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'Rise of the TMNT' Creatives Reveal What They Had In Store If Series Continued

August 8, 2022, 3:15 pm
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Nickelodeon’s short-lived Rise of the Teenage Mutant Ninja Turtles may have caught flack when it first debuted, but it soon found itself an audience that’s been very happy to sing the show’s praises for years. Now that the newest iteration of the Turtles have landed their own movie on Netflix, which also holds the complete first season, it’s been the perfect time to talk about what the future could’ve held (and possibly still does?) in store for this new take on Leo, Raph, Mikey, and Donnie.


On Saturday (Aug. 6), Rise of the TMNT fan Colin Stein held a Twitch stream of the film that featured several members of the show’s production crew, including executive producer Ant Ward, character designer Bryce Collins, storyboard artist Laura Gille, and series director JJ Conway. Beyond hearing the crew discuss what had to be cut from the film for length or neat ideas — there’s a version of this movie where April could’ve piloted a mech version of Raph that Donnie made, and the prologue originally featured the show’s main cast as older, battle-tested heroes in the Krang-controlled future of New York — there was some discussion on things the crew wanted to do with the show before they learned it was ending sooner than expected.

The show’s second season had noticeably a shorter episode count than the first, and there was plenty left on the cutting room floor, including an episode that would’ve been a parody of the Star Wars Holiday Special, of all things. One plotline that had to be cut entirely was the Turtles having other siblings who Splinter failed to save when he escaped from the Hidden City of New York. One of these siblings would’ve wound up in Baron Draxum’s possession, and the other would’ve been raised by the Hidden City’s spider crime boss, Big Mama.


Another casualty of the truncated season was Karai, reimagined in Rise as an ancestor to the Turtles. The character was close to being cut from entire season entirely on the basis of not being able to give her any real character with a small handful of episodes. Even after Ward convinced the crew to keep Karai around, having her die to save the Turtles understandably didn’t feel great to much of the staff. So the writers chose to have her live on by transferring her soul into April. Before her death, though, she would’ve had more time to spend with the Turtles on an individual basis.

Had Rise made it to season three, the Krang would’ve become the primary villains of that particular season, followed by the Rat King in a hypothetical season four. Following the movie, the show’s tone would gradually switch from goofy slapstick (said to be mandated by Nickelodeon) to a darker tone, a space that the the Rise movie occupies for most of its runtime via the Krang. Unlike previous incarnations, the Krang in Rise aren’t played for laughs, and the crew wanted to get as far into body horror as they were allowed. Presumably, the surviving Krang taken into custody would’ve served as that big bad.

The entire stream contains other interesting nuggets of information and concept art for fans to pore over, such as what the Rise crew hoped to do with the Hidden City and the ideas they had for the show’s version of Casey Jones. Maybe in a not-too-distant future, we’ll see this iteration of the Turtles — sorry, the Mad Dogs — get a second chance at life, as other animated superheroes have before. By all accounts, it sounds like this show had more than enough gas left in the tank.

Rise of the Teenage Mutant Ninja Turtles: The Movie is out now on Netflix, and the show can be watched on Netflix or Paramount+.

Stream Teenage Mutant Ninja Turtles on Paramount+! Try it FREE at ParamountPlus.com!



Original source: Gizmodo.
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How Paramount+ Is Connecting With The South Korean Market

August 8, 2022, 3:37 pm
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Paramount+ is looking to cause waves in APAC. Catherine Park, senior vice-president, head of office and streaming, reveals how it is activating in South Korea and beyond.

Paramount+ has big plans for the Korean market

The US-based entertainment company has been on a launch spree with its foray into Latin America, Australia, Canada and the Nordics, and most recently high-profile launches in South Korea and the UK & Ireland.

South Korea, a bustling market for streaming as well as content production, music and culture, marks the company’s debut into the saturated, high-growth Asian market.

The Drum recently went behind the leading player’s over-the-top (OTT) plans.

Catherine Park, Paramount’s head of office and streaming for Asia, says about the brand’s foray into Asia: “With the sheer size of its population coupled with the available technology and creativity, Asia is the place to be if you want to succeed and scale a streaming business.”

It has been strategically mapping out which countries to expand into, with Asia and South Korea the obvious choice for Paramount+.

Park continues: “South Korea is a vibrant market both for a streaming subscription business and for the content that is taking the global stage. South Korean content, music and culture are hot right now – we want to tap into that demand, and CJ ENM and Tving are the perfect partners.”

The Paramount+ offering has launched with its premium entertainment on Tving to complement the local South Korean content on the channel. “This partnership is a great opportunity for our content to be rediscovered and appreciated by South Korean audiences,” says Park.

The strategic multilateral partnership includes co-productions for original series and films, content licensing and distribution. It would let the South Korean audience view Paramount+ originals titles released for the first time in the country, as well as Paramount Pictures’ classic hits such as Mission: Impossible and Nickelodeon shows including SpongeBob SquarePants.

The first originally-produced series as part of the Paramount+ collaboration with Tving, Yonder is also soon to be launched. Park says: “To grow our reach and business in South Korea, we will continuously seek to better understand what our local audiences want and cater to those preferences.”

But in the wider APAC space, Paramount+ also has its eyes on India, where it will have to also battle new entrants such as Netflix and Amazon Prime. It will land in that market by 2023 in partnership with Viacom18.

While refusing to comment on other media players directly, Park did say that it has a more diversified distribution strategy when it comes to the debate around the subscription-only model or D2C.

She adds: “We have a solid ecosystem – linear, streaming, free-to-pay – as well as a hard bundle model, and different streaming products to address the different needs in each market.”

The US-based entertainment company defines its approach market-by-market, so it can quickly enter a market with a locally-relevant streaming model for long-term growth – whether it is a subscription, Fast (Free Advertisement Streaming channels and AVOD), or with Free and PayTV linear networks, she says.

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Paramount+ UK & Ireland Acquires New Drama and Comedy Exclusives

August 8, 2022, 3:49 pm
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Paramount+ has unveiled a slate of exclusive acquisitions for the U.K. and Ireland including Keshet’s La Brea from NBCUniversal Global Distribution and Minx, starring Jake Johnson and Ophelia Lovibond.

NBCUniversal

La Brea (pictured) is a survival thriller in which citizens battle for survival after they’re pulled into a mysterious land via a Los Angeles sinkhole while Minx tells the story of a young feminist and low-rent publisher who set out to create an erotic magazine for women in the 1970s.

Minx was acquired from Lionsgate alongside Topher Grace’s Home Economics, about the relationship between three adult siblings, and Son of a Critch, which is based on the memoir from This Hour Has Twenty-Two Minutes host Mark Critch.

The shows will debut on the streamer in August.

The Thing About Pam, also acquired from NBCUniversal Global Distribution and starring Renée Zellweger, Josh Duhamel and Judy Greer, dropped on Paramount+ last month. The story is based on the murder of Betsy Faria in 2011.

Meanwhile the streamer has also acquired Chapelwaite, which stars Adrien Brody and is based on the Stephen King short story Jerusalem’s Lot, from Sony Pictures Television, and the series Savage River (starring 13 Reasons Why lead Katherine Langford) from Dynamic Television. Langford plays a young woman who is determined to prove her innocence after her small rural town is rocked by a shocking murder.

“We are working hard to make Paramount+ the exclusive home of premium content from around the world,” Anna-Belen Dunlop, senior director of acquisitions, at Paramount U.K. said in a statement. “Paramount+ already brings together entertainment’s biggest names but we’ll keep building our offering to make the service completely irresistible to audiences.”

From C21 Media:

Paramount+ – International

Paramount Global is planning to commission 150 international originals by 2025 for Paramount+ outside North America. Nico Franks reports.

Along with the US, Paramount+ is now available as a streaming service in Canada, Australia, Latin America, South Korea, the Nordics, Ireland and the UK. It has created an especially big splash in the latter, commissioning 13 originals so far in 2022.

This means the UK has received the highest number of Paramount+ original commissions outside of the US, with an Ampere Analysis study finding that the streamer now holds the second largest slate of SVoD titles commissioned in the UK in 2022, behind Netflix.

In the first quarter of 2022, Paramount+ expanded into Western Europe with most of its new commissions – seven of 12 – produced in the UK. A second slate of original titles in Q2 consisted of a further eight originals, six of which come from the UK.

Seven of the 13 commissions announced by the streamer in the UK so far in 2022 have either been crime- or thriller-related, highlighting demand for this kind of programming in Britain, as well as its popularity internationally.

The commissions include three scripted series, including an adaptation of Jess Ryder’s 2018 psychological thriller The Ex-Wife, and four unscripted titles, one of which is The Box, a documentary about serial killers presented by detective Chris Loudon.

Trying to muscle in on any SVoD market in Western Europe these days is a tough ask but the UK is particularly tricky, given the dominance of Netflix and Amazon Prime Video, alongside the offerings from broadcasters such as the BBC, ITV and Channel 4.

Paramount Global, formerly known as ViacomCBS, owns UK broadcaster Channel 5 as well as a host of US channel brands (Showtime, Comedy Central, MTV, BET, Nickelodeon, Smithsonian), meaning that the streaming offer on Paramount+ covers plenty of bases, from scripted drama and comedy to reality, kids and features.

Notable is the group’s ‘no diversity, no commission’ policy, introduced at ViacomCBS Networks UK in mid-2020, which extends across all Paramount’s UK productions, genres, platforms and channels, a representative confirmed to C21.

The streamer held a glitzy launch event in London last month to celebrate the debut of Paramount+ in the UK, hosted by presenter Graham Norton, who fronts Paramount+ original Queen of the Universe, a drag singing competition television series produced by World of Wonder, the prodco behind RuPaul’s Drag Race.

