Nickelodeon Veteran Sarah Tortoreti Joins VidCon As VP Of Marketing

VidCon announced that Nickelodeon’s director of marketing and brand strategy, Sarah Tortoreti, has joined in the online creators’ conference as vice president of marketing.
In this newly created role role, Tortoreti will be responsible for …

VidCon announced that Nickelodeon’s director of marketing and brand strategy, Sarah Tortoreti, has joined in the online creators’ conference as vice president of marketing. In this newly created role role, Tortoreti will be responsible for the developing the VidCon brand, overseeing its global marketing strategies across social media and editorial content and internal and external communications. She also she will advise on featured creators and top industry executives at…

‘Henry Danger’ Gets Order for 10 Additional Episodes From Nickelodeon

Nickelodeon’s Henry Danger will join The Thundermans and iCarly in surpassing the 100-episode mark. The network has ordered an additional 10 episodes of the series, TV’s number-one live-action show with kids 2-11 and kids 6-11. The order br…

Nickelodeon’s Henry Danger will join The Thundermans and iCarly in surpassing the 100-episode mark. The network has ordered an additional 10 episodes of the series, TV’s number-one live-action show with kids 2-11 and kids 6-11. The order brings Henry Danger‘s series’ total to 117 episodes, making it Nick’s longest-running live-action sitcom, currently in its fifth season. In the 100th episode, titled "Man Cave Self Destruct," after Schwoz's family reunion causes chaos in…

‘SpongeBob Squarepants’ Creator Stephen Hillenburg Dies at 57

Stephen Hillenburg, the creator of the megahit Nickelodeon cartoon series “SpongeBob SquarePants,” died on Monday. He was 57. The cause of death was ALS, which Hillenburg revealed he had been diagnosed with in March of last year. “We are in…

Stephen Hillenburg, the creator of the megahit Nickelodeon cartoon series “SpongeBob SquarePants,” died on Monday. He was 57. The cause of death was ALS, which Hillenburg revealed he had been diagnosed with in March of last year. “We are incredibly saddened by the news that Steve Hillenburg has passed away following a battle with ALS,” […]

Listen: How Pocket.watch Disrupted the Holiday Toy Biz

Multibillion-dollar franchises like “SpongeBob SquarePants” used to require traditional media like TV or film as launch pad. But the new kid-targeted brand Pocket.watch is proving with YouTube sensation Ryan’s World that the internet …

Multibillion-dollar franchises like “SpongeBob SquarePants” used to require traditional media like TV or film as launch pad. But the new kid-targeted brand Pocket.watch is proving with YouTube sensation Ryan’s World that the internet can also be the breeding ground for a consumer-products phenomenon. Listen to this week’s episode of “Strictly Business” below: “We were basically […]

TV News Roundup: ‘The Bachelor’ Sets Season 23 Premiere Date

In Today’s TV News Roundup, ABC announced the premiere date for the 23rd season of “The Bachelor” while “The Conners” hit a new low in the ratings.  DATES The 23rd season of “The Bachelor” is set to premiere Jan. 7 at 8 p….

In Today’s TV News Roundup, ABC announced the premiere date for the 23rd season of “The Bachelor” while “The Conners” hit a new low in the ratings.  DATES The 23rd season of “The Bachelor” is set to premiere Jan. 7 at 8 p.m. ET on ABC. Former NFL player Colton Underwood is returning for the […]

Viacom/Nickelodeon Summit Brings Together Licensing Partners

As retailers head into the holiday shopping season, the value of live experiences that immerse consumers into the world of their favorite brand can’t be underestimated. At the Viacom/Nickelodeon Consumer Products Partner Summit held Tuesday at the Para…

As retailers head into the holiday shopping season, the value of live experiences that immerse consumers into the world of their favorite brand can’t be underestimated. At the Viacom/Nickelodeon Consumer Products Partner Summit held Tuesday at the Paramount Theatre in Los Angeles, Variety hosted a panel featuring five industry experts to discuss the state of […]

