MEDIA & PUBLISHING : View Posts

Companies in this industry produce, process, or distribute information and entertainment content. US-based media conglomerates include AT&T (owner of WarnerMedia), Comcast (owner of NBCUniversal), Disney, and Paramount, all of which have a global sphere of influence. Major companies outside the US include Bertelsmann and ProSiebenSat1 Media (both based in Germany).

Globally, the media industry generated about $2 trillion in 2022, according to PricewaterhouseCoopers (PwC). The digital media industry continues to grow as the number of platforms and audience for online media increase, according to Pew Research Center.

The US media industry includes about 154,000 establishments (single-location companies and units of multi-location companies) with combined annual revenue of about $1.6 trillion. Software publishing and telecommunications services, which are included in this industry, are covered further in separate industry profiles.

The media and entertainment industry captures a wide variety of companies that serve to provide products and services that keep the everyday consumer engaged. There are a number of segments within the industry, each of which provides a different form of entertainment to consumers around the world. These segments include traditional print media, television, radio broadcasting, film entertainment, video games, advertising and perhaps most importantly, the manufacturers of the technology that the above segments rely on. The significance of these manufacturers cannot be overlooked when considering the industry as a whole; after all none of these segments has been around longer than the technology used for its distribution. Due to its dependency on technological developments new segments of the media and entertainment industry are constantly up and coming. To that end, the most significant technological development (in recent years, at least) for the evolution of the media industry has been the rise of the internet. This technology alone has changed how media is consumed and furthermore has created entirely new sectors and platforms for mainstream entertainment that are still in the early stages of their development.

In 2007 the U.S. spent roughly $930 billion on the media industry as a whole, with advertising spending accounting for over $284 billion.

Advertising
In 2007 U.S. advertising spending was about $284 billion, nearly 31% of total spending on the entire media industry. Advertising has long been the major revenue generator for media companies. The advertising industry utilizes nearly every communication channel available to make their clients’ products and services known. Major mediums for advertising include television, radio, print media, and to an increasingly large degree, the internet. Other platforms for advertising include public advertisements like billboards (both traditional and digital) and city busses.
The development of internet advertising has had a very significant impact on the advertising industry and has created some trouble for many media companies that rely on traditional advertising platforms. With over 80 million broadband internet connections in the U.S. during 2007, advertising companies have found a new and very significant audience Major companies in the advertising industry include
Lamar Advertising Company (LAMR)
Clear Channel Outdoor Holdings (CCO)
Omnicom Group (OMC)

Print Media
Companies that produce and distribute newspapers, magazines, and books are considered to be in the print media segment. Many of these companies use the subscription revenue model, which is very attractive as customers pay for product before receiving it, allowing the firm to invest the proceeds, earning a return even before delivering the product. Also, the cost structure of the publishing business is mostly fixed. The printing machinery and distribution network of a typical publisher can deliver 750,000 copies for only slightly more than the cost of delivering 500,000 copies, meaning higher volume falls directly to profits (also known as leveraging costs). This allows excellent return on capital for the larger publishers. Lastly, these firms have valuable intangible assets in the form of brands that protect their products from competition. Value Line, despite a complete lack of product innovation and no embrace of the internet, can still afford to charge a premium for their product because of it’s long standing reputation with investors.
However, beware the internet. More than any other business sector, the internet has affected the business model of media companies drastically. Once upon a time, newspapers were an outstanding business. Many had a monopoly within their city, as few cities were large enough to support more than one. However, the internet allows anyone to read news from around the world, advertising has moved online (leading to falling print ad rates), and classified ads took a hit from eBay (EBAY) and Craigslist. Keep in mind how the internet can hurt (or help) your publisher of choice.

Since the rise of the internet, print media companies have had a difficult time keeping up with the pace of the industry. Internet advertising has seen strong fast paced growth in recent years and as a result newspapers and magazines have had trouble attracting ad revenues. In 2006 there were 2,344 total daily and Sunday newspapers distributed throughout the U.S. and newspaper companies earned $49.3 in advertising revenue. U.S. Magazine advertising revenues for 2006 were $24.0 billion. Evidence of the print media industry’s struggle against internet advertising can be seen in decreasing ad revenue figures. The Newspaper Association of America reported that 2007 newspaper ad revenues were down 9.4% to $42 billion, the most significant percentage loss in the 50 years that the NAA has been reporting these figures. Companies that produce and distribute print media such as newspapers, magazines and books include

Gannett (GCI)
Getty Images (GYI)
McClatchy Company (MNI)
New York Times Company (NYT)
News Corporation (NWS)
Barnes & Noble (BKS)
Washington Post Company (WPO)

Television
The television segment of the media and entertainment industry includes a large number of companies that compete directly and indirectly by offering various services to consumers. It has long been a traditional entertainment segment and has evolved in many directions since its beginning. Today there are various offerings for television users including network television channels, cable networks and satellite television services. The latter two options are generally subscription based services which offer programming not available to non-subscribers. In 2007 there were roughly 112 million U.S. households with televisions, or about one third of the entire population.
As the technology supporting the media and entertainment industry evolves, television service providers are required to evolve their services in order to keep up. Television providers have had some success in keeping up with the fast paced and fiercely competitive industry though. Since the TiVo hit shelves in 1997 service providers like Comcast and DirecTVhave produced similar hardware and services for their subscribers. The popularity of the internet however, has not been such a quick fix for companies in this segment. As with print publishing, television broadcasting companies are now competing with the enormous advertising platform that is the internet. Furthermore, programming that was once exclusively available through television service subscriptions can be found (both legally and illegally) with the click of a mouse. Companies involved in television broadcasting include
•
CBS (CBS)
• Cablevision Systems (CVC)
• Comcast (CMCSA)
• Discovery Holding Co (DISCA)
• News Corporation (NWS)
• General Electric Company (GE) (Owner of NBC Universal)
• The DirecTV Group (DTV)
• TiVo (TIVO)
• Time Warner (TWX)
• Viacom (VIA)
• Verizon Communications (VZ)
• Virgin Media (VMED)
• Vivendi (EPA: VIV)
• Walt Disney Company (DIS)

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WASHINGTON, D.C. — Michael Abramowitz, a prominent journalist and former president of Freedom House, was sworn in on June 24 as the 31st Director of the Voice of America.