Stars in attendance and their projects included Gillian Anderson, Viola Davis and Michelle Pfeiffer (The First Lady); Jessica Chastain and Michael Shannon (George & Tammy); and Kevin Costner and Kelly Reilly (Yellowstone); Chiwetel Ejiofor, Naomie Harris and Bill Nighy (The Man Who Fell To Earth); David Oyelowo (Bass Reeves); and Sylvester Stallone (Tulsa King).

Unlike its fellow streamers, Paramount+ could be at a disadvantage launching during a cost-of-living crisis, but executive VP and international general manager Marco Nobili is bullish about its chances.

The former Netflix exec says Paramount Global isn’t fazed by the fact households have begun cancelling certain subscription streaming services in the face of mounting monthly bills. Nor that they may not add a new one, despite the promise of “blockbuster movies, new originals and exclusive series, plus a huge variety of iconic shows.”

Economic analysts have predicted markets such as the UK could be heading for a recession, as households feel the squeeze, with inflation rising to its highest level in 30 years and warnings of an economic downturn. In the UK, Paramount+ will be available for £6.99 (US$8.56) per month or £69.90 per year after a free seven-day trial.

“The UK and Ireland as an SVoD market is top three across the globe,” states Nobili. “There are big opportunities there, with probably 55 million subscriptions overall by the end of 2025. Based on our very recent research, 63% of the sample population wants to either add a new service or replace a streaming service they have today.

“So when we look at it from that perspective we definitely believe there is still a willingness in the market to get into a new streaming service, as long as it is worth it. We are bringing a great offering to the market, a mountain of entertainment at a terrific value for the customers. It’s a very compelling offering and we have great leverage in the market.”

Indeed, many British households now subscribe to two or more streaming services, with the average streaming household having access to 2.7, which is below the US level of four, according to Ampere Analysis.

Ampere analyst Zuzana Henkova says: “Paramount+ is conscious of how crowded the UK streaming market is becoming, and their decision to distribute with Sky+ will help tackle this challenge by providing instant subscriber reach. One important differentiator for Paramount+ is its UK-made content and this will also be key to engaging Sky’s customer base who are heavier-than-average viewers of UK content.”

Current programming, original production, drama, factual

Paramount+’s UK launch came shortly after it announced plans to commission 150 international originals by 2025, as its looks to compete with fellow SVoD services such as Netflix, Prime Video, HBO Max, Peacock and Apple TV+, plus a host of local players, around the world.

Previously announced original UK dramas heading to Paramount+ include Sexy Beast, A Gentleman in Moscow, Flatshare, The Burning Girls, The Ex-Wife and The Blue. Scripted originals from elsewhere include Mexican series Los Enviados (The Envoys) and Cecilia, both of which have been renewed for second seasons.

The streamer’s latest commissions from Italy, where it is due to launch in September, and France and Germany, where it arrives in December, include Murder of God’s Banker, The Sheikh (Der Scheich), A Thin Line, MASK: Marie Antoinette Serial Killer and Circeo. These have joined existing commissions such as The Chemistry of Death, a psychological crime series based on Simon Beckett’s bestselling novels and starring Harry Treadaway.

The streamer’s originals will be produced in partnership with VIS, Paramount’s international studio, which is a division of the company’s worldwide studio footprint, spanning more than 20 countries.

“We are leveraging the entire company for sourcing projects and stories,” says Nobili, who points to Paramount’s legacy as one of the oldest surviving movie studios and its connections to talent. The idea is to build immersive stories that really resonate with our audience.”

Aiming to be a broad church for diverse projects, Paramount+ is seeking “something great for everyone,” which Nobili believes “gives flexibility to writers and creators to create the best stories.”

Nicole Clemens, the US-based president of original scripted series at Paramount+, who also heads Paramount Television Studios (PTVS), recently told C21 the US arm of the streamer is in “very close touch” with international colleagues in all territories, meeting weekly and talking constantly about original content.

Overlap between the content needs of the US, Canada, UK and Australia is inevitable, but Paramount+ isn’t ruling out any markets as potential sources of a global hit.

“We’re looking for the shows that can do well, that can grow, that can break through on a big, global level. It’s not separate anymore. If you make a show specific, authentic and good, it can start local and grow global,” says Clemens.

Nobili agrees, saying: “It’s very interesting to see how people watch content from another country. There’s a willingness to watch content from around the globe. That’s something we can bring to the table and it’s great for talent and customers. We’ve seen it with The Envoys, which quickly became one of the top titles watched in the US and the most watched original Spanish scripted show in the US.”

Paramount+ generally retains 100% global rights to all its original series, but coproductions and different deals are on the table. For example, Paramount+ is working with the BBC on The Gold, with the UK pubcaster taking the first window in the UK before Paramount+ offers it in the UK six months later, having already launched it worldwide.

PTVS’s recently forged coproduction deal with South Korea’s CJ ENM/Studio Dragon is another example of Paramount developing content with one eye on local and another on global potential.

The deal involves PTVS and CJ ENM/Studio Dragon co-developing and coproducing English-language scripted series based on CJ ENM’s titles to run on Paramount+. The first scripted project under the partnership is sci-fi drama Yonder, which is expected later this year.

Nobili says Paramount+ is looking at almost all countries the streamer is currently present in for originals, while it is also growing a crop of local originals ahead of its launches in Italy, France and Germany. Latin America is also a particular focus, with Paramount+ commissions coming out of Mexico, including Sinaloa’s First Lady and One Must Die, a suspense thriller that centres on seven people who are kidnapped and suddenly find themselves part of a deadly game.

Nobili was promoted to his current role in May by a team including Raffaele Annecchino, the then president and CEO of international networks, studios and streaming at Paramount, who a few weeks later was sent on leave by the US media giant. Nobili declines to comment on Annecchino’s exit.

Nobili’s role sees him lead the strategy and execution for Paramount+’s continued expansion in markets worldwide. While the roll-out of Paramount+ continues, Nobili says its parent company isn’t looking to mirror the actions of rival The Walt Disney Company which has been axing its linear channels in certain markets to centre attention on Disney+.

“The power of the ecosystem is key. We have a hybrid model that really works for us. We like the idea of people consuming our content in different ways. We want to let the customer decide where they want to be,” says Nobili.

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


Source: Variety; H/T: Rapid TV News.
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Hit Israeli Teen Drama ‘The Hood’ Gets Indian Adaptation From Abundantia Entertainment

August 8, 2022, 4:07 pm
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Tel Aviv-based Ananey Studios, part of Paramount Global, has signed a deal with Indian content producer Abundantia Entertainment to develop an Indian remake of the hit Israeli live-action teen drama, The Hood (Schuna).


The original series, created by Giora Chamizer (Nickelodeon's The Greenhouse and Sky, Netflix’s Greenhouse Academy), is set in The Hood, a dingy cluster of low-income housing, where blue-collar families live, located in the middle of one of the richest districts. Kids in The Hood regularly prank the rich community’s snobbish teens, while the mayor constantly tries to get rid of the The Hood altogether. The Hood has had three hit seasons (150 x 22′) on Nickelodeon in Israel and was also sold to Portugal’s free-to-air channel RTP2.

The Hood adaptation will be produced under Abundantia’s young-adult focused label Filters, which joins Psych that specializes in horror and paranormal. Also being produced under the Filter label are the Indian adaptation of Israeli young-adult drama The Missing, which originally aired on TeenNick Israel, and the adaptation of Apeksha Rao’s young-adult book Along Came a Spyder.

While a platform hasn’t been revealed yet, Abundantia’s series usually land on Amazon Prime Video, including Breathe (2018), Breathe: Into The Shadows (2020) and upcoming titles like Hush Hush and The End, which mark the streaming debuts of Bollywood stars Juhi Chawla and Akshay Kumar respectively. Abundantia’s recent films Jalsa (2022) and Sherni (2021) both debuted directly on Amazon.

Adaptations of Vish Dhamija’s novels Bhendi Bazaar, Doosra and Lipstick, featuring female cop Rita Ferreira, are also in the works at Abundantia.

Vikram Malhotra, founder and CEO of Abundantia Entertainment, said: “It is a matter of great honor to partner with a creative powerhouse like Ananey Studios and I am super pumped to develop the very popular and successful The Hood in an Indian avatar for local audiences. The association with Ananey Studios underlines our vision to partner with top-quality global creators to bring impactful stories and unique story-telling voices for progressive Indian viewers. I am also excited to add to our slate of content for the rapidly-growing youth and young-adult segments”.

Orly Atlas Katz, CEO, Ananey, and executive VP Paramount Israel, added: “We are confident that, with their rapid growing slate of hits, Abundantia are the perfect production company to turn The Hood into a huge hit in India as well. The Hood joins a list of Ananey studio titles that have reached viewers all over the world and we are thrilled to bring our content to Asia as well with this deal.”

More Nick: UMI And Ananey Studios Collaborate On ‘Pisces Lane’ for Nickelodeon Israel!

Originally published: August 09, 2022.
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Channel 5′s Milkshake! Stirs Up New Shows and Reorders

August 8, 2022, 4:33 pm
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The Brit preschool block is adding flavor to its content lineup with a live-action cooking series, a stop-motion animated comedy and a preschool spinoff.

MCC Media culinary show Cooking With the Gills

UK broadcaster Channel 5 is adding some new flavors to its Milkshake! preschool block, mixing new commissions and acquisitions in with a handful of series renewals.

The first greenlight is for stop-motion animated comedy Tweedy & Fluff (40 x five minutes), whose big-hearted yarn-made main characters met on the workshop floor of a tweed mill. They quickly become inseparable bond, learning how to communicate without using speech and manage their anxieties in stressful situations. The series explores love, nurture and friendship through visual comedy.

Created by children’s author Corinne Averiss (A Dot in the Snow), the show will be directed by Chris Randall (My Motorbike) and co-produced by UK-based Second Home Studios and Averiss’s Stitchy Feet entertainment company, with support from the UK Government’s Young Audiences Content Fund. 