In the New Retail World Order, Licensing Partners Become Competitors

Despite the demise of Toys R Us, which rocked sales for Hollywood’s film and TV merchandise, the death of retail stores is exaggerated. Online commerce only accounts for around 10% of U.S. retail sales, and such brick-and-mortar mass-market retailers a…

Despite the demise of Toys R Us, which rocked sales for Hollywood’s film and TV merchandise, the death of retail stores is exaggerated. Online commerce only accounts for around 10% of U.S. retail sales, and such brick-and-mortar mass-market retailers as Walmart and Target are still corralling two-thirds of sales in many product categories. But the […]

Nickelodeon’s Evolved ‘Turtles,’ ‘Game of Thrones,’ ‘Hamilton’ Among Licensing Innovators

Licensing is more complex than ever, as studios and networks compete for increasingly distracted consumers. But Star Wars; Overwatch League; and Snoop Dogg’s marijuana products are among the content creators inventing products consumers covet. He…

Licensing is more complex than ever, as studios and networks compete for increasingly distracted consumers. But Star Wars; Overwatch League; and Snoop Dogg’s marijuana products are among the content creators inventing products consumers covet. Here are six companies, stars or shows showing the way. Nickelodeon Shells Out New Take on Turtles Network pulled back merchandise […]

Nickelodeon Names Ramsey Naito Head Of Animation, Chris Viscardi To Become Producer

New Nickelodeon president Brian Robbins has made a second key programming executive hire, bringing in Oscar-nominated producer Ramsey Naito as EVP of Animation Production and Development. Based in Nickelodeon’s Burbank studio, Naito will be in charge o…

New Nickelodeon president Brian Robbins has made a second key programming executive hire, bringing in Oscar-nominated producer Ramsey Naito as EVP of Animation Production and Development. Based in Nickelodeon's Burbank studio, Naito will be in charge of the network's animation content across all formats and platforms– digital, TV and film, reporting to Robbins. Naito replaces Chris Viscardi, SVP of Animation and Development at Nick, who will move into a producer role for…

Nickelodeon Hires ‘Boss Baby’ Producer Ramsey Naito to Lead Animation

Nickelodeon has hired Oscar-nominated “Boss Baby” producer Ramsey Naito as executive vice president of Animation Production and Development, in charge of the network’s animation content across all formats and platforms — including digital, TV and film — Nickelodeon president Brian Robbins announced Tuesday.

Naito will be based in Nickelodeon’s Burbank, California, studio and report directly to Robbins. This marks Robbins’ second hire since he took over Nick last month. Last week, he named Shauna Phelan head of Nick’s live-action scripted content.

Chris Viscardi, Nickelodeon’s former senior vice president of Animation and Development who was previously leading the department, will now be moving into a producer role for the children’s network. He will oversee the creation of feature-length animated content for both Nickelodeon and third-party digital and linear platforms.

Also Read: Nickelodeon Hires Awesomeness Exec Shauna Phelan to Lead Live-Action Division

Naito will be responsible for managing Nickelodeon’s animation group’s day-to-day operations, plus identifying new talent and projects for the kids’ network. She will also oversee Nick’s animated franchises, including “SpongeBob SquarePants,” “Teenage Mutant Ninja Turtles” and “The Loud House.”

Naito most recently oversaw production on Paramount Pictures’ “SpongeBob SquarePants” movie, slated for 2020 release. She produced DreamWorks Animation’s Oscar-nominated feature, “The Boss Baby,” and received a PGA nomination for Outstanding Producer of Animated Theatrical Motion Pictures.

She previously worked as a producer for Blue Sky Studios, at Cartoon Network as head of movies and at Nickelodeon Movies as vice president of Development & Production.

Also Read: Hulu Hires Google’s Heather Moosnick to Lead Content Acquisition

Here are her other producing credits: “Barnyard” (2006), “The SpongeBob SquarePants Movie” (2004), “The Wild Thornberrys Movie” (2002), “Hey Arnold! The Movie” (2002), “Jimmy Neutron: Boy Genius” (2001), “Rugrats in Paris: The Movie” (2000), and “South Park: Bigger, Longer & Uncut” (1999).