“For more than 80 years, the Voice of America has delivered trusted news and information to the world, especially for those living in closed societies and who have no other access to the truth,” Abramowitz said. “This role could not be more important in an age when authoritarian regimes are spreading lies and propaganda with abandon. I look forward to working with VOA’s outstanding journalists and staff in fulfilling its unique mission.”

Abramowitz is an experienced, skilled and respected journalist who most recently served as president of Freedom House, a Washington, D.C.-based non-profit organization providing research and analysis, advocacy, and direct support to journalists and human rights defenders. He previously directed the U.S. Holocaust Memorial Museum’s Levine Institute for Holocaust Education and led the museum’s genocide prevention efforts.

For nearly 25 years, Abramowitz worked at The Washington Post, rising to national editor and then White House correspondent. At the Post, he won the Aldo Beckman award for excellence in White House coverage and led a team that won the Pulitzer Prize for national reporting about the post 9-11 war on terrorism.

A graduate of Harvard College, Abramowitz is a member of the Council on Foreign Relations and the George W. Bush Institute Advisory Council. He was formerly a Marshall Memorial fellow at the German Marshall Fund and Berlin Prize Fellow at the American Academy in Berlin.

“Michael is a brilliant journalist, who is fiercely passionate about VOA’s mission – which is telling audiences the truth.” said USAGM CEO Amanda Bennett. “I can’t wait to see how his contagious energy and enthusiasm powers this team. I am excited for his leadership, and incredibly grateful to John Lippman and Yolanda Lopez for their service in the interim.”

VOA’s Acting Director of Programming, John Lippman, served as Acting VOA Director since October 2023. Previous VOA Acting Director Yolanda Lopez served from January 2021 until September 2023.

About VOA
Voice of America reaches a global weekly audience of more than 354 million people in 48 languages. VOA programs are delivered on satellite, cable, shortwave, FM, medium wave, streaming audio and video and more than 2,350 media outlets worldwide. It is funded by the U.S. Congress through USAGM.

NEW YORK, July 18, 2024 — The Board of Directors of Omnicom (NYSE: OMC) declared a quarterly dividend of 70 cents per outstanding share of the corporation’s common stock. The dividend is payable on October 11, 2024 to Omnicom common shareholders of record at the close of business on September 20, 2024.

About Omnicom
Omnicom (NYSE: OMC) is a leading provider of data-inspired, creative marketing and sales solutions. Omnicom’s iconic agency brands are home to the industry’s most innovative communications specialists who are focused on driving intelligent business outcomes for their clients. The company offers a wide range of services in advertising, strategic media planning and buying, precision marketing, retail and digital commerce, branding, experiential, public relations, healthcare marketing and other specialty marketing services to over 5,000 clients in more than 70 countries. For more information, visit www.omnicomgroup.com.

SOURCE Omnicom Group Inc.

At this morning’s Warner Bros. Discovery’s 2024 Upfront presentation, Sheereen Russell, EVP of Client Partnerships and Inclusion Solutions, Warner Bros. Discovery, and Dana Nussbaum, EVP of Worldwide Marketing, Warner Bros. Pictures showcased how the company’s holistic approach to cross-company collaboration will afford brands and advertisers the opportunity to connect their messages with hit films from Warner Bros. Pictures. The initiative underscores the opportunity to develop major brand executions that service their needs while also being part of cultural moments that consumers want to experience.

The announcement emphasized the power of the “One WBD” message shared throughout the Upfront presentation, a system that extends point of contact across the organization to unlock opportunities across the portfolio in a streamlined, effective way.

“This past year, we developed new best practices and pathways across all our internal partners to drive success for us and for clients,” said Russell. “We can create bespoke opportunities for the right brands, bringing them directly into meaningful events, major film releases and beloved franchises.”

“Our recent theatrical releases have benefited from brilliant cross-company collaboration, amplifying our amazing storytelling, celebrating our creators and creating true cultural moments,” said Nussbaum. “We are thrilled to explore even more opportunities for brand partners around some of our biggest new releases and beloved franchises.”

Building off the success of this model to amplify partnerships across Barbie, Wonka and The Color Purple, upcoming culture-defining releases that advertisers can activate around include Furiosa: A Mad Max Saga, Beetlejuice, Mindcraft and DC’s Superman. Opportunities include co-marketing campaigns leading up to and throughout a film’s release, integration with the film’s streaming premiere on Max, and creative sponsorship opportunities on the full Warner Bros. Discovery networks and digital portfolio.

WASHINGTON, June 27, 2024—FCC Chairwoman Jessica Rosenworcel today proposed that the agency require mobile providers to unlock customers’ mobile phones within 60 days of activation. New unlocking rules would allow consumers the freedom to take their existing phones and switch from one mobile wireless service provider to another more easily, as long as the consumer’s phone is compatible with the new provider’s wireless network.

At its July 18 Open Meeting, the Commission will vote on a proposed Notice of Proposed Rulemaking on expanding unlocking requirements to establish a clear and uniform set of requirements for all mobile service providers.

“Real competition benefits from transparency and consistency,” said Chairwoman Rosenworcel. “That is why we are proposing clear, nationwide mobile phone unlocking rules. When you buy a phone, you should have the freedom to decide when to change service to the carrier you want and not have the device you own stuck by practices that prevent you from making that choice.”

Mobile phone unlocking can increase consumer choice and competition in the wireless service provider marketplace. Updated unlocking rules would give consumers more flexibility when switching service providers, increase competition by reducing consumer’s switching costs, and reduce customer confusion by applying the same unlocking rules to all mobile service providers.