French CGI animated series Oggy Oggy

Channel 5 is also adding a little spice to Milkshake!’s slate with a commission for live-action series Cooking With The Gills (25 x 11 minutes) from British production company MCC Media.

The project features JB Gill, a farmer and former member of boyband JLS, who takes his family all over the UK asking talented young cooks to help him prepare and cook delicious recipes from around the world. After learning the origins of the dish and the value of its ingredients, Gill and his family head to their rural pop-up kitchen and serve meals to their friends and other local families.

Lastly, the broadcaster has acquired CG-animated series Oggy Oggy (156 x seven minutes) from Paris-based prodco Xilam Animation. This preschool spinoff of long-running 2D-animated comedy series Oggy and the Cockroaches, which debuted in France in 1998, follows along as young kitten Oggy adventures with his cat pals in a bright and colorful world where everything is made out of toys. 

Tweedy & Fluff

These three new titles will join returning shows including Boom Kids’ live-action adventure series Meet the Experts (season 2, 20 x 11 minutes); 2D-animated preschool series Daisy & Ollie (season five, 26 x seven minutes), produced by UK-based Hoopla Studio; CG-animated comedy Pip & Posy (season two, 52 x seven minutes), a UK co-pro from Sky Kids and Magic Light Pictures; and WildBrain’s CG-animated Fireman Sam (season 13, 26 x 11 minutes). 

Louise Bucknole, Paramount’s General Manager (GM) for kids and family in the UK and Ireland, recently noted at The Children’s Media Conference (CMC) in Sheffield that Milkshake! is currently commissioning for 2024 onwards and said she is particularly interested in live-action series that could be factual or about STEM learning. The exec is also on the lookout for slapstick and comedy formats, messy play and shows about play patterns, in addition to coproductions.

For Nick Jr, which is also under Bucknole’s remit at Paramount, the exec is after character-driven storytelling with franchise potential, that could be based on a book.

Additionally, Bucknole called out for content aimed at the 6-12 audience for Sunflower TV, a YouTube channel launched last month by a host of organisations including Channel 5, for Ukrainian refugees.

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


Sources: Kidscreen, C21 Media; H/T: Special thanks to @RegularTweetsUK for the news!
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SkyShowtime Adds Roberto Soto, John Heinemann Ahead of European Expansion

August 8, 2022, 4:40 pm
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Comcast/Paramount joint-venture streamer SkyShowtime has added former HBO Max and Disney executives to its leadership team.

Roberto Soto

Roberto Soto, who as former senior VP and head of growth marketing for EMEA at HBO Max and responsible for the streamer’s recent European launches, has joined as chief strategy officer.

The newly created role will see Soto lead the development and execution of SkyShowtime’s strategy, working with all teams across the organisation. Based in Amsterdam, he will report directly to SkyShowtime CEO Monty Sarhan.

Prior to joining HBO Max, Soto held senior roles leading growth marketing, product, business development, strategy and distribution at Paramount Global (formerly ViacomCBS), Fox International Channels and Liberty Global. He has also worked at streaming start-ups Mubi and Tribes Media.

John Heinemann, a lawyer who negotiated the distribution of Disney+ in key European markets whilst at The Walt Disney Company (TWDC), has joined as general counsel.

Heinemann, who spent five-years at TWDC, was most recently associate principal counsel for the Nordics, the Baltics and MENA. During his tenure at Disney, Heinemann was part of the team that launched Disney+ internationally, negotiating multi-year agreements across Europe and MENA.

Reporting to Sarhan, Heinemann will serve as the chief legal officer of the company. Prior to Disney, he worked at Fox Network Groups, BBC Studios and Viasat Broadcasting.

The two execs will join the company later this year. SkyShowtime said the appointments strengthen its leadership team ahead of its imminent launches across 22 European markets such as Iberia, the Nordics, Netherlands, Poland, and Central and Eastern Europe, beginning later this year.

A joint venture of Comcast and Paramount Global, SkyShowtime will combine direct-to-consumer products from both, including original series from brands such as Universal, Paramount, Sky, Showtime, DreamWorks and Nickelodeon.

SkyShowtime will be available to over 90 million homes across the following European countries: Albania, Andorra, Bosnia and Herzegovina, Bulgaria, Croatia, Czech Republic, Denmark, Finland, Hungary, Kosovo, Montenegro, Netherlands, North Macedonia, Norway, Poland, Portugal, Romania, Serbia, Slovakia, Slovenia, Spain and Sweden.

Sarhan said: “Roberto’s diverse experience across entertainment and sports streaming services, including multiple launches throughout Europe, make him uniquely positioned to help define our company’s strategy and drive its execution across the organisation. He will be instrumental in making SkyShowtime the next great streaming service for Europe.”

“In addition to his formidable legal skills, John also brings business acumen and a strategic mindset. He knows our markets and he understands what is required to launch a successful streaming service. I know he will be a trusted advisor to the entire leadership team. I look forward to working closely with him.”

Stream all your favorite Nickelodeon shows old and new on Paramount+. Try it FREE at ParamountPlus.com!


Original source: C21 Media.
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Nickelodeon Premieres 'Middlemost Post' in Spain, Portugal and Wallonia

August 8, 2022, 4:56 pm
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The Nickelodeon Commercial Light feed today (August 8) premiered Middlemost Post in Spain (España), Portugal (Portuguesa) and Wallonia (Wallonie)! The series is locally titled Middlemost Servicio Postal in Spain, Correios de Middlemost in Portugal, and Les facteurs de Middlemost in Wallonia.



Nickelodeon estrena la serie «Middlemost Servicio Postal»

¡Nunca entregar el correo ha sido tan divertido! Nickelodeon estrena el próximo lunes 8 de agosto a las 15:35h la nueva serie de animación «Middlemost Servicio Postal», con las aventuras del equipo de mensajería más mágico y disparatado compuesto por la nube Parker J. Cloud, el cartero-marinero Angus Roy Shackleton III y su mágica mascota morsa Russell, quienes recorrerán Middlemost y los seis territorios para entregar el correo y ayudar a todo el que lo necesite.

Tras dejar atrás los oscuros días de tormentas y lluvias, el entrañable e ingenuo Parker J. Cloud decide convertirse en una nube que alegre los días a todo el mundo y para ello buscará un hogar en la montaña más alta, loca y diversa del mundo: Monte Middlemost. Allí será contratado por el rudo cartero Angus R. Shackleton III, quien misteriosamente naufragó su barco S.S Steadfast en la cima de la montaña junto a su fiel mascota Russell, una morsa mágica cuya barriga sirve de almacén.

Estos insólitos héroes formarán el Middlemost Servicio Postal, pues se convertirán en los responsables de entregar el correo a todos sus destinatarios, incluyendo a sus coloridos vecinos y a la Ciudad de Algún Lugar. En su ruta de envíos, el grupo conocerá a algunos de los ciudadanos más eclécticos, como Sra. Pam, la propietaria del famoso restaurante «La tostada de Middlemost»; Lily, dueña de la antigua tienda de electrónica de Middlemost; y el travieso Alcalde Peeve, quien desea desesperadamente acabar con el servicio postal junto a la ayuda de su adorable compañero Ryan. Además, con tal de enviar el correo a tiempo este disparatado equipo de mensajería pasará por un sin fin de aventuras que irán desde enfrentarse a los temidos drones de reparto, hasta a los piratas que buscarán su venganza, y al Alcalde Peeve, quien tramará todo tipo de artimañas para quitar el barco de Angus de la cumbre.

Los fans de Nickelodeon podrán disfrutar a partir del lunes 8 de agosto a las 15:35h de las divertidas aventuras de Parker, Angus y Russell mientras entregan toda la correspondencia de la montaña Middlemost con el estreno de la nueva serie Middlemost Servicio Postal.

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From Cinevisão:

Nickelodeon Portugal estreia a nova série de animação “Correios de Middlemost”

A partir das 14:35h desta segunda-feira, 8 de agosto, o canal Nickelodeon Portugal estreia a nova série “Correios de Middlemost“, uma equipa formada por uma nuvem reformada, um carteiro náufrago e uma morsa de estimação mágica. Juntos, estes heróis improváveis entregam correspondência a todos os adoráveis e incomuns habitantes que vivem nos coloridos Neighborhoods e na cidade de Somewhere.

Na sua reforma, Parker J. Cloud, a nuvem carinhosamente ingénua, decide iluminar os dias em vez de chover sobre eles, procurando assim um novo lar na montanha mais alta, maluca e diversificada do mundo, o Monte Middlemost. Na sua nova localização, acaba por ser contratada por um carteiro marítimo algo rústico, o Angus R. Shackleton III, que naufragou misteriosamente no pico da montanha juntamente com o seu fiel Russel, uma morsa mágica cuja barriga funciona como um “armazém” para encomendas.
 
Na rota do correio, os jovens telespetadores serão apresentados a alguns dos cidadãos mais ecléticos desta montanha, como a Sra. Pam – proprietária do popular restaurante Middlemost Toast –, a Lily – dona de um histórico Radio Shack conhecido como o The Somewhere Store –, e o duvidoso presidente de Somewhere, Peeve, que quer desesperadamente derrubar os Correios de Middlemost com a ajuda do seu adorável assistente Ryan, cuja missão passa por alegrar os dias de toda a gente, mas, principalmente, os dias de Angus e Russell.

Produzida pelo Nickelodeon Animation Studios, “Correios de Middlemost” é composta por 20 episódios em 2D, que traz um mundo imaginativo e verdadeiramente único, personagens queridas que se preocupam profundamente uns com os outros e grandes momentos cómicos para conduzir a história.