Naito is a member of Women in Animation and the Producers Guild of America. She received her Bachelor of Fine Arts from Maryland Institute College of Art and her Master of Fine Arts from the California Institute of the Arts.

“Ramsey is a proven hit-maker and creative leader who has helped bring to life some incredibly imaginative characters for audiences of all ages,” said Robbins. “One of our goals is to exponentially grow our animation business and output on every platform, and I have no doubt that Ramsey will help us get there through a new generation of innovative, creator-driven content.”

Related stories from TheWrap:

Nickelodeon Hires Awesomeness Exec Shauna Phelan to Lead Live-Action Division

Kevin Hart Signs First-Look Deal With Nickelodeon

Nickelodeon Announces Teen Sleuthing Comedy ‘Bixler High Private Eye’ (Exclusive)

AwesomenessTV Co-Founder Brian Robbins Named President of Nickelodeon

Nickelodeon has hired Oscar-nominated “Boss Baby” producer Ramsey Naito as executive vice president of Animation Production and Development, in charge of the network’s animation content across all formats and platforms — including digital, TV and film — Nickelodeon president Brian Robbins announced Tuesday.

Naito will be based in Nickelodeon’s Burbank, California, studio and report directly to Robbins. This marks Robbins’ second hire since he took over Nick last month. Last week, he named Shauna Phelan head of Nick’s live-action scripted content.

Chris Viscardi, Nickelodeon’s former senior vice president of Animation and Development who was previously leading the department, will now be moving into a producer role for the children’s network. He will oversee the creation of feature-length animated content for both Nickelodeon and third-party digital and linear platforms.

Naito will be responsible for managing Nickelodeon’s animation group’s day-to-day operations, plus identifying new talent and projects for the kids’ network. She will also oversee Nick’s animated franchises, including “SpongeBob SquarePants,” “Teenage Mutant Ninja Turtles” and “The Loud House.”

Naito most recently oversaw production on Paramount Pictures’ “SpongeBob SquarePants” movie, slated for 2020 release. She produced DreamWorks Animation’s Oscar-nominated feature, “The Boss Baby,” and received a PGA nomination for Outstanding Producer of Animated Theatrical Motion Pictures.

She previously worked as a producer for Blue Sky Studios, at Cartoon Network as head of movies and at Nickelodeon Movies as vice president of Development & Production.

Here are her other producing credits: “Barnyard” (2006), “The SpongeBob SquarePants Movie” (2004), “The Wild Thornberrys Movie” (2002), “Hey Arnold! The Movie” (2002), “Jimmy Neutron: Boy Genius” (2001), “Rugrats in Paris: The Movie” (2000), and “South Park: Bigger, Longer & Uncut” (1999).

Naito is a member of Women in Animation and the Producers Guild of America. She received her Bachelor of Fine Arts from Maryland Institute College of Art and her Master of Fine Arts from the California Institute of the Arts.

“Ramsey is a proven hit-maker and creative leader who has helped bring to life some incredibly imaginative characters for audiences of all ages,” said Robbins. “One of our goals is to exponentially grow our animation business and output on every platform, and I have no doubt that Ramsey will help us get there through a new generation of innovative, creator-driven content.”

Related stories from TheWrap:

Nickelodeon Hires Awesomeness Exec Shauna Phelan to Lead Live-Action Division

Kevin Hart Signs First-Look Deal With Nickelodeon

Nickelodeon Announces Teen Sleuthing Comedy 'Bixler High Private Eye' (Exclusive)

AwesomenessTV Co-Founder Brian Robbins Named President of Nickelodeon

Nickelodeon Writing Program Announces 2018 Participants (EXCLUSIVE)

Nickelodeon has selected five participants for its 19th annual Writing Program, including the program’s first preschool-specific finalist. Based in Burbank, the year-long program allows aspiring television writers worldwide to hone their skills w…

Nickelodeon has selected five participants for its 19th annual Writing Program, including the program’s first preschool-specific finalist. Based in Burbank, the year-long program allows aspiring television writers worldwide to hone their skills writing for both live-action and animated shows, network with executives and show creators, and gain access to workshops, seminars, classes, and real-world writers’ […]

Nickelodeon Hires Awesomeness Exec Shauna Phelan to Lead Live-Action Division

Nickelodeon has tapped Shauna Phelan as the new head of its live-action scripted department, the network announced on Monday.
As senior vice president, Phelan will oversee the development and production of all Nickelodeon scripted live-action content, …

Nickelodeon has tapped Shauna Phelan as the new head of its live-action scripted department, the network announced on Monday.