Specifically, the Notice of Proposed Rulemaking would seek comment on requiring all mobile wireless service providers to unlock mobile phones 60 days after the device is activated with the provider. The proceeding would also seek comment on whether an unlocking requirement should be applied to existing contracts or future contacts. It also seeks comment on the impact of a 60-day unlocking requirement in connection with service providers’ incentives to offer discounted phones for postpaid and prepaid service plans, as well as whether an unlocking requirement would benefit smaller providers, new entrants, and resellers by increasing the number of phones available on the secondary market.

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Office of the Chairwoman: (202) 418-2400 / www.fcc.gov/jessica-rosenworcel

This is an unofficial announcement of Commission action. Release of the full text of a Commission order constitutes official action. See MCI v. FCC, 515 F.2d 385 (D.C. Cir. 1974)

WASHINGTON — The FCC’s Enforcement Bureau today entered into a settlement with Liberty Latin America, through Liberty subsidiaries Liberty Mobile Puerto Rico and Liberty Mobile USVI, to resolve an investigation into whether Liberty failed to report a data breach in a timely manner as required by Commission rules and conditions of Liberty’s license under a national security agreement intended to address national security and law enforcement risks.

Liberty acquired telecommunications operations from another carrier in 2020. In January 2023, Liberty learned from its predecessor that Liberty customer data predating the transaction had been breached. Liberty was required to file a breach report pursuant to the Commission’s rules and to notify the Department of Justice of the breach pursuant to a national security mitigation agreement. Liberty did not timely report the breach and instead spent weeks negotiating with its predecessor over which of the companies was responsible for notifying the government about this breach.

“The nexus between national security and consumer privacy and the protection of sensitive data is stronger than ever,” said FCC Enforcement Chief Loyaan A. Egal, who also serves as head of the Privacy and Data Protection Task Force. “The Enforcement Bureau will work closely with our national security partners to ensure that conditions to FCC licenses and the provisions in Team Telecom mitigation agreements that address the protection of sensitive data and cybersecurity risks are strongly enforced.”

Carriers have access to voluminous sensitive information about their customers. When a breach occurs, carriers must have a plan to act quickly and notify regulators. The risks may require heightened care when companies have foreign ownership, control, or investment. To address such risks, the Commission requires businesses with foreign ownership (including Liberty) to undergo a transaction review and approval process. The Commission works closely with the Committee for the Assessment of Foreign Participation in the United States Telecommunications Sector (commonly known as Team Telecom) to address issues related to U.S. national security and law enforcement interests before approving such transactions.

At the FCC’s request, Team Telecom reviewed the Liberty transaction for these concerns. Team Telecom and Liberty subsequently negotiated and entered into a letter of agreement, which included a 72-hour breach notification requirement and other terms to address identified risks to national security and law enforcement interests. The Commission conditioned its approval of Liberty’s transaction upon Liberty’s compliance with the terms of the LOA.

The Enforcement Bureau’s settlement, formally called a Consent Decree, advances vital U.S. national security and law enforcement interests and protects the privacy and security of sensitive consumer data, ensuring that Liberty abides by the Commission’s rules and its commitments to Team Telecom. The FCC—through its own expertise and coordination with the Team Telecom national security agencies—is able to protect consumers’ privacy and sensitive data, as well as oversee the security of vital U.S. communications infrastructure.

In 2023, FCC Chairwoman Rosenworcel established the Privacy and Data Protection Task Force, an FCC staff working group focused on coordinating across the agency on the rulemaking, enforcement, and public awareness needs in the privacy and data protection sectors, including data breaches (such as those involving telecommunications providers) and vulnerabilities in regulated communications providers’ privacy and cybersecurity practices. More information on the Task Force is available at: https://www.fcc.gov/privacy-and-data-protection-task-force.

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Media Relations: (202) 418-0500 / ASL: (844) 432-2275 / www.fcc.gov

This is an unofficial announcement of Commission action. Release of the full text of a Commission order constitutes official action. See MCI v. FCC, 515 F.2d 385 (D.C. Cir. 1974).

New York, NY & San Francisco, CA — News Corp and OpenAI today announced a historic, multi-year agreement to bring News Corp news content to OpenAI. Through this partnership, OpenAI has permission to display content from News Corp mastheads in response to user questions and to enhance its products, with the ultimate objective of providing people the ability to make informed choices based on reliable information and news sources.

OpenAI will receive access to current and archived content from News Corp’s major news and information publications, including The Wall Street Journal, Barron’s, MarketWatch, Investor’s Business Daily, FN, and New York Post; The Times, The Sunday Times and The Sun; The Australian, news.com.au, The Daily Telegraph, The Courier Mail, The Advertiser, and Herald Sun; and others. The partnership does not include access to content from any of News Corp’s other businesses.

In addition to providing content, News Corp will share journalistic expertise to help ensure the highest journalism standards are present across OpenAI’s offering.

“We believe an historic agreement will set new standards for veracity, for virtue and for value in the digital age,” said Robert Thomson, Chief Executive of News Corp. “We are delighted to have found principled partners in Sam Altman and his trusty, talented team who understand the commercial and social significance of journalists and journalism. This landmark accord is not an end, but the beginning of a beautiful friendship in which we are jointly committed to creating and delivering insight and integrity instantaneously.”

“Our partnership with News Corp is a proud moment for journalism and technology,” said Sam Altman, CEO of OpenAI. “We greatly value News Corp’s history as a leader in reporting breaking news around the world, and are excited to enhance our users’ access to its high-quality reporting. Together, we are setting the foundation for a future where AI deeply respects, enhances, and upholds the standards of world-class journalism.”

About News Corp
News Corp (Nasdaq: NWS, NWSA; ASX: NWS, NWSLV) is a global, diversified media and information services company focused on creating and distributing authoritative and engaging content and other products and services. The company comprises businesses across a range of media, including: digital real estate services, subscription video services in Australia, news and information services and book publishing. Headquartered in New York, News Corp operates primarily in the United States, Australia, and the United Kingdom, and its content and other products and services are distributed and consumed worldwide. More information is available at http://www.newscorp.com.

About OpenAI
OpenAI is an AI research and deployment company. Its mission is to ensure that artificial general intelligence benefits all of humanity.