Os primeiros episódios arrancam com entregas complicadas – daquele género em que é preciso passar por uma batalha para conseguir chegar à porta da frente da casa – e com tarefas algo chatas mas importantes. Mas o melhor é não perder a estreia e acompanhares a série, de segunda a sexta-feira, sempre às 14:35h.

###

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Big Time Rush Talks Reuniting, Nickelodeon Days, Fall, Upcoming EPs & More | Zach Sang Show

August 8, 2022, 5:01 pm
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Big Time Rush Talks Reuniting, Nickelodeon Days, Fall, Upcoming EPs & More | Zach Sang Show


Big Time Rush are heading on their The Forever Tour! Head to https://www.bigtimerushofficial.com/forevertour to find tickets to a show in your city.

Stream "Call It Like I See It": https://found.ee/CallItLikeISeeIt


Stream Big Time Rush on Paramount+. Try it FREE at ParamountPlus.com!

Follow Big Time Rush:


From Billboard:

THE UNDERDOG BOY BAND: BIG TIME RUSH EXPLAIN HOW THEY’RE ‘BLOWING AWAY’ EVERY EXPECTATION FOR THEIR POST-NICKELODEON COMEBACK

Big Time Rush became overnight teen sensations in 2009 before going their separate ways in 2014. Now, they're working together as a band again — but this time, they're calling all the shots.

The Big Time Rush boys called it. Sitting backstage at New York’s Madison Square Garden – where, in a few hours, they’d perform for the first time, in front of a sold-out crowd – Carlos PenaVega, James Maslow, Kendall Schmidt and Logan Henderson squeeze together on one sofa and chuckle that, in spite of all the time-tested, ultra catchy pop songs they plan on playing that night, it’ll be one called “The Giant Turd Song” that gets their audience the most excited.

“Just like any artist who’s had massive hits, you always have to play that hit song,” says 32-year-old James.

“And ours is about the turd!” Kendall, 31, chimes in with a grin.

It is indeed. Cut to the midway point of their two-hour show – the sixth so far of their summer Forever Tour – when they start singing over Carlos’ ukulele: “Oh you’re such a turd, oh yeah, a giant turd.” The crowd, a gender-mixed group of mostly twenty-somethings, are suddenly pre-teens again, cheering like it’s The Beatles on Ed Sullivan.

Like most of the songs on BTR’s setlist tonight, “Turd Song” was released as part of Nickelodeon’s Big Time Rush TV show, on which the guys got their start in 2009 playing four Minnesotan teenagers who serendipitously score a record deal, move to Hollywood and form a world famous boy band. Their real life success quickly echoed that of their characters; between 2009 and 2014, they released three Billboard 200 top 20 albums, landed four singles in the Hot 100, embarked on five headlining tours and filmed four seasons of Big Time Rush before everyone involved agreed to end the show.

From their flirty, highest-charting hit “Boyfriend” to their old show’s instantly recognizable theme song, the guys are strictly playing oldie after oldie. The only exceptions are four new tracks all released in the past year, and one unreleased Spanglish project titled “Dale Pa Ya” – during which they bring out its producer Maffio, a three-time Latin Grammy winning producer who’s worked with Latin music superstars Farruko and Nicky Jam.

For their fan-favorite “Worldwide,” in which the boys lament the struggles of rock star life on the road keeping them away from their sweethearts, they bring four swooning girls from the audience onstage and serenade them directly. During the encore, they each take off their shirts and drink in the subsequent applause. Reminiscent of the pop music machine that once marketed Justin Bieber or One Direction with similar tactics to swarms of teenagers, the Garden is ablaze with nearly painful shrieks from start to finish.

But while tonight’s show may feel like it never stopped being 2012, almost a decade has passed since Big Time Rush last toured through arena stages like this one. This time, though, it wasn’t a major record label or a mammoth TV network that put them here.

Now, they’re here on their terms – and they’re aiming bigger than ever before. “We are outrageously exceeding every bar that we set for ourselves – and any expectations that anyone else might have,” Kendall says with bittersweet triumph.

“We’re blowing them all away.”

***

A week after the MSG show, Logan, James, Carlos and Kendall are delighted to hear that one girl came wearing a bald cap, painted-on facial hair and yellow-tinted sunglasses to cosplay Gustavo Rocque, the boys’ 40-ish, chronically infuriated manager played by Stephen Kramer Glickman on the TV show. Carlos, 32,  jokes that, “If I had my helmet with me – it’s at home,” he’d gladly put on his old character’s trademark accessory and laugh about it onstage with fans.

They are painstakingly self-aware — even between all of the slapstick gimmicks and pubescent humor forever part of their early branding — that they wouldn’t have the same Madison Square-sized doors currently open to them had they not long ago been handpicked from a nationwide casting call in the late 2000s for roles wanted by thousands of other aspiring young entertainers.

It took about two years for Nickelodeon to cast James as the vapid but loveable James Diamond, Carlos as the hyper adventurous, intellectually-lacking Carlos Garcia and Logan as the group’s brains, Logan Mitchell. Kendall was the last to be added; in fact, the other three filmed an entire pilot episode with a completely different actor playing their team leader.

At the last minute – in an effort to get the lineup for their The Monkees-reminiscent show, which would inevitably run in unspoken competition with similarly-premised programs like Disney’s blockbuster Hannah Montana and Jonas, exactly perfect – the network swapped in the Kansas native to create Kendall Knight. With their roster set, the foursome set the standard for groups of young male heartthrobs in pop-rock at the turn of the ’10s, a couple years before One Direction and The Wanted started topping the Billboard charts.

“That show, in my opinion, brought back the boy band,” Carlos says. “We were so fortunate to be able to do that. I’m so thankful to Nickelodeon for the opportunity, because we would not be here without them.”

If there was a time when Big Time Rush did resent their roots, it was toward the end of their first run as a band. They’d spent every weekday for years filming and pumping out songs written by other people; meanwhile, their weekends were devoted to performing live. The schedule became so unsustainable, all four were ultimately ready to set the band aside indefinitely after finishing one last round of North and South American tour shows in early 2014, a few months after the TV show’s fourth and final season ended.

“We didn’t have a day off for years,” James reveals.

“We were burnt out,” Carlos agrees. “It was brutal.”

Before that, though, they’d never performed onstage as their characters: They were only ever themselves. Moments from their real lives then started popping up in their show scripts — “Maybe [the writers] were running out of ideas,” quips Kendall – and gradually, the boys were allowed to help write some of their songs.

“They couldn’t really stop us,” Logan, also 32, shrugs. “At a certain point, they knew that the music we were turning in was – .”

“Better,” Kendall cuts in.

“Sometimes they would let us come in and like our music and writing,” clarifies James. “Other times they were like, ‘That’s adorable, no thanks.’”

As the show’s four seasons progressed – each bringing more success and more overlap between their fictional personas and their real, 22-year-old selves – the guys began envisioning a much broader potential for themselves than the showrunners did. “We didn’t just want to be hired actors,” Carlos says. “We became Big Time Rush… and obviously, tensions will arise.”

Without getting into specifics, the four of them laugh about “that one time” they were almost fired over such tensions, while Kendall reveals he was nearly axed “several times.”

“Every time there was something important, good or bad, we usually had dinner with Sony at Quality Meats,” he laughs, presumably referencing the famously pricey steakhouse in New York City. “We knew if we were going to Quality Meats, it was either really good or really bad. But the meal was always good.”

“Which, by the way, I guarantee they added to our bill,” throws out James. “I guarantee we were paying for it.”

Their relationship with Nick and Sony could definitely be complicated – “Isn’t that all of the music industry, though?” Logan points out – but hindsight has allowed the guys to realize that not even two of the world’s biggest entertainment companies could have prepared for the band’s level of real world success.

“It became such a monster of a brand and a company that I think they started to get a little scared at a point,” says James. “Without saying anything disparaging, [Nickelodeon] definitely did some things that were less than appreciated to threaten us to keep us in line.” (Nickelodeon did not respond to Billboard‘s requests for comment.)

“We’ve also always had such big dreams for this band,” Logan adds. “We really saw this as a legacy band and wanted to keep it going, so I think they didn’t even know how to handle it.”

Kendall just shrugs. “To be fair, they also spent a lot of money on it.”

“Hey,” Carlos counters. “We also made them a ton of money.”

***

The endurance of “Turd Song” wasn’t the only thing about their comeback that Big Time Rush predicted correctly.

The group felt certain in 2020 that their fans were all still out there waiting for them to make their return – which they’d always planned on doing, once all four agreed it was the right time. When they tested the waters with a remotely recorded acoustic performance of “Worldwide,” their catalog streams surged upwards of 10 million just that year.

They also bet on their ability to finally write their own music and independently release four songs – 2021’s “Call It Like I See It” and 2022’s “Not Giving You Up,” “Fall” and “Honey.” All were received so well by fans, the band is now working on finishing up two EPs, one of which will be fully bilingual and also produced by Maffio.

And when it came time to try performing again, they didn’t listen when an agent they used to work with (emphasis on “used to”) advised them not to book their two comeback shows in December 2021 because not enough people were predicted to buy tickets. “Guess what?” boasts James. “They sold out in three minutes.”

“We’ve always been really good at following our instincts and doing what feels natural to us,” Logan explains. “That’s always served us really well.”

“There were definitely a couple handfuls of people who didn’t believe in us,” adds Carlos. “It’s so cool to be on this side, selling out all these venues left and right – we were right!”

It was that same confidence that benefitted them during two years of negotiations with Nickelodeon and their former label, Sony, when they initiated their comeback about two years ago. In an industry famous for rigid contracts often used strategically to give artists the short end of the stick, Big Time Rush was able to walk away from the table with very little opposition from either company.

“You don’t know if you don’t ask,” Kendall says of the process. “Basically there wasn’t really any pushback. Almost none.”