As senior vice president, Phelan will oversee the development and production of all Nickelodeon scripted live-action content, as well as all live-action TV movies and specials. Based in Los Angeles, Phelan will report to Nickelodeon president Brian Robbins.

“Shauna has an innate understanding of the youth audience and an eye for identifying great stories and characters and making them into generation-defining hits,” Robbins said in a statement. “We are excited to have Shauna bring her passion and creativity to Nickelodeon as we set the course for the brand’s next phase of innovation and success.”

Phelan most recently served as head of development under Robbins at Awesomeness, where she produced series and sketch comedy videos, including the long-form projects “Side Effects,” “Runaways” and the YouTube Premium series “Foursome.”

The pair also previously worked together at Varsity Pictures, where she served as director of development.

Related stories from TheWrap:

Kevin Hart Signs First-Look Deal With Nickelodeon

Nickelodeon Announces Teen Sleuthing Comedy 'Bixler High Private Eye' (Exclusive)

AwesomenessTV Co-Founder Brian Robbins Named President of Nickelodeon

Nickelodeon Names Shauna Phelan Head of Live-Action Scripted Content

Nickelodeon has named Shauna Phelan as senior vice president of live-action scripted content, the kids’ network announced Monday. Phelan joins Nickelodeon from Awesomeness, where she was formerly head of development and production, overseeing scr…

Nickelodeon has named Shauna Phelan as senior vice president of live-action scripted content, the kids’ network announced Monday. Phelan joins Nickelodeon from Awesomeness, where she was formerly head of development and production, overseeing scripted and non-scripted series. In her new role, Phelan will oversee the development and production of all Nickelodeon scripted live-action content, as well […]

Shauna Phelan Joins Nickelodeon As SVP Live-Action Scripted Content

New Nickelodeon president Brian Robbins is starting to build his programming team with the hire of longtime close associate Shauna Phelan in the newly created position as SVP, Live-Action Scripted Content, for the Nickelodeon Group. Based in Burbank, s…

New Nickelodeon president Brian Robbins is starting to build his programming team with the hire of longtime close associate Shauna Phelan in the newly created position as SVP, Live-Action Scripted Content, for the Nickelodeon Group. Based in Burbank, she will oversee the development and production of all Nickelodeon scripted live-action content, as well as all live-action TV movies and specials, reporting to Robbins. "Shauna has an innate understanding of the youth…

5 Questions With Fine Brothers Entertainment Head of Television Brandie Tucker

Fine Brothers Entertainment (FBE) recently inked co-production deals with Nick Cannon’s NCredible Entertainment, Kinetic Content, and Sonar Entertainment, continuing the company’s expansion into television and long-form offerings. So far, FBE has created and sold 15 scripted and unscripted series to television networks and premium SVODs including Nickelodeon, Freeform, TruTV, Facebook, YouTube Premium, and EKO.
That deal happened under the direction of FBE’s Head of Television, Brandie Tucker, and this week we caught up with Tucker to learn more. She talked about FBE’s development slate, the value of YouTube Premium versus Facebook Watch, and the growing importance of interactive story-telling.

TheWrap: FBE just added four new TV projects to its development slate, which of these projects excites you the most and why?

Brandie Tucker: I hate to give the obvious answer, but there truly is something that uniquely excites me about each project, and that’s the point. We focus on quality over quantity and develop a diverse slate of projects that we are passionate about for different reasons.