Contacts
News Corp Corporate Communications
Jim Kennedy
212-416-4064
jkennedy@newscorp.com

Arthur Bochner
646-422-9671
abochner@newscorp.com

Kayla Wood
press@openai.com

WASHINGTON, D.C. — Russian authorities have levied additional charges against Alsu Kurmasheva, a veteran RFE/RL journalist who has been held since October for violating Russia’s so-called “foreign agent” law. Kurmasheva is now accused of disseminating “fake” news about Russia’s armed forces, carrying a potential punishment of up to 10 years in prison.

“USAGM strongly condemns Russia’s prolonged detention of RFE/RL journalist Alsu Kurmasheva,” said USAGM CEO Amanda Bennett. “Alsu is an esteemed journalist and mother who has been targeted for doing her job. It’s time for the persecution to end so we can finally bring her home.”

CEO Bennett’s statement echoes widespread condemnation from the international community. “We strongly condemn Russian authorities’ apparent decision to bring additional charges against Alsu,” said RFE/RL acting President Jeffrey Gedmin in a prior statement. “Journalism is not a crime. It is time for this cruel persecution to end. Alsu has already spent 56 days unjustly detained and separated from her family.”

Amanda Bennett
Chief Executive Officer
Amanda Bennett is a Pulitzer Prize-winning author, investigative journalist and editor. She was named Director of Voice of America in March 2016, serving until June 2020. Previously she was Executive Editor of Bloomberg News, where she created and ran a global team of investigative reporters and editors; Editor of The Philadelphia Inquirer; Editor of the Herald-Leader in Lexington, Kentucky; and a managing editor at The Oregonian in Portland, Oregon. Bennett served as a Wall Street Journal reporter for 23 years, including stints in Toronto and Beijing. She has also been a contributing columnist for The Washington Post.

Alsu Kurmasheva
Journalist, RFE/RL
Alsu Kurmasheva is a journalist with RFE/RL’s Tatar-Bashkir Service. Kurmasheva has been detained by authorities in Kazan, Russia since October 18, 2023. She is charged with failure to self-register as a “foreign agent” and disseminating “fake” news about Russia’s armed forces. #FreeAlsu

The Association of American Publishers (AAP) today applauded the U.S. Court of Appeals for the Fifth Circuit’s decision in Netflix v. Babin unanimously affirming the district court’s grant of a preliminary injunction barring any further Texas state prosecution of Netflix over the film Cuties.

The Court held that sufficient evidence supported the district court’s finding that the District Attorney prosecuted Netflix in bad faith, writing “While states certainly have a legitimate interest in the enforcement of their criminal laws, they have no such interest when the enforcement of those laws is carried out in bad faith. ‘With respect to the interests of the State,’ we have said, ‘it by definition does not have any legitimate interest in pursuing a bad faith prosecution brought to retaliate for or deter the exercise of constitutionally protected rights.’”

The Court further held that “The balance of equities . . . favors Netflix. It has an obvious interest in the continued exercise of its First Amendment rights, and the State has no legitimate interest in a bad-faith prosecution.”

In June of this year AAP joined a broad coalition of representatives of public policy organizations, movie studios, Texas Broadcasters, newspapers, reporters, publishers, authors, and photographers in filing an amicus brief in support of free speech in the Fifth Circuit on behalf of Plaintiff-Appellee Netflix.

The brief raised critical free speech issues implicated by this case, highlighting the importance of addressing bad-faith prosecutions and vindicating First Amendment rights in federal court in a timely fashion; and the unconstitutional chilling effects of such criminal prosecutions on all speakers.

AAP’s amicus brief can be found here: https://publishers.org/news/public-policy-organizations-movie-studios-texas-broadcasters-newspapers-reporters-publishers-authors-and-photographers-file-amicus-brief-in-netflix-case-in-support-of-free-speech/

Connection Point is a new series designed to connect editors and freelance contributors. Are you an editor looking to hire quality writers, designers, and other professionals? Contact the Freelance Committee for information about a free listing.

CurrentThis off-site link opens in new tab or window. is a B2B publication that serves the public media industry. While most readers are people who work at public radio and television stations, networks and production companies, media watchers and others interested in public media make up a small but important part of the audience. Articles help public news professionals get information and context on what’s happening in the industry, and gather ideas and insights to make their institutions stronger.

Current is both print and online. It publishes six issues a year on a roughly bimonthly basis. The website is another destination for articles; many are original and don’t make it into the newspaper. The publication also maintains a job board and an online business directory. Mike Janssen, Current’s digital editor, provides some information on what the publication is seeking and how to successfully pitch.

What types of articles are you looking for?

We have a more complete list in our online writers’ guidelinesThis off-site link opens in new tab or window., but here are a few examples:

Trends and developments in radio, TV and digital publishing/distribution technologies and how public media is responding or is being affected.
Profiles of people working in public media who have achieved notable goals for stations or networks.
Features about new radio shows, TV shows and podcasts in local and national public media, and coverage of how long-running programs are adapting to new platforms and audience expectations.
Developments in public media programming, fundraising, station ownership and federal policy that influence or inform the work of public media professionals.
Coverage of how public media stations, networks and producers are responding to the widespread push for racial justice by seeking greater diversity, equity and inclusion in their workplaces and among their audiences.
What is the typical length for articles?

We’re open to a range of lengths. It just depends on the topic. It’s pretty rare, however, that we publish pieces that exceed 1,500 to 2,000 words.

What is your typical rate? Do you provide a kill fee?

We pay 75 cents/word. We do provide kill fees, but as negotiated into contracts that we usually issue before working with a freelancer for the second time. A first-time freelancer who wants a kill fee would need to mention that up front.

Do you work with freelance designers, artists, multimedia storytellers or other professionals besides writers? How do you work with them?

Lately we have started using more freelancer artwork for theme packages in our print edition and online. We welcome seeing anyone’s portfolio for consideration. As for multimedia, we have produced podcasts (though none currently) and commissioned videos. Though we haven’t been doing much lately with audio and video, we’re open to pitches.

