friends and adventure through comedy, catchy songs and stories of social-emotional learning.”
In “Baby Tooth/Slobber Slug,” premiering Friday, March 26, Baby Shark gets his first loose tooth and enlists William’s help to lose it so he can trade it in for a sand dollar. When their antics get the tooth lost for real, they must team up with the Toothfish Fairy to track it down. Then, while Baby Shark and his friends are playing Barnacle Ball, Hank’s pet rock, Rocky, is accidentally sent soaring into the lair of the vicious Slobber Slug and they must stage an elaborate rescue mission.
Following the premiere, the episode will be available on Nick Jr. On Demand and Download-To-Own services, as well as Noggin, Nickelodeon’s interactive learning service for preschoolers, NickJr.com and the Nick Jr. App, which will also feature short-form content. New episodes will continue to rollout on Nickelodeon and Nick Jr. channels internationally beginning in May.
Baby Shark’s Big Show! features a swim-sational lineup of voice actors: Kimiko Glenn (Orange is the New Black), as Baby Shark; Luke Youngblood (Glitch Techs, Harry Potter and the Sorcerer’s Stone), as William; Natasha Rothwell (Insecure), as Mommy Shark; Eric Edelstein (Hotel for Dogs, Pig Goat Banana Cricket, We Bare Bears), as Daddy Shark; Debra Wilson (MADtv), as Grandma Shark; and Patrick Warburton (Tak & the Power of Juju, The X's, Seinfeld, Family Guy), as Grandpa Shark.
In addition to Nickelodeon and SmartStudy’s partnership to produce Baby Shark’s Big Show!, ViacomCBS Consumer Products (VCP) is managing consumer products licensing worldwide, excluding China, Korea and Southeast Asia, for the Pinkfong Baby Shark property.
Pinkfong Baby Shark launched on YouTube in November 2015 and took the world by storm, amassing 8 billion views and becoming the most-watched video in the platform’s history. With music, characters, story and dance all combined together, the song certified RIAA Diamond and 11x platinum single for selling over 11 million units in the U.S., and spawned a viral phenomenon #BabySharkChallenge, generating over one million cover videos around the globe.
Baby Shark’s Big Show! is executive produced by Gary “Doodles” DiRaffaele (Breadwinners) and Tommy Sica (Breadwinners), with Whitney Ralls (My Little Pony: Equestria Girls) serving as co-executive producer. The series is produced by Nickelodeon Animation Studio in Burbank, Calif., with production overseen by Eryk Casemiro, Senior Vice President, Nickelodeon Preschool.
About SmartStudy
Founded in June 2010, SmartStudy is a global entertainment company moving beyond the limits of platforms to create original content across children’s education, games and animation. Through SmartStudy’s beloved children’s brand, Pinkfong, the company produces modern-day songs and stories to provide stimulating, fun, learning experiences to children.
About Pinkfong
Pinkfong is a global entertainment brand that creates award-winning kids’ content for families around the world. Pinkfong has over 5,000 songs and stories within its vast library of children’s content, which can be accessed on the App Store and Google Play, as well as on YouTube and Amazon Video. Pinkfong’s accolades include the Amazon Video Direct Star, YouTube’s Diamond Play Button and Google Play’s Best Family App of 2014-2017.
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).