With projects like “Everything’s Happened Before” and “Co-Conspirator”, I am excited for the opportunity and challenge to reach people across party lines and generate fruitful conversation. When you watch any political content on FBE’s YouTube channels, you get an unbiased representation of several opinions and beliefs, and that diversity is reflected in our audience as well. While these two TV projects will take stronger stances, the presentation will still be in typical “FBE style” that appeals to all walks of life in an entertaining yet respectful way.

FBE has sold projects to Netflix, Nickelodeon, and YouTube Premium what is the biggest difference between the three in terms of the content they want and how it resonates with their audience?

A chief difference between a traditional TV network like Nickelodeon and an SVOD like Netflix is volume. Obviously, there are other big differences (platform, revenue model, audience data, etc), but having a finite amount of slots creates more pressure for each greenlight decision to be a success. Pressure welcomes fear and fear welcomes failure. Netflix has the slots and the money to experiment with a ton of programming and figure out what grabs their audience and they have been fearless in doing just that. Netflix probably produces more “flops” in a year than a traditional network, but they take more shots on goal and that’s helped them jump ahead in many regards. YouTube Premium is still finding its identity which makes it harder to nail down what content they want (outside of live celebrity events) and they aren’t buying in high volume, but YouTube’s platform provides producers with the best audience data of the three and that’s very appealing for us.

Also Read: Facebook’s Matthew Henick Dishes on What’s Working on Watch

Which do you see as more valuable to FBE YouTube Premium or Facebook Watch and why?

Both present a path to creating more premium programming with larger budgets that natively work on the platforms where our audience knows and loves FBE. However, these platforms are still evolving so time will tell which one proves to be more valuable. I’m intrigued by the interactive features Facebook Watch is starting to roll out for creators and hope the trend continues. YouTube is home to our biggest channel, which has been described as the “YouTube version” of a broadcast network, and that can be very valuable when utilized properly for premium programming.

As both continue to work on their versions of the future of television, they still have real and dedicated audiences, discovery and monetization capability that can’t be ignored and what we find refreshing is the collaborative way we work with platforms behind the scenes to learn how to optimize our company’s success as well as help improve the platforms.

FBE recently partnered on a new film comedy series with the interactive storytelling platform, Eko. How significant do you expect interactive story-telling to become in the entertainment landscape and why?

FBE has been on the leading edge of innovating around interactive programming, from choosing topics based on audience suggestion, to full immersive experiences inside of scripted series such as “MyMusic” to allowing the audience to determine the ending of our sitcom “Sing It!” for YouTube Red. When done correctly, and with the right technology as it continues to evolve, there is going to be a continued growth in the interactive genre, and platforms like Eko and others are leading the way.

Also Read: YouTube Quietly Tests Sponsored Originals in India

Given that consumers now have a wide variety of destinations to view content, how can content creators ensure that their programming finds an audience?

First, I love that you’re asking me for the solution to the biggest challenge of our industry since its inception. Piece of cake! Second, I have a premium longform answer but I think the shortform version works best for this medium: Find fans. Feed fans.

 FBE went from a staff of two to a staff of 75 making content viewed over 11 billion times, without any investors or celebrity backers, because we know fans.  We have built such big audiences because we service fandom, and not just with popular IP. I think about the etiology of fanship from development through delivery of every new idea. We like to say, “Give the audience Disneyland” (or for me personally, Pottermore). However, when you’re working with a buyer you are limited to what they will approve — how deep they are willing to go to reach fans.

Related stories from TheWrap:

‘MTV’s The Real World’ Reboot to Premiere in 2019 on Facebook Watch

WWE’s Kevin Owens out of Facebook Watch’s ‘Mixed Match Challenge’ Season 2 Due to Injury

Condé Nast to Launch New Unscripted Series ‘Risky Biz’ on Facebook Watch (Exclusive)

Fine Brothers Entertainment (FBE) recently inked co-production deals with Nick Cannon’s NCredible Entertainment, Kinetic Content, and Sonar Entertainment, continuing the company’s expansion into television and long-form offerings. So far, FBE has created and sold 15 scripted and unscripted series to television networks and premium SVODs including Nickelodeon, Freeform, TruTV, Facebook, YouTube Premium, and EKO.
That deal happened under the direction of FBE’s Head of Television, Brandie Tucker, and this week we caught up with Tucker to learn more. She talked about FBE’s development slate, the value of YouTube Premium versus Facebook Watch, and the growing importance of interactive story-telling.