What level of expertise in your field do contributors need to have?

Some. Our readers expect more details and context in coverage of public media than what they can find at other publications. They also expect reporting that takes them behind the scenes to explore developments that affect their work. Writers need to have some knowledge of the issues and thinking in public media, and access to people who can give true insights.

How can writers craft a pitch that will really impress you?

It’s definitely a plus if a pitch reflects an understanding of what public broadcasting is. We get a fair number of pitches from freelancers who propose media stories completely unrelated to public media.

Read some of the articles on our site before you pitch so you’re familiar with what we cover. People who sign up can view two articles for free, or we can grant temporary access behind our paywall. After that, review the pitch guidelines on our websiteThis off-site link opens in new tab or window. for more information about what we’re seeking.

NEW YORK, July 6, 2023 — Omnicom (NYSE: OMC) today announced the acquisition of Grabarz & Partner to further cement its leadership position in Germany, the fourth largest advertising market in the world.

Founded in 1993, Grabarz & Partner is a world-class creative agency headquartered in Hamburg. With more than 260 employees, the agency works with prominent global and local clients such as Deutsche Bahn, IKEA, Lidl and Porsche. It has been named to prestigious industry lists such as Cannes Lions’ “Top Ten Independent Agencies of the Decade” and Campaign UK‘s “The World’s Leading Independent Agencies”. Grabarz & Partner’s management team will continue to serve in their current roles following the closing of the transaction.

“We’re thrilled to add one of the most creative agencies in Germany to our roster and to lean into its stellar reputation in one of Europe’s most important economic regions for our clients,” said John Wren, Chairman and CEO of Omnicom. “Our shared vision for creative excellence is what drew us to them, and we look forward to the impact they’ll make as part of Omnicom. We welcome the entire Grabarz & Partner team to the group.”

“Throughout our 30 years of existence, we’ve received many offers for our agency. Omnicom was the first one that truly piqued our interest as they presented us a tailor-made plan that took into account our goals and vision, our strategy as a creative agency, and, above all, our unique culture formed by the last three decades,” said Ralf Heuel, co-founder and managing partner at Grabarz & Partner. “We are convinced this will be another successful chapter for Grabarz & Partner, one in which all our clients and employees will benefit.”

The transaction is expected to close during the third quarter of 2023, subject to customary closing conditions, including regulatory approval.

About Grabarz & Partner
Founded in 1993, G&P is a world-class creative agency headquartered in Hamburg. With more than 260 employees, the agency works with prominent global and local clients such as Deutsche Bahn, IKEA, Lidl and Porsche. It has been named to prestigious industry lists such as Cannes Lions’ “Top Ten Independent Agencies of the Decade”, “Top Ten Independent Agencies of the Decade” by Horizont magazine, “Agency of the Year” by W&V magazine, Eurobest, and Clio awards, “Managers of the Year” by Horizont magazine and Campaign UK’s “The World’s Leading Independent Agencies”.

About Omnicom
Omnicom (www.omnicomgroup.com) is a leading global marketing and corporate communications company. Omnicom’s branded networks and numerous specialty firms offer services in advertising, strategic media planning and buying, precision marketing, commerce and brand consulting, experiential, customer relationship marketing (CRM), public relations, healthcare marketing and other specialty communications services to over 5,000 clients in more than 70 countries.

WASHINGTON, D.C. — Voice of America’s staff won three 2023 Peter Lisagor Awards from the Chicago Headline Club, the Chicago chapter of the Society of Professional Journalists.

VOA Midwest correspondent Kane Farabaugh and VOA videographer Adam Greenbaum won in the “Best Interview (Audio or Video)” category for their television segment, “The Artemis Generation: An Interview with NASA Astronaut Victor Glover,” and in the “Best Political and Government Reporting” category for their piece, “The Inside Story: Flight of the Translators,” alongside VOA employees Carolyn Presutti, Saqib Ul Islam, Jean Michel Mathurin, Steve Redisch, Brian Allen and David Futrowsky. Farabaugh won additional recognition in the “Best Deadline Reporting” category for his story, “Survivors Search for Answers as Chicago Area Mourns Mass Shooting Victims.”

This year, the VOA staff qualified as finalists for 10 awards categories, the most nominations ever received by VOA in a single year.

“Congratulations to Kane and our DC staff for winning three awards this year,” said Acting VOA Director Yolanda Lόpez. “I’m so proud to see our employees earning the recognition they deserve as they further VOA’s mission of telling America’s story, from the frontlines in Afghanistan to new frontiers of space.”

Every year, the Chicago Headline Club, the oldest chapter of the Society of Professional Journalists, honors the best journalism produced across the Chicago region in more than 100 categories, including newspapers, magazines, television, radio and digital media, with the Peter Lisagor Awards. Peter Lisagor served as the Washington bureau chief of the Chicago Daily News from 1959 to 1976, becoming widely known as one of the most well-respected journalists in the United States.

About VOA
Voice of America reaches a global weekly audience of more than 326 million people in 48 languages. VOA programs are delivered on satellite, cable, shortwave, FM, medium wave, streaming audio and video and more than 2,350 media outlets worldwide. It is funded by the U.S. Congress through USAGM.

TORONTO, Feb. 21, 2022 /CNW/ – The Board, which provides direction and oversight of the annual competition, comprises 20 members who serve on a voluntary basis. Seven members represent Canadian newspapers, seven represent other parts of Canada’s news industry, and six are “at-large” representatives. Five of the “at-large” positions have recently been earmarked for individuals and groups that help diversify the Board’s membership and amplify voices and viewpoints that have not been heard in the past.

Two of those positions are allocated to associations, and one to a journalist of Indigenous descent. Those positions are currently held by Dexter Brown (Canadian Association of Black Journalists), Jason Chiu (Canadian Journalists of Colour) and Jim Compton (a longtime broadcaster and one of the founders of APTN).

For the two vacant positions we are seeking to fill, preference will be given to candidates who can provide perspective and input on behalf of equity seeking groups, in particular individuals who self-identify as BIPOC and/or LGBTQ2S+.