The specifics of their deal with the entertainment behemoths is cloaked in confidentiality agreements, but clearly, the band is allowed to continue making music under the name Big Time Rush, while also performing old songs at concerts. Manager Jared Paul, who led the negotiations process, says there are some built in “checks and balances” to ensure the band will “do right by the brand,” but that Nick hasn’t stopped them from doing anything they’ve wanted to do so far.

“We had a very frank conversation – ‘Does everybody believe we can do this without Nickelodeon, without Sony, without help?’” James recalls. “We all said ‘Yeah, absolutely. Then we said, ‘Do we think it would be more powerful and more productive if we could use the name and the brand?’ The consensus again was, ‘Yeah of course – but we don’t need it.’”

“There was no option, we were going to move forward,” he continues, confirming that their former network accepted their request to take over the brand and declined any further involvement. “It’s very powerful when you believe in yourself that much.”

The band stresses they have a friendly, supportive working partnership with their old bosses — but they also think even Nick was curious to see how it would play out if one of their creations tried to find success without their backing.

“We got very lucky,” Carlos says. “I don’t think [Nickelodeon] will ever do that again – only because, look at the success we’ve had [since going solo]. How could anybody know?”

***

With no Sony and no Nickelodeon, Big Time Rush is its own creative director, merch team and everything in between. In place of a label, their music can be traced back to an LLC cleverly named Bought the Rights, and as a nod to the pressures of their old nonstop schedule, their self-owned touring company is lovingly called Day Off Touring.

They coordinate almost everything amongst themselves, in group chats dedicated to each branch of the BTR business, and joke about how they must annoy their team with their attention to detail and insistence on getting everything exactly perfect. It’s the unadulterated creative control they’ve always craved – and they’re enjoying every wonderful, stressful part of it.

“I don’t think any of us are capable of not being 100% involved,” says Kendall. “We were also doing that before, it just wasn’t interpreted the same way. Now we can see our impact on it.”

“It was one of the blessings of taking several years off – everybody got the chance to develop their own skills and life experiences,” James adds. “We’re coming back this time around a little bit older but I like to think a little bit wiser.”

“And still damn good looking,” cracks Logan.

With “Dale Pa Ya” out Aug. 19, two EPs in the works, and an album somewhere on the horizon, the band is pushing out new music so fast, they’re constantly playing catchup with themselves. And after the Forever Tour concludes Aug. 20, they have their eyes set on even more expansive projects, which will find them back in the negotiation room with Nick and/or Sony.

But whatever it is they do next, Carlos, James, Kendall and Logan plan to continue beating the odds while doing everything their way – and always laughing at themselves in the process.

“Obviously we had two big machines behind us, but even then, Big Time Rush was always sort of an underdog band in the music industry,” Kendall muses. “I think that was probably because of the TV show – people were confused as to whether or not we were a band, our characters, whatever. But now I think we’ve established ourselves as the artists we always knew we were.”

Then, he dives headfirst into a big time pun: “You could say we’re always in a big time rush!”

“You don’t have to write that,” groans Logan.

###


Originally published: June 22, 2022 at 00:07 BST.
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Nickelodeon All-Star Brawl Adds Hugh Neutron From Jimmy Neutron

August 8, 2022, 5:17 pm
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Nickelodeon All-Star Brawl today (Aug. 6) added Hugh Neutron from Jimmy Neutron to the game as a DLC character!


Hugh is available in the Nickelodeon All-Star Brawl Universe Pack, and comes fully voiced by Mark DeCarlo, who voices the beloved father of Jimmy Neutron in the movie and series. Hugh also comes with a moveset, alternate costume and stage inspired by a character, which, among other things, reflects his affection for ducks.


Nickelodeon All-Star Brawl is available now on PlayStation®5, Xbox Series X|S, PlayStation®4, Xbox One, Nintendo Switch, and PC via Steam.




  • General

- Hugh Neutron joins the battle as a DLC character!

  • Balance

- Universal
-- Reworked interaction calculations to ensure consistent outcomes
RPS
-- Neither player suffers any hitlag whatsoever
-- Base stun frames increased from 30 to 60
-- Percentage penalty multiplier decreased from 0.5 to 0.3
-- Warning color overlay to indicate stun ending now appears later (20f → 30f)
-- Losing RPS no longer causes the character to slowly fall, they'll just be dazed in whatever location they interacted in
-- Spinout no longer forces a character to leave the ground
-- Stunturn will actively turn the player horizontally similar to how spinout turns the character vertically
-- Now considered an “OnHit” interaction
-- Inactive hitboxes changed from single capsule to mirroring hurtbox values
-- Inactive hitboxes persist throughout the active hitbox states, disappear when the active attack fully ends
-- Fixed bug causing momentum to be retained even after losing a stock
-- Initiating an air-taunt while holding another player will cause that held character’s grab-escape state to be fully actionable
-- Picking up an item with light attack no longer requires the user to also hold down
-- Halved the speed at which a character can be pushed
-- Destroying/Reflecting a projectile will now cause the attacker & projectile to incur whatever base hitlag the projectile would’ve caused on-hit

- Characters balancing (More details in comment section)

-- Spongebob
-- Patrick
-- Sandy
-- Aang
-- Toph
-- Korra
-- Leonardo
-- Michelangelo
-- April O’Neil
-- Shredder
-- Lincoln Loud
-- Lucy Loud
-- Ren & Stimpy
-- Powdered Toast Man
-- Nigel Thornberry
-- Danny Phantom
-- Reptar
-- Helga
-- Zim
-- CatDog
-- Oblina
-- Garfield

- Spongebob
-- Mid Strong
--- Inactive hitbox appears later (6f → 9f)
--- Blockstun decreased (20f → 18f)
-- Up Strong
--- Inactive hitbox appears later (6f → 7f)
--- Blockstun decreased (20f → 18f)
-- Down Strong
--- Inactive hitbox appears later (6f → 10f)
--- Blockstun decreased (20f → 18f)
-- Aerial Mid Strong
--- Inactive hitbox appears later (6f → 9f)
--- Blockstun decreased (20f → 18f)
-- Aerial Up Strong
--- Inactive hitbox appears later (6f → 7f)
--- Blockstun decreased (20f → 18f)
-- Aerial Down Strong
--- Inactive hitbox appears later (6f → 10f)
--- Blockstun decreased (20f → 18f)

Patrick

-- Mid Strong
--- Inactive hitbox appears later (6f → 9f)
--- Blockstun increased (20f → 24f)
--- Blockpush increased (3 → 3.8)
-- Up Strong
--- Inactive hitbox appears earlier (6f → 4f)
--- Blockpush increased (3 → 3.2)
-- Down Strong
--- Inactive hitbox appears later (6f → 11f)
--- Blockstun increased (20f → 21f)
--- Blockpush decreased (3 → 2.2)
--- Blocklag increased (10f → 12f)
--- Hitlag increased (12f → 14f)
--- Hitlag-self increased (12f → 14f)
-- Aerial Mid Strong
--- Inactive hitbox appears later (6f → 10f)
--- Blockstun decreased (20f → 19f)
--- Blockpush decreased (3 → 2.8)
-- Aerial Up Strong
--- Inactive hitbox appears later (6f → 9f)
--- Blockpush increased (3 → 3.2)
-- Aerial Down Strong
--- Inactive hitbox appears later (6f → 10f)
--- Blockstun increased (20f → 26f)
--- Blockpush increased (3 → 4.1)
--- Blocklag increased (10f → 16f)
--- Hitlag increased (12f → 18f)
--- Hitlag-self increased (12f → 18f)

Sandy

-- Mid Strong
--- Inactive hitbox appears later (6f → 7f)
--- Blockstun decreased (20f → 18f)
--- First hit leg hitbox separated into hip & foot hitboxes for interpolation
--- First hit foot hitbox size increased (0.9 → 1.05)
--- First hit hitlag increased (12 → 24)
--- First hit damage reduced (17 → 8)
--- Second hit arm hitbox separated into shoulder & hand hitboxes for interpolation
--- Second hit hand hitbox size increased (0.9 → 1.1)
--- Second hit damage decreased (17 → 14)
-- Up Strong
--- Inactive hitbox appears later (6f → 7f)
--- Blockstun decreased (20f → 18f)
--- First and second hit hitlag increased (12 → 18)
--- First and second hit self-hitlag decreased (12 → 8)
--- First and second hit damage decreased (16 → 5)
--- Third hit damage decreased (16 → 13)
-- Down Strong
--- Inactive hitbox appears later (6f → 10f)
--- Blockstun decreased (20f → 18f)
--- Arm hitbox separated into hand & shoulder hitboxes for interpolation
--- Hand hitbox size increased (1 → 1.1)
--- Shoulder hitbox size decreased (1 → 0.85)
--- Leg hitbox now just a hip hitbox
--- Hip hitbox size decreased (1 → 0.8)
--- Animation retimed so the move covers less behind but more down and in front
-- Aerial Mid Strong
--- Inactive hitbox appears later (6f → 8f)
--- Blockstun decreased (20f → 18f)
-- Aerial Up Strong
--- Inactive hitbox appears later (6f → 8f)
--- Blockstun decreased (20f → 18f)
-- Aerial Down Strong
--- Inactive hitbox appears later (5f → 10f)
--- Blockstun decreased (20f → 18f)