TheWrap: FBE just added four new TV projects to its development slate, which of these projects excites you the most and why?

Brandie Tucker: I hate to give the obvious answer, but there truly is something that uniquely excites me about each project, and that’s the point. We focus on quality over quantity and develop a diverse slate of projects that we are passionate about for different reasons.

With projects like “Everything’s Happened Before” and “Co-Conspirator”, I am excited for the opportunity and challenge to reach people across party lines and generate fruitful conversation. When you watch any political content on FBE’s YouTube channels, you get an unbiased representation of several opinions and beliefs, and that diversity is reflected in our audience as well. While these two TV projects will take stronger stances, the presentation will still be in typical “FBE style” that appeals to all walks of life in an entertaining yet respectful way.

FBE has sold projects to Netflix, Nickelodeon, and YouTube Premium what is the biggest difference between the three in terms of the content they want and how it resonates with their audience?

A chief difference between a traditional TV network like Nickelodeon and an SVOD like Netflix is volume. Obviously, there are other big differences (platform, revenue model, audience data, etc), but having a finite amount of slots creates more pressure for each greenlight decision to be a success. Pressure welcomes fear and fear welcomes failure. Netflix has the slots and the money to experiment with a ton of programming and figure out what grabs their audience and they have been fearless in doing just that. Netflix probably produces more “flops” in a year than a traditional network, but they take more shots on goal and that’s helped them jump ahead in many regards. YouTube Premium is still finding its identity which makes it harder to nail down what content they want (outside of live celebrity events) and they aren’t buying in high volume, but YouTube’s platform provides producers with the best audience data of the three and that’s very appealing for us.

Which do you see as more valuable to FBE YouTube Premium or Facebook Watch and why?

Both present a path to creating more premium programming with larger budgets that natively work on the platforms where our audience knows and loves FBE. However, these platforms are still evolving so time will tell which one proves to be more valuable. I’m intrigued by the interactive features Facebook Watch is starting to roll out for creators and hope the trend continues. YouTube is home to our biggest channel, which has been described as the “YouTube version” of a broadcast network, and that can be very valuable when utilized properly for premium programming.

As both continue to work on their versions of the future of television, they still have real and dedicated audiences, discovery and monetization capability that can’t be ignored and what we find refreshing is the collaborative way we work with platforms behind the scenes to learn how to optimize our company’s success as well as help improve the platforms.

FBE recently partnered on a new film comedy series with the interactive storytelling platform, Eko. How significant do you expect interactive story-telling to become in the entertainment landscape and why?

FBE has been on the leading edge of innovating around interactive programming, from choosing topics based on audience suggestion, to full immersive experiences inside of scripted series such as “MyMusic” to allowing the audience to determine the ending of our sitcom “Sing It!” for YouTube Red. When done correctly, and with the right technology as it continues to evolve, there is going to be a continued growth in the interactive genre, and platforms like Eko and others are leading the way.

Given that consumers now have a wide variety of destinations to view content, how can content creators ensure that their programming finds an audience?

First, I love that you’re asking me for the solution to the biggest challenge of our industry since its inception. Piece of cake! Second, I have a premium longform answer but I think the shortform version works best for this medium: Find fans. Feed fans.

 FBE went from a staff of two to a staff of 75 making content viewed over 11 billion times, without any investors or celebrity backers, because we know fans.  We have built such big audiences because we service fandom, and not just with popular IP. I think about the etiology of fanship from development through delivery of every new idea. We like to say, “Give the audience Disneyland” (or for me personally, Pottermore). However, when you’re working with a buyer you are limited to what they will approve — how deep they are willing to go to reach fans.