Governor positions are unpaid. Appointments are for three years and may be renewed for an additional three years. The Board of Governors meets three times each year (January, May and September). Meetings typically last about two hours and are conducted through remote conferencing. There are a few standing committees, including one that examines ways to make the contest more reflective of Canada’s diversity, and one that annually reviews rules, categories, eligibility requirements and judging procedures

Anyone interested in applying to serve on the Board of Governors should send an email outlining their qualifications, background, interests and any other relevant information by March 11 to Paul Woods, Executive Director, exec@nna-ccj.ca.

Diversity and Inclusiveness

Over the past year, the National Newspaper Awards has examined its history and operations, concluded that the program has not been reflective of Canada’s diversity, and made a commitment to have the competition become more diverse and inclusive. A number of early changes flowed from that commitment. Here’s a look at these initiatives and a preliminary evaluation of their impact:

Fees were reduced for freelance journalists who entered the competition independently, and for journalists in digital news organizations, outside the traditional realm of newspapers. Those journalists were charged $20 per entry this year, compared to fees of $40 and $50 for entries from traditional news organizations. This resulted in a greater number of freelance and digital entries in this year’s competition than in past years.

We encouraged eligible news organizations, from both the traditional newspaper realm and the digital world, to submit the best work done by journalists from equity-seeking groups, including BIPOC and LGBTQ2S+. We are researching how we might be able to collect reliable demographic information about entrants, while also ensuring privacy and the integrity of the awards program.

We set out to expand our pool of judges so that it better represents Canada’s diverse nature. In addition to using existing channels to recruit and retain judges, we publicly solicited new judges in an effort to expand and diversify the pool. We also reached beyond the usual groups (retired and inactive journalists, communications professionals, broadcast journalists and journalism educators) to seek out individuals who would not have been considered in the past but who could bring the sort of thoughtful deliberation required from judges. As a result of these steps, the pool of prospective judges for this year was larger than ever – 120 individuals available for 66 positions. Another four dozen individuals declined to volunteer this year but asked to remain on the list for future years. Although there is currently no information available on how judges self-identify, we believe we have established a foundation for growth in the diversity of voice and opinion on our judging panels.

We sought viable candidates from equity-seeking groups as we moved to fill upcoming vacancies in the two positions that operate and administer the program, Executive Director and Program Director. These positions, which are part-time, did not attract many applications, and we did not succeed in the goal of developing a large, diverse pool of candidates. However, both roles have been filled by strong candidates.

We revamped the Board of Governors to earmark five positions for individuals and organizations from equity-seeking groups. As noted above, three positions have been filled and we are now looking to fill the remaining two vacancies.
Other possible changes continue to be discussed. The individuals selected to join the Board will be strongly encouraged to take an active role in those discussions, and to bring new ideas to the table.

The National Newspaper Awards were established in 1949 by the Toronto Press Club to encourage excellence and reward achievement in Canadian daily newspaper journalism. The contest is also open to Canadian news agencies and other organizations (outside of broadcasting and magazine publishing) that publish original content at least five days a week. The NNAs moved to an independent, not-for-profit governance structure in 1989. The program is funded through annual fees paid by benefactor organizations, entry fees and sponsorships.

Our thanks to Cision for sponsoring this news release.

SOURCE National Newspaper Awards

CONTACT: Paul Woods, Executive Director, National Newspaper Awards, exec@nna-ccj.ca, 905-719-8675

TORONTO, Jan. 7, 2022 – What’s the perfect ending to any story? Being published!

If that’s one of your goals as a writer, then the 2022 Toronto Star Short Story Contest offers you the chance to see your story published in the largest newspaper and on one of the most-visited websites in Canada and to study with some of the best creative writing teachers in the country.

Starting Saturday, January 8, writers who live in Ontario can enter the contest, one of the largest in North America. All submissions must be received by 5 p.m. Tuesday, March 1, 2022.

The contest, now in its 44th year, carries one of biggest prizes in Canada for a short story contest, with the first-place winner receiving $5,000, plus their choice of either the tuition fee for the two-semester creative writing graduate certificate correspondence program at the Humber School for Writers, which has an approximate value of $3,650, or a summer workshop in creative writing, which has an approximate value $1,300.

In addition, the second-place winner receives a cash prize of $2,000 and the third-place winner gets $1,000.

The contest is open to all Ontario residents 16 years of age or older. Entrants can write on any topic they want. Stories must be original, previously unpublished and no longer than 2,500 words. Entries are limited to one for each person.

This is the 13th consecutive year that Toronto Public Library has been a partner with the Star in presenting the contest. The Humber School for Writers has been a partner for the past 12 years.

“The Library is thrilled to support this contest again this year,” says Toronto Public Library’s City Librarian Vickery Bowles. “During challenging times, writing can help us express ourselves, tell our stories, and connect us through our shared experiences. We encourage writers and storytellers all across Ontario to submit their unique and original short stories.”

A panel of judges from the Humber School for Writers will read all the entries and narrow the submissions to a short list of 20-25 stories. Winners will then be selected from the short list by a panel of distinguished judges, including Vickery Bowles; Ann Y.K. Choi, an author and educator; Adnan Khan, a novelist and journalist; Deborah Dundas, Toronto Star books editor; and Richard Ouzounian, former Star theatre critic and author of six books.

Winners will be announced in April and their stories will be published in the Toronto Star, Canada’s largest newspaper and on thestar.com, one of the most-visited websites in the country.

For full contest rules, please visit www.thestar.com/shortstory.

About the Toronto Star:
The Toronto Star, founded in 1892, is read in print and online (thestar.com) by 5.0 million readers every week. The Toronto Star is part of the Torstar Group’s Daily News Brands, which includes The Hamilton Spectator, Waterloo Region Record, St. Catharines Standard, Niagara Falls Review, Peterborough Examiner as well as Toronto.com and The Kit, a fashion and beauty publication.

