Thursday, December 31, 2020

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

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


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

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




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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Comedy Central greenlights reimagined The Ren & Stimpy Show

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

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

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

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

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

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From CBR:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


Missed any episodes? Catch up on demand today!







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Nickelodeon Takes Ratings Hit in 2020

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


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

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

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

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

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

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


WHICH MEDIA EMPIRES ARE FEELING LINEAR TV’S DECLINE HARDEST

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

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

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

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

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

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

AMC Networks

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

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

Discovery

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

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

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

Disne

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

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

Fox

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

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

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

NBCUniversal

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

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

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

ViacomCBS


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

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

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

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

WarnerMedia

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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


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Original source: Showbiz Cheat Sheet.

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Voice Actor Tom Kane Suffers Stroke

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

Credit: tomkane.com

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

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

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

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

Lots of love from our family to yours.

Here are some recent photos of dad ♥️"


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

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

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

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

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

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

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

Original source: Inside the Magic.