Related stories from TheWrap:

'MTV's The Real World' Reboot to Premiere in 2019 on Facebook Watch

WWE's Kevin Owens out of Facebook Watch's 'Mixed Match Challenge' Season 2 Due to Injury

Condé Nast to Launch New Unscripted Series 'Risky Biz' on Facebook Watch (Exclusive)

Funimation Leaves the VRV Platform as HIDIVE Inks Partnership With the Service

Funimation is parting ways with VRV, the over-the-top (OTT) aggregator run by AT&T-owned Ellation, the streamer announced Thursday.

The company didn’t go into detail as to why Funimation, which specializes in anime-centric content, decided to drop its OTT channel from the platform.

However, starting Nov. 11, VRV subscribers will need to go to Funimation’s owned and operated, $5.99 per month streaming platform if they want to keep up with its content.

Also Read: MoviePass Films Greenlights Horror Film ‘The Reckoning’ from ‘Hellboy’ Director Neil Marshall

But as Funimation leaves the platform, another anime contender enters. VRV has inked a new partnership with anime-centric streaming service HIDIVE. The new channel will offer VRV users over 500 titles, including “Food Wars! Shokugeki no Soma” and “Elfen Lied” along with a large catalogue of classic foreign anime dubbed in English.

Launched in 2016, VRV aggregates over 7 subscription OTT channels. Its users have the option of paying for the channels a la carte for about $3.99-$5.99 each, or they can opt into VRV’s “Combo Pack” for $9.99 per month, which includes all the OTT channels available on the service.

Most recently, the company partnered with Nickelodeon to bring the network’s NickSplat streaming service, which offers an array of classic cartoons from the 90s. Other channels available on the platform include Cartoon Hangover, Crunchyroll, CuriosityStream, DramaFever, Geek & Sundry, Mondo, Nerdist, NickSplat, Rooster Teeth, Shudder and VRV Select.

Related stories from TheWrap:

Roseanne Barr Says She’s Been Sleeping 17 Hours a Day Since ‘Roseanne’ Cancellation (Video)

John Goodman Says He ‘Fell Down the Stairs After ‘Roseanne’ Cancellation (Video)

Ellation’s VRV Brings Back ‘HarmonQuest’ for Third Season (Exclusive)

Funimation is parting ways with VRV, the over-the-top (OTT) aggregator run by AT&T-owned Ellation, the streamer announced Thursday.

The company didn’t go into detail as to why Funimation, which specializes in anime-centric content, decided to drop its OTT channel from the platform.

However, starting Nov. 11, VRV subscribers will need to go to Funimation’s owned and operated, $5.99 per month streaming platform if they want to keep up with its content.

But as Funimation leaves the platform, another anime contender enters. VRV has inked a new partnership with anime-centric streaming service HIDIVE. The new channel will offer VRV users over 500 titles, including “Food Wars! Shokugeki no Soma” and “Elfen Lied” along with a large catalogue of classic foreign anime dubbed in English.

Launched in 2016, VRV aggregates over 7 subscription OTT channels. Its users have the option of paying for the channels a la carte for about $3.99-$5.99 each, or they can opt into VRV’s “Combo Pack” for $9.99 per month, which includes all the OTT channels available on the service.

Most recently, the company partnered with Nickelodeon to bring the network’s NickSplat streaming service, which offers an array of classic cartoons from the 90s. Other channels available on the platform include Cartoon Hangover, Crunchyroll, CuriosityStream, DramaFever, Geek & Sundry, Mondo, Nerdist, NickSplat, Rooster Teeth, Shudder and VRV Select.

Related stories from TheWrap:

Roseanne Barr Says She's Been Sleeping 17 Hours a Day Since 'Roseanne' Cancellation (Video)

John Goodman Says He 'Fell Down the Stairs After 'Roseanne' Cancellation (Video)

Ellation's VRV Brings Back 'HarmonQuest' for Third Season (Exclusive)

Viacom, Nickelodeon, iQIYI Team on Chinese Animation Development Project

Viacom International Media Networks (VIMN) announced on Tuesday the launch of the Nickelodeon Chinese Animation Development Project, a five-year program aimed at creating new animation co-productions both in and with China for that market and abroad. T…