Aang

-- Mid Light
--- Angle changed (20° → 26°)
--- Base knockback increased (20 → 25)
--- Knockback gain decreased (82.5 → 75)
--- Base stun increased (20 → 27)
--- Stun gain increased (0 → 9)
-- Up Light
--- Angle changed (70° → 72°)
--- Base knockback increased (40 → 70)
--- Knockback gain increased (75 → 85)
--- Base stun increased (20 → 25)
--- Stun gain increased (0 → 14)
-- Dash Light
--- Angle changed (5° → 14°)
--- Base knockback decreased (130° → 100°)
--- Base stun decreased (40 → 27)
--- Stun gain increased (0 → 6)
-- Aerial Mid Light
--- Angle changed (40° → 56°)
--- Base knockback decreased (50 → 40)
--- Knockback gain decreased (105 → 70)
-- Aerial Up Light
--- Angle changed (70° → 75°)
--- Base stun increased (20 → 24)
--- Stun gain increased (0 → 8)
-- Aerial Down Light
--- Angle changed (290° → 296°)
--- Grounded base stun increased (20 → 24)
--- Grounded stun gain increased (0 → 19)
--- Aerial base stun increased (20 → 23)
--- Aerial stun gain increased (0 → 3)
-- Mid Strong
--- Inactive hitbox appears later (5f → 6f)
--- Blockstun decreased (20f → 18f)
--- Angle changed (30° → 22°)
--- Base stun decreased (30 → 23)
--- Stun gain increased (0 → 19)
-- Up Strong
--- Inactive hitbox appears later (6f → 8f)
--- Blockstun decreased (20f → 18f)
--- Angle changed (70° → 55°)
--- Base stun decreased (30 → 23)
--- Stun gain increased (0 → 27)
-- Down Strong
--- Inactive hitbox appears later (6f → 10f)
--- Blockstun decreased (20f → 18f)
--- Angle changed (280° → 286°)
--- Base knockback increased (70 → 110)
--- Base stun increased (30 → 36)
--- Stun gain increased (0 → 11)
-- Dash Strong
--- Angle changed (15° → 22°)
--- Base knockback increased (90 → 135)
--- Base stun decreased (30 → 27)
--- Stun gain increased (0 → 16)
-- Aerial Mid Strong
--- Inactive hitbox appears later (6f → 9f)
--- Blockstun decreased (20f → 18f)
--- Angle changed (20° → 25°)
--- Base knockback decreased (70 → 60)
--- Knockback gain increased (230 → 235)
--- Base stun decreased (30 → 28)
--- Stun gain increased (0 → 17)
-- Aerial Up Strong
--- Inactive hitbox appears later (6f → 8f)
--- Blockstun decreased (20f → 18f)
--- Angle changed (70° → 74°)
--- Base stun decreased (30 → 26)
--- Stun gain increased (0 → 18)
-- Aerial Down Strong
--- Inactive hitbox appears later (6f → 10f)
--- Blockstun decreased (20f → 18f)
--- Angle changed (270 → 284)
--- Base knockback increased (70 → 130)
--- Knockback gain decreased (230 → 200)
--- Base stun decreased (30 → 19)
--- Stun gain increased (0 → 11)
-- Down Special
--- Angle changed (270° → autolink (30°-150°))
--- Base knockback increased (3 → 50)
--- Knockback gain increased (0 → 20)
--- Stun gain increased (0 → 5)
-- Getup Attack
--- Angle changed (30° → 40°)
--- Base knockback increased (30 → 35)
--- Knockback gain increased (20 → 25)
--- Base stun decreased (30 → 25)
--- Stun gain increased (0 → 6)
-- Edge Attack
--- Angle changed (45° → 32°)
--- Base knockback increased (60 → 70)
--- Knockback gain decreased (25 → 20)
--- Base stun decreased (30 → 23)
--- Stun gain increased (0 → 9)

Toph

-- Mid Light
--- Angle changed (15° → 28°)
--- Base knockback increased (40 → 50)
--- Knockback gain decreased (127.5 → 80)
--- Base stun increased (20 → 25)
--- Stun gain increased (0 → 11)
-- Up Light
--- Angle changed (70° → 85°)
--- Knockback gain decreased (120 → 80)
--- Base stun decreased (30 → 27)
--- Stun gain increased (0 → 16)
-- Down Light
--- Angle changed (45° → 38°)
--- Base knockback decreased (120 → 80)
--- Knockback gain increased (97.5 → 115)
--- Stun gain increased (0 → 9)
--- Fixed issue where it wasn’t using the newer, reduced endlag
-- Dash Light
--- Angle changed (5° → 9°)
--- Base knockback increased (100 → 120)
--- Base stun decreased (40 → 28)
--- Stun gain increased (0 → 7)
-- Aerial Mid Light
--- Base knockback increased (30 → 50)
--- Knockback gain increased (50 → 55)
--- Base stun increased (20 → 24)
--- Stun gain increased (0 → 7)
-- Aerial Up Light
--- Angle changed (70 → 82)
--- Base stun increased (20 → 24)
--- Stun gain increased (0 → 8)
-- Aerial Down Light
--- Angle changed (290° → 280°)
--- Base stun decreased (30 → 25)
--- Stun gain increased (0 → 19)
--- Aerial knockback gain increased (22.5 → 25)
--- Aerial base stun decreased (30 → 21)
--- Aerial stun gain increased (0 → 5)
-- Mid Strong
--- Inactive hitbox appears later (6f → 11f)
--- Blockstun decreased (20f → 18f)
--- Body base stun decreased (30 → 25)
--- Body stun gain increased (0 → 21)
-- Up Strong
--- Inactive hitbox appears earlier (6f → 5f)
--- Blockstun decreased (20f → 18f)
--- Angle changed (0 → 14)
--- Body stun gain increased (0 → 14)
-- Down Strong
--- Inactive hitbox appears later (6f → 13f)
--- Blockstun decreased (20f → 18f)
-- Dash Strong
--- Base knockback increased (70 → 110)
--- Base stun increased (30 → 31)
--- Stun gain increased (0 → 7)
-- Aerial Mid Strong
--- Inactive hitbox appears later (6f → 8f)
--- Blockstun decreased (20f → 18f)
--- Base knockback increased (90 → 100)
--- Knockback gain increased (120 → 125)
--- Base stun increased (30 → 28)
--- Stun gain increased (0 → 9)
-- Aerial Up Strong
--- Inactive hitbox appears later (6f → 7f)
--- Blockstun decreased (20f → 18f)
--- Angle changed (70° → 66°)
--- Base knockback increased (100 → 110)
--- Knockback gain decreased (120 → 90)
--- Base stun decreased (30 → 27)
--- Stun gain increased (0 → 9)
-- Aerial Down Strong
--- Inactive hitbox appears later (6f → 9f)
--- Blockstun decreased (20f → 18f)
--- Angle changed (270° → 305°)
--- Base stun decreased (30 → 20)
--- Stun gain increased (0 → 14)
-- Down Special
--- Damage increased (10 → 22)
--- Angle changed (290° → 284)
--- Base stun decreased (30 → 14)
--- Stun gain increased (0 → 12)
--- Hitlag decreased (18 → 14)
--- Block push increased (1 → 3.6)
-- Getup Attack
--- Damage increased (6 → 10)
--- Angle changed (30° → 40°)
--- Knockback gain increased (10 → 20)
--- Base stun decreased (30 → 26)
--- Stun gain increased (0 → 5)
-- Edge Attack
--- Damage increased (5 → 11)
--- Angle changed (45° → 55°)
--- Knockback gain increased (10 → 25)
--- Base stun decreased (30 → 28)
--- Stun gain increased (0 → 10)

For more information, visit www.NickelodeonAllStarBrawl.com, and follow the team on Twitter, TikTok, Facebook, and Discord.

Watch all your favorite shows on Nickelodeon and Paramount+! Parents and caregivers: try Paramount+ for FREE at ParamountPlus.com.


Originally published: August 06, 2022.

H/T: GameSpot.
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Nickelodeon All-Star Brawl Update Accidentally Gives Aang An Insta-Kill Move

August 8, 2022, 5:26 pm
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Aang is unstoppable.


Nickelodeon All-Star Brawl's latest update has had a very unintended consequence on the meta. The patch, which added Hugh Neutron and his new stage, has also made a very dramatic change to Avatar Aang. For some reason, his down special is now an insta-kill move, blasting enemies off the stage even at 0 percent.

The likely unintentional buff is still live in the game at the time of writing, and works no matter who your opponent is. Simply start rolling around with Aang's down special, and ram into your unfortunate victim. It'll work every time.

As demonstrated in a video on the NASB subreddit, it doesn't matter what your opponent does. As soon as they're hit with the special, it's all over. They're getting launched off the stage, no matter their inputs.

Some are saying that this issue has already been fixed on PC, however, the error is reportedly still live on PlayStation. It's, therefore, possible that the hotfix isn't currently available for console players.

The devs are aware of the issue, according to the chatter in the official Discord server. It's just a matter of waiting until the fix is live across all platforms. So hey, might as well play around with it until then, right?

In the meantime, you can pick up Hugh Neutron now, the latest DLC fighter to come to NASB. You can grab him along with his stage for £3.99, or in a season pass for £9.29. The pass will also give you the Jenny Wakeman pack, as well as Rocko when he launches later this year. The game is available to play on PlayStation, Xbox, Nintendo Switch, and PC.


For more information, visit www.NickelodeonAllStarBrawl.com, and follow the team on Twitter, TikTok, Facebook, and Discord.

Watch all your favorite shows on Nickelodeon and Paramount+! Parents and caregivers: try Paramount+ for FREE at ParamountPlus.com.

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Nickelodeon All Star Brawl's Hugh Neutron Has A Chun Li Kick Secret Command

August 8, 2022, 5:34 pm
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It’s tough to pull off, but the result speaks for itself.


Hugh Neutron has arrived in Nickelodeon All-Star Brawl. Developer GameMill Entertainment tried to keep Hugh a surprise with his release on Friday (Aug. 6), but an earlier store leak sort of ruined it. But surprise or no, Hugh Neutron arrived with an eclectic mix of dad-inspired moves, including his “dad dancing” set of neutral attacks, a strong attack with Flippy, a spike with a pogo stick, and a recovery move where he briefly flies on a giant banana.