About Toronto Public Library:
Toronto Public Library is the world’s busiest urban public library system, with more than 46 million annual visits to our branches and online. We empower Torontonians to thrive in the digital age and knowledge economy through easy access to technology, lifelong learning, and diverse cultural and leisure experiences, where, when and how our customers need us. To learn more, visit tpl.ca, email Answerline at answerline@tpl.ca or follow us on Twitter, Facebook and Instagram and subscribe to email updates.

SOURCE Toronto Star

CONTACT: Bob Hepburn, Director, Community Relations and Communications, Toronto Star, (416) 869-4947, bhepburn@thestar.ca; Toronto Public Library, media@tlp.ca

NEW YORK, Nov. 10, 2021 – ViacomCBS Inc. (NASDAQ: VIACA, VIAC) and Twitter today announced a new, multi-year global agreement to deliver premium digital content around ViacomCBS’ biggest live events, hit shows and iconic franchises from the company’s leading portfolio of entertainment, news and sports brands, including BET, CBS Television Network, CBS News, CBS Sports, Channel 5, CMT, Comedy Central, MTV, Network 10, Nickelodeon, Paramount Network and Telefe.

Paramount+ will also host three Twitter Watch Parties, in partnership with Twitter, to bring fans together, fuel conversation and build community around select highly anticipated original series.

“We’re thrilled to extend our long-standing relationship with Twitter in this expansive global deal that brings together the full ViacomCBS portfolio and magnifies the scale and scope of our valued partnership,” said Andrea Wolinetz, SVP, Distribution & Business Development-Streaming at ViacomCBS. “Twitter is the digital water cooler for trending topics and fandom worldwide, and we’re excited to provide front-row access to innovative digital content experiences and culture-defining moments across the best of entertainment, news and sports for Twitter users everywhere.”

“We’re excited to take our strong partnership to a new level, offering premium content across entertainment, news and sports and giving brands the opportunity to align with ViacomCBS’ entire portfolio on a global scale,” said Jennifer Prince, Head of Global Content Partnerships, Twitter. “Through highlights, Twitter Moments, innovative formats and Paramount+ watch parties, Twitter will put users at the center of the biggest moments happening around the world.”

Each of the tentpole programs will be eligible for Twitter marketing support and brand sponsorship sales rights via Twitter’s Amplify program, which marries ViacomCBS’ premium video with Twitter’s paid reach and targeting. ViacomCBS will also tap into a broad range of Twitter marketing features from live video and real-time highlights to Twitter Moments.

Most recently, Twitter and ViacomCBS partnered on the 2021 MTV Video Music Awards and “BET Awards,” bringing content from the biggest nights in music to Twitter. The 2021 “BET Awards” red carpet was live streamed on Twitter, hosted by DJ Envy. For the 2021 VMAs, the live pre-show was hosted on Twitter, and the #VMAStanCam was back for the second time, putting fans in the driver’s seat and giving them the power to choose the behind-the-scenes and close-up moments they wanted to see. MTV and Twitter also teamed up on the launch of #VMAStanMail, a first-of-its-kind on-site activation, designed for global inclusivity, that enabled artists to experience stan Tweets in any language.

The partnership covers all global markets in which Twitter and ViacomCBS operate. Financial terms of the agreement were not disclosed.

About ViacomCBS
ViacomCBS Inc. (NASDAQ: VIAC; VIACA) is a leading global media and entertainment company that creates premium content and experiences for audiences worldwide. Driven by iconic consumer brands, its portfolio includes CBS, SHOWTIME, Paramount Pictures, Nickelodeon, MTV, Comedy Central, BET, Paramount+ and Pluto TV, among others. The company delivers the largest share of the television audience in the United States and one of the industry’s most extensive libraries of television and film titles. In addition to offering innovative streaming services and digital video products, ViacomCBS provides powerful capabilities in production, distribution and advertising solutions.

For more information about ViacomCBS, please visit www.viacomcbs.com and follow @ViacomCBS on social platforms.

About Twitter
Twitter (NYSE: TWTR) is what’s happening and what people are talking about right now. To learn more, visit about.twitter.com and follow @Twitter. Let’s talk.

SOURCE ViacomCBS Inc.

Casey Moynagh, ViacomCBS, casey.moynagh@viacomcbs.com; Jen Santamaria, Twitter, jsantamaria@twitter.com

OTTAWA, ON, Oct. 18, 2021 /CNW/ – The Institute for Research on Public Policy (IRPP) is pleased to announce the launch of the Accenture Editorial Fellowship on the Future of the Public Service. The fellow, acclaimed journalist Kathryn May, will write for the IRPP’s award-winning digital magazine Policy Options.

The two-year journalism fellowship is generously sponsored by Accenture and will provide in-depth and independent coverage of the complex social, economic and technological challenges and opportunities that Canadian public servants are navigating today. These include the transition to digital government; post-pandemic shifts in workplace norms; the pursuit of equity, diversity, inclusion and decolonization; and the modernization of hiring and training.

“This editorial fellowship will fill an important gap in Canadian journalism and provide valuable insights for decision-makers. There are more than 300,000 people inside the federal public service, and Kathryn will be taking a close look at the pivotal work they’re doing to prepare our country for a host of emerging policy issues,” says Les Perreaux, editor-in-chief of Policy Options.

Kathryn May covered the federal public service for 25 years for the Ottawa Citizen and iPolitics, and as a contributor to the National Observer, Policy Options and others. She won a 2007 National Newspaper Award for her work.

Accenture’s established federal public service practice in Ottawa helps organizations build trust by leveraging advanced technologies to transform services for Canadians. From scaling cloud adoption and managing data, to building cyber resilience and reimagining the back office, Accenture helps government organizations accelerate their digital transformation with fresh thinking and innovative solutions.

“We are thrilled to support independent Canadian journalism in a subject area that is critical to the transformation of public services and the shaping of public policy,” says Mark Lambert, managing director and federal public service lead at Accenture. “Now more than ever, public service organizations must balance stability with speed to meet citizens’ expectations. Kathryn’s expert coverage will bring much needed attention to their challenges and achievements as they strive to become innovative, agile and embrace accelerating change.”