Viacom International Media Networks (VIMN) announced on Tuesday the launch of the Nickelodeon Chinese Animation Development Project, a five-year program aimed at creating new animation co-productions both in and with China for that market and abroad. The new project will see VIMN boarding up to two new IP development projects annually as part of the […]

‘The Alienist’s Q’orianka Kilcher Cast In Paramount’s Live-Action ‘Dora the Explorer’ Movie

EXCLUSIVE: Q’orianka Kilcher, who starred in TNT’s Emmy-nominated limited series, The Alienist, will play Inca Princess Kawillaka in Paramount Player’s iteration live-action take of Nickelodeon’s Dora the Explorer. Kilcher joins Isabela Mon…

EXCLUSIVE: Q'orianka Kilcher, who starred in TNT’s Emmy-nominated limited series, The Alienist, will play Inca Princess Kawillaka in Paramount Player’s iteration live-action take of Nickelodeon's Dora the Explorer. Kilcher joins Isabela Moner, Eva Longoria, and Michael Pena in Australia where the pic is currently shooting. Directed by James Bobin, the story follows Dora dealing with high school and leading a new group of friends on an adventure with her sidekick, Boots…

Mip Junior: Nickelodeon Latin America Kicks Off Co-Production ‘Club 57’ with Italy’s Rainbow Group (EXCLUSIVE)

In what could only be seen as further evidence of the increasing globalization of content, plus Viacom’s drive to produce for and with third-party companies, Nickelodeon Latin America, a Viacom International Studios (VIS) unit, has kicked off productio…

In what could only be seen as further evidence of the increasing globalization of content, plus Viacom’s drive to produce for and with third-party companies, Nickelodeon Latin America, a Viacom International Studios (VIS) unit, has kicked off production on its Latino fictional music series 60-episode “Club 57” in Italy. Nickelodeon Latin America’s first co-production with […]

Kevin Hart Signs First-Look Deal With Nickelodeon

Nickelodeon has signed an exclusive first-look deal with Kevin Hart, the network announced on Thursday.
Under the deal, Hart will produce and develop live-action scripted kids content for the network via his HartBeat Productions banner.
“For me, …

Nickelodeon has signed an exclusive first-look deal with Kevin Hart, the network announced on Thursday.

Under the deal, Hart will produce and develop live-action scripted kids content for the network via his HartBeat Productions banner.

“For me, Nick has always represented everything fun about being a kid, and it’s still at the forefront today of kids’ and family entertainment,” Hart said in a statement. “I’ve been slimed at ‘Kids’ Choice,’ won a lot of Orange Blimps and my kids are my very own built-in focus group, so I’m ready to dive in and make some next-level shows with Brian and everyone at Nickelodeon.”

The deal for Hart comes 10 days after Viacom tapped AwesomenessTV co-founder Brian Robbins as the network’s new president, replacing Cyma Zarghami, who left the company in June after a 30-year tenure.

Added Robbins: “I’m excited to inherit this terrific content deal with Kevin Hart just as I step into my new role at Nickelodeon. Kevin is an incredible talent whose appeal cuts across practically every age group and every member of the family.  He knows how to create unforgettable characters, and I can’t wait for him and HartBeat Productions to focus their creativity on making great new content with us.”

Hart most recently starred in the film “Night School” with Tiffany Haddish, which opened at number one at the box office for its Sept. 28 debut, marking the biggest comedy opening weekend of 2018. In addition to numerous TV and film projects he and HartBeat currently have in development, Hart also currently has a first-look film deal with Universal Studios.

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Kevin Hart Inks First-Look Deal With Nickelodeon (EXCLUSIVE)

Kevin Hart has signed a first-look deal with Nickelodeon, Variety has learned exclusively. Under the deal, Hart and his HartBeat Productions banner will develop and produce live-action, scripted kids content for the network. News of the deal comes less…

Kevin Hart has signed a first-look deal with Nickelodeon, Variety has learned exclusively. Under the deal, Hart and his HartBeat Productions banner will develop and produce live-action, scripted kids content for the network. News of the deal comes less than two weeks after Awesomeness TV co-founder Brian Robbins was tapped to lead Nickelodeon after most recently […]