He also arrived with a secret Chun-Li easter egg that fans are only now discovering.

According to one Twitter post currently making the rounds, Hugh can perform Chun-Li’s Hyakuretsukyaku (also known as the Lightning Kick, or the Hundred Lightning Kicks) by moving the left stick in a 360-degree motion and then pressing the taunt button. It’s not quite the same as Chun-Li’s endless barrage of kicks, but it deals a good amount of damage and ends with a launch.

The move is probably a little too difficult to pull off in more competitive matches as it requires the player to basically run in the same spot for a split second, making them vulnerable to attacks. Then again, Hugh has only been around for a few days. We'll have to wait and see if this secret move can be incorporated into competitive play.

Along with Hugh, last Friday’s update also broke Avatar Aang. Whatever they did, the devs accidentally made Aang’s down special--where he summons a ball of air and starts rolling around--an instant kill. Even the barest touch sends any character out of bounds, and it works every time.

GameMill is aware of the issue and has already released a hotfix on PC, but consoles might still have this instant kill move. Be careful with your online play if you see a bunch of Aang’s running around, especially if you're part of the Fire Nation.

Watch all your favorite shows on Nickelodeon and Paramount+! Parents and caregivers: try Paramount+ for FREE at ParamountPlus.com.


Original source: TheGamer.
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Nickelodeon Originally Rejected Hey Arnold's Emotional Vietnam Episode

August 8, 2022, 5:54 pm
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Hey Arnold! writer and producer Joe Ansolabehere reveals why the show’s memorable Vietnam war episode was originally rejected by Nickelodeon.


The producer of Hey Arnold! reveals that the show’s emotional Vietnam episode was originally rejected by Nickelodeon. The iconic animated series was a touchstone for many in the 1990s, centering on a fourth-grader named Arnold who lived with his grandparents. Although many Hey Arnold! episodes focused on the titular character’s experiences and problems, several would actually turn over the spotlight to other major and even minor figures in the series. This has become a fairly standard approach for prestige dramas and comedies, which often turn over the spotlight to supporting players, but Hey Arnold! made a success of it back when it wasn’t such a common trend.

One of the show’s most enduring examples of this shift in focus was “Arnold’s Christmas”. Aired in December 1996, it offered a close look at Mr. Hyunh, a recurring character who lived in the same boarding house as Arnold, and depicted the 1975 fall of Saigon in Vietnam. In particular, the episode examined how a young Vietnamese girl named Mai was forcibly separated from her father Mr. Hyunh. The plot itself was sweetly simple, however, as it showed Arnold trying to find the right gift for his neighbor and ultimately understanding him much better as a result.


In an interview with /Film, writer and producer Joe Ansolabehere discussed how the Hey Arnold! episode happened and why it almost didn’t. As the producer tells it, there had always been an interest in including a flashback to Vietnam from the moment the character of Mr. Hyunh was introduced but Nickelodeon kept saying no. Ansolabehere said that the network’s main worry was that kids wouldn’t care about the story. An executive at Nickelodeon, who had the final say over whether the episode could continue being animated, showed it to her son. Her son’s reaction, Ansolabehere says, was the turning point. You can read the quote below.

“She popped it in and her son, who was like nine, was sitting there and watched it. And it got to the end of the Vietnam thing, where he’s holding the baby up and the helicopter guys take the baby and everything… And the little boy turned to his mom and said, ‘Mom, is that what Vietnam was all about?’”

Hey Arnold! gives Mai and Mr. Hyunh a happy ending, as they two are reunited at the episode’s conclusion. But it also features the gutting flashback that shows Mr. Hyunh handing off his baby daughter to an American helicopter pilot with the hopes she would grow up and find a better life. In the decades since the Christmas episode debuted, it’s been credited as one of the first times the Vietnamese community was presented in pop culture through an honest and open lens.

Hey Arnold! creator Craig Bartlett has reflected on the story’s impact, as well. He’s explained that in an era before social media, it took him some time to appreciate how the story of Mr. Hyunh and Mai resonated. It wasn’t really until Asian Americans, who’d grown up watching the series, began sharing its significance. It’s undoubtedly a good thing that Nickelodeon moved past its reluctance.

Stream all your favorite Nickelodeon shows old and new on Paramount+. Try it FREE at ParamountPlus.com!


Originally published: August 09, 2022.

Original source: ScreenRant.
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'Rugrats' Writer Recalls Origin of Angelica’s Iconic Catchphrase

August 8, 2022, 6:04 pm
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Joe Ansolabehere explains how Angelica's famous quote in Rugrats was affected by co-creator Arlene Klasky and the use of a certain word.


Rugrats writer Joe Ansolabehere recalls the origin of Angelica's most famous catchphrase. The hit Nickelodeon animated series originally premiered back in 1991 and went on to become one of the network's longest-running shows, airing a total of 172 episodes across nine seasons. Following the day-to-day lives of a group of toddlers, Rugrats observes how life experiences can become adventurous through the imaginative point-of-view of children. After generating praise from critics, as well as popularity among audiences, it spawned three theatrical films, spin-offs, including All Grown Up!, and a Rugrats reboot series that debuted on Paramount+ last year.

Fans of the show are familiar with the character of Angelica Pickles, the spoiled older cousin of main protagonist, Tommy. She is oftentimes portrayed as a rival of the babies, constantly manipulating them, and she has become the center of one of series' most compelling fan theories, in which the rest of the Rugratswere all figments of her imagination. Despite the role she played, and that co-creator Arlene Klasky did not not care much for her treatment of others, audiences still enjoyed the character and all of her audacious remarks. The most well known of Angelica Pickles' many catchphrases is "you dumb babies," a line that she repeats frequently and that has gone on to appear in a number of Rugrats merchandise.

Now, speaking with /Film, Ansolabehere reveals that Klasky actually ended up affecting the memorable Angelica quote. He says that the co-creator was concerned about the children watching, including her own, and she was angry with the word "stupid" being used in a script. He adds that even though the word was written as part of Angelica's quote, Klasky would not let it happen. Read what Ansolabehere says regarding the origin of the character's catchphrase below:

"We knew 'You stupid babies' was going to be Angelica's catchphrase and something that was going to be on T-shirts and make millions of dollars. But Arlene didn't want it [...] Nickelodeon wasn't saying we couldn't use stupid, it was Arlene."

Fans of both the show and the character can see Angelica Pickles in Paramount+'s Rugrats revival, also created by Klasky, in which she returns to pester the gang and is voiced once again by Cheryl Chase. While the animation itself is noticeably different, the new show retains much of original's spirit, and after one season, Angelica still looks to be up to no good. Those who watched the reboot were likely entertained by the first mention of her catchphrase, and with more episodes on the way, its inclusion will only increase.

Fans of the 1991 animated series might enjoy seeing Angelica and others in the reboot and experiencing the nostalgia that provides. Also, it is interesting to know about the cause related to a catchphrase such as hers, and worth wondering about how it would've been perceived in its original form. Audiences who still love Angelica Pickles and her feisty nature can look forward to more Rugrats soon.

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

Originally published: August 09, 2022.

Original source: ScreenRant.
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Mikros Animation Seeks Talented Heroes to Bring Nickelodeon’s ‘Teenage Mutant Ninja Turtles: Mutant Mayhem’ to Screen

August 8, 2022, 6:19 pm
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Point Grey Pictures and Nickelodeon announced the highly anticipated feature film reimagining of the Teenage Mutant Ninja Turtles franchise back in 2020, and today announced the onboarding of award-winning global animation studio Mikros Animation to bring the fully CGI-animated production to life.


Set to premiere August 4, 2023,  the recently titled Teenage Mutant Ninja Turtles: Mutant Mayhem is well underway, and Mikros Animation is on the lookout for seasoned and budding animators to join its ranks and be a part of the epic production.

“We are thrilled to be partnering with Mikros Animation on the next-level reimagining of the franchise,” says Mark Bakshi, EVP of Paramount Pictures Animation.

Teenage Mutant Ninja Turtles: Mutant Mayhem is directed by Jeff Rowe (The Mitchells vs. The Machines), co-directed by Kyler Spears (Amphibia) and produced by Point Grey’s Seth Rogen, Evan Goldberg and James Weaver.

“We are excited to join forces with Nickelodeon on this theatrical release,” says Adrianna Cohen, Global Head of Production at Mikros Animation. “The Ninja Turtles franchise is edgy, offbeat, and humorous and the Mikros Animation team is ensuring we were doing justice to bringing the beloved turtles to big screens. The filmmaker’s vision was to introduce the characters through modern animation that maintains the fine balance between visually appealing and realistic. Focusing not just on craft, but also performance, it’s our job to develop the unique personalities of each of these iconic characters, whilst staying true to the 1990s nostalgia that the franchise holds”


Mikros Animation is actively recruiting animation, anim-fix, character surfacing artists in Montreal, FX & lighting supervisors, compositing supervisors, production managers and more roles.

Artists and animators interested in working on Mutant Mayhem can view and apply for open roles across Mikros Animation here. 

Mikros Animation is a global CGI animation studio located in Paris, Montreal, Los Angeles, Bangalore and London, offering front-end services through to final picture for feature, long-form episodic, and traditional episodic animation. Leveraging its global capacity to adaptably scale for every project, the studio seeks to connect with clients’ creative ideas, define and develop their vision and deliver striking CG animation and authentic characters. 

In less than 10 years, Mikros Animation has contributed to 10 released feature animations (including PAW Patrol: The Movie, The SpongeBob Movie: Sponge on the Run and Captain Underpants) and numerous episodic shows (Star Trek: Prodigy, Kung Fu Panda: The Dragon Knight, Dragons: The Nine Realms) for the world’s best-known animation studios, either as a creative studio, line producer or executive producer. Mikros Animation has also produced more than 250 hours of programming, broadcast by notable channels including Nickelodeon, Cartoon Network, TF1, France TV, Gulli, M6, Gloob and Super RTL. The studio’s episodic content airs and streams globally, in over 180 countries.