About the IRPP and Policy Options
Founded in 1972, the Institute for Research on Public Policy is an independent, national, bilingual, not-for-profit organization. The IRPP seeks to improve public policy in Canada by generating research, providing insight and informing debate on current and emerging policy issues facing Canadians and their governments. Policy Options is the award-winning digital magazine of the IRPP, publishing daily on issues of public policy from a variety of perspectives.

About Accenture
Accenture is a global professional services company with leading capabilities in digital, cloud and security. Combining unmatched experience and specialized skills across more than 40 industries, we offer strategy and consulting, interactive, technology and operations services — all powered by the world’s largest network of advanced technology and intelligent operations centres. Our 624,000 people deliver on the promise of technology and human ingenuity every day, serving clients in more than 120 countries. We embrace the power of change to create value and shared success for our clients, people, shareholders, partners and communities. Visit www.accenture.com.

SOURCE Institute for Research on Public Policy (IRPP)

CONTACT: or interview requests, please contact Cléa Desjardins, 514-245-2139, cdesjardins@irpp.org or Susan Kirwin, 416-641-514, susan.kirwin@accenture.com

NEW YORK, Aug. 11, 2021 /PRNewswire/ — Getty Images, a world leader in visual communications, and UNCF (United Negro College Fund), have announced the creation of the UNCF-Getty Images Scholarship for students at Historically Black Colleges and Universities (HBCUs).

The program will provide scholarships to students attending HBCUs across the United States and will be funded by revenue created by the inaugural Getty Images Photo Archive Grants for HBCUs, that aims to support the digitization of the invaluable visual history of HBCUs.

For more information or to apply to the Getty Images Photo Archive Grants for HBCUs, go to: https://grants.gettyimages.com/hbcu-grant

“We thank Getty Images for its partnership and investment in our students’ futures. The Getty Images Photo Archive Grants for HBCUs exemplifies Getty Images’ commitment to support HBCUs and to give a visual life to previously untold stories,” said Dr. Michael L. Lomax, President and CEO, UNCF. “There is a wealth of unseen imagery within the archives of HBCUs that have rarely been seen, and these grants from Getty Images will be an essential part of the on-going documentation and preservation of Black history.”

Recently launched in partnership and with financial support with the Getty Family and Stand Together, a philanthropic community tackling some of the biggest challenges of our times, the Getty Images Photo Archive Grants for HBCUs Program commits $500,000 towards the digitization of HBCU photographic archives. The Grant will support the digitization of up to 100,000 archival photos for two HBCU Grant recipients. HBCUs will retain all copyright, and original photos will be returned to the HBCUs after scanning, along with the newly digitized photos. Getty Images will represent the digitized photos, making this content available for educational and non-commercial uses, providing a new revenue source for the HBCU Grant recipients.

Cassandra Illidge, Vice President of Partnerships at Getty Images, said, “Our industry and Getty Images has not historically worked from a foundation of diversity, equity and inclusion. We have built a program to not only honor the legacy and history of HBCUs and their contribution to American History, but a program which will support our students’ futures. For Getty Images to move the world, we must ensure that all content creators, their work, and their stories can be preserved. We are committed to making content accessible and to ensure a more authentic representation of history.”

All revenue from the HBCUs photos on www.gettyimages.com will be distributed to HBCUs and to continue impacting the Grants Program: Fifty percent will go to Grant recipients, who will retain all copyright of the visual assets; twenty percent will be reinvested to fund the Getty Images Photo Archive Grants for HBCUs each year; and the remaining thirty percent of royalties will be distributed to the new UNCF-Getty Images Scholarship with the goal of supporting the educational future of HBCU students. The scholarships will become available to students in 2022.

Stand Together CEO Brian Hooks said, “Stand Together is excited to build on our longstanding support for the HBCU community by participating in this important project alongside Getty Images and UNCF. By bringing images from HBCU archives to millions more people, the new curation will help celebrate the unique contributions that HBCUs, their graduates, and faculty members have made and continue to make to our country.”

Getty Images Co-Founder and Chairman Mark Getty said, “At Getty Images we are excited about this partnership with HBCUs to digitize significant parts of their photographic archives. A photographic archive tells a story; it’s a visual history of who we are. As a society we can only learn from history if it tells everyone’s story. This partnership is an important step in that direction.”

Applications to the Getty Images Photo Archive Grants for HBCUs will be accepted through Thursday, September 30, 2021, at 11:59 p.m. PT.

SOURCE press.gettyimages.com

CONTACT: Jenna Attardi, jenna.attardi@gettyimages.com

Related Links
http://www.gettyimages.com

NEW YORK & LONDON–(BUSINESS WIRE)–Aug. 5, 2021– ViacomCBS Networks International (VCNI), a division of ViacomCBS Inc. (NASDAQ: VIAC, VIACA) and Sky, part of Comcast Corporation (NASDAQ: CMCSA), today announced that Paramount+ will launch on Sky platforms in the UK, Ireland, Italy, Germany, Switzerland and Austria (GSA) in 2022 as part of a new multi-year distribution agreement that also includes the extended carriage of ViacomCBS’ leading portfolio of pay TV channels and the renewal of Sky as an ad sales partner in select markets.

This press release features multimedia. View the full release here: https://www.businesswire.com/news/home/20210805005410/en/

“We are thrilled to expand our long-standing partnership with Sky to continue delivering ViacomCBS’ leading portfolio of premium entertainment brands to Sky customers and importantly bring Paramount+ to new audiences in all Sky markets, including the UK, Ireland, Italy, and GSA,” said Raffaele Annecchino, President and Chief Executive Officer, ViacomCBS Networks International. “This transformative distribution deal is key to accelerating our global ambitions in streaming while also supporting Sky’s strategic objectives to better serve audiences with greater flexibility in how they consume our content across all platforms.”

Paramount+ is the latest in a series of apps to come to Sky Q adding more than 10,000 hours of content, further enhancing Sky’s aggregation strategy and enabling Sky customers to watch even more of the best content together in one place on the Sky Q platform.

Stephen van Rooyen, Executive VP