Stream Teenage Mutant Ninja Turtles on Paramount+! Try it FREE at ParamountPlus.com!



Original source: Animation Magazine.
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Paramount Moves 'The Smurfs' Musical Movie to Feb. 14, 2025

August 8, 2022, 6:48 pm
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Paramount Pictures has pushed back the release date for the upcoming The Smurfs movie. Previously set to open in theaters on Dec. 20, 2024, the untitled animated musical will now open on Feb. 14, 2025.


Nickelodeon Animation and Paramount Pictures announced earlier this year that they have formed a deal with LAFIG Belgium and IMPS to produce multiple feature films based on The Smurfs, the iconic characters and stories created by Belgian artist Pierre Culliford, also known as Peyo. The musical Smurfs feature is the first project under the new partnership.

The Smurfs movie is being directed by Chris Miller, the Oscar-nominated helmer of 2011’s Puss in Boots, with a screenplay by Pam Brady (South Park, Team America: World Police). Brady who will also step into other creative roles that are yet to be announced.

Latifa Ouaou, Executive Vice President (EVP) of movies and global franchises for Paramount Animation and Nickelodeon Animation (who earlier produced Miller’s Puss in Boots), is overseeing development on the Smurfs movie, along with Emily Nordwind, Senior Vice President (SVP) of development and production for Paramount Animation.

In a twinned move, Sonic the Hedgehog 3 will open in theaters on Dec. 20, 2024.

Stream all your favorite Nickelodeon shows old and new on Paramount+. Try it FREE at ParamountPlus.com!


Originally published: August 09, 2022.

Source: The Hollywood Reporter; H/T: Special thanks to @RoyalSmurf2022 for the news!
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Nickelodeon Launches Content Accelerator of Up-and-Coming, Underrepresented Creatives

August 8, 2022, 6:51 pm
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Nickelodeon has launched a new Content Accelerator Program, designed to reach BIPOC and underrepresented emerging professionals to pitch new kid-focused content ideas for Nick’s platforms across big kids animation, preschool and live action. In collaboration with Rise Up Animation and Ghetto Film School, the mission of the inaugural program is to find and bring in original project ideas from creative visionaries, while fostering relationships between emerging talent and Nickelodeon’s development teams.


Nickelodeon development executives will review submissions and top entries will move forward to a Pitch Day. On Pitch Day, the top applicants will meet with Nickelodeon development executives to present their ideas. The top pitch in each category (big kids animation, preschool animation and live action) will move into a preliminary phase of development at Nickelodeon. The selected creators will work directly with development executives and a creative mentor to hone their pitch presentations.

“The launch of Nickelodeon’s Content Accelerator Program is a way to reach aspiring, underrepresented creatives to tell stories reflective of today’s kids,” said Eryk Casemiro, Executive Vice President, Nickelodeon Animation, Global Series Content. “By working with Rise Up Animation and Ghetto Film School, we are eager to hear from storytellers and spotlight content that is inclusive for everyone.”

Rise Up Animation (riseupanimation.org) is dedicated to increasing diverse talent in the animation industry by providing BIPOC with industry advice, portfolio feedback, resume feedback and the tools needed to turn their dreams into reality.

Monica Lago-Kaytis, Rise Up Animation Co-Founder, CFO & Mentor, said, “Rise Up Animation is thrilled to partner with Nickelodeon on their Content Accelerator Program. We believe that creating these opportunities for young artists and professionals aligns with our mission to bring more inclusion and diversity to an ever evolving animation community.”

Ghetto Film School (GFS; ghettofilm.org) is an award-winning nonprofit founded in 2000 to educate, develop and celebrate the next generation of great storytellers. GFS annually serves 8,000 individuals, 14-34 years of age.

“Our partnership with Nickelodeon on the Content Accelerator Program, will provide professional development for our Roster members, and a crucial opportunity for emerging storytellers to get their foot in the door, and pitch their stories to industry leaders,” said Yuby Hernandez, Global Roster Director at Ghetto Film School. “Programs like these are truly representative of our mission to educate, develop, and celebrate the next generation of great storytellers, and we look forward to building out this relationship for years to come.”

The submission period is open from August 8 – September 30, 2022 at nca.nick.com. The program is virtual and open to participants 21 years of age and older. The site includes a “How to Pitch” resource guide to provide tips and tricks as well as guidelines.

Submissions should be anywhere from 2-7 pages and include a mix of text and reference images or designs.

The program is part of Paramount’s company-wide Content for Change initiative (see website) that seeks to apply scientific research, rigor, and data to transform the entire creative ecosystem across three pillars:

1) the content the company produces

2) the creative supply chain that powers it, and

3) the culture that underpins everything Paramount does.

Learn more about the Nickelodeon Content Accelerator Program and how to pitch your project at nicknca.nick.com.

Stream all your favorite Nickelodeon shows old and new on Paramount+. Try it FREE at ParamountPlus.com!


Originally published: August 09, 2022.

Original source: Animation Magazine; H/T: Harlem World.
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NEW Rise of the TMNT Mini-Episodes 🐢 | Teenage Mutant Ninja Turtles | Nickelodeon Exclusive | Nickelodeon Cartoon Universe

August 9, 2022, 10:15 am
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NEW Rise of the TMNT Mini-Episodes 🐢 | Teenage Mutant Ninja Turtles | Nickelodeon Exclusive | Nickelodeon Cartoon Universe


Let's revisit Rise of the Teenage Mutant Ninja Turtles with two exclusive, never before seen mini-episodes featuring Leo, Raph, Donnie, and Mikey!

In "Sentient Bed", the Turtles think they've found the perfect way to sleep in peace, without fear of attack - but before they know it, they may be under attack by the bed itself - will the TMNT be able to put it to rest?

In "Raph's Catchphrase", Raphael is torn when his signature catchphrase, 'Like A Boss', is questioned. But that doesn't stop him from kicking villain butt... he'll just need to try out some new catchphrases while he does!

Stream Teenage Mutant Ninja Turtles on Paramount+! Try it FREE at ParamountPlus.com!


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August 2022 on Nickelodeon Russia

August 9, 2022, 12:29 pm
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--- This August (августа), Nickelodeon Russia (Россия) will be airing:


Фрагмент эфира Nickelodeon (01.08.2022)

Stay with us Bumper (Nickelodeon Russia)


Baby Shark's Big Show New Episodes Promo - August 2022 (Nickelodeon Russia)


Rugrats New Episodes Promo - August 2022 (Nickelodeon Russia)


The Loud House New Episodes Promo - August 2022 (Nickelodeon Russia)


The Smurfs New Episodes Promo - August 2022 (Nickelodeon Russia)


It's Pony New Episodes Promo - July + August 2022 (Nickelodeon Russia)


The Smurfs New Episodes Promo 2 - August 2022 (Nickelodeon Russia)


Watch in August 2022 for Kids Promo (Nickelodeon Russia & Nick Jr. Russia)


A Week of Parties Promo | August 2022 (Nickelodeon Russia)


Уважаемые посетители из России, Путин и ваши информационные агентства лгут. Россия незаконно вторгается в Украину и убивает невинных людей. Пожалуйста, встаньте и остановите это.



Originally published: August 01, 2022.
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Nickelodeon to Premiere New 'That Girl Lay Lay' and 'Tyler Perry’s Young Dylan' SOON

August 9, 2022, 12:32 pm
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Catch fresh new episodes of That Girl Lay Lay and Tyler Perry’s Young Dylan, premiering Thursday, August 11 starting at 7:00 p.m. (ET/PT), only on Nickelodeon! Check out the promos below!:

Update (8/5) - The new episodes of That Girl Lay Lay and Tyler Perry’s Young Dylan have been postponed until a later date.


7:00 p.m. - Tyler Perry's Young Dylan - The Gift Grift: After secretly opening his birthday gift from Myles (Carl Anthony Payne II), aunt Yasmine (Mieko Hillman) early, Dylan (Dylan Gilmer) must invent a cover up when he accidentally destroys it. B Story: The family plan to be the top seller at the neighborhood yard sale by way of Charlie’s (Hero Hunter) culinary skills. (#304)

7:30 p.m. - That Girl Lay Lay - Bars: It’s East Packer High’s talent show fundraiser and Sadie (Gabrielle Nevaeh Green) starts to feel the pressure of running the event. Lay Lay (Alaya “That Girl Lay Lay” High) is confident that her song will be a big hit for the show until, she meets a big time music producer who challenges her writing style. (#206)



Stream all your favorite Nickelodeon shows old and new on Paramount+. Try it FREE at ParamountPlus.com!


Originally published: August 05, 2022.
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TeenNick Israel to Premiere 'Golda and Meir' on Sept. 1

August 9, 2022, 12:33 pm
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TeenNick Israel (יִשְׂרָאֵל) will premiere Golda and Meir (גולדה ומאיר) on September 1!

גולדה ומאיר: התאריך נחשף❗️ | טין ניק
ערוץ טין ניק


גולדה ומאירררררררר מתחילים ב-1.9 בערוץ טין ניק

#טיןניק #גולדהומאיר

גולדה ומאיר: התאריך נחשף❗️ | טין ניק #shorts
ערוץ טין ניק


גולדה ומאירררררררר מתחילים ב-1.9 בערוץ טין ניק

גולדה ומאיר | סדרה חדשה | 1.9 רק בטין ניק
ערוץ טין ניק


גולדה ומאיר מתחילים ב-1.9 בערוץ טין ניק

#טיןניק #גולדהומאיר

More Nick: UMI And Ananey Studios Collaborate On ‘Pisces Lane’ for Nickelodeon Israel!

Originally published: August 04, 2022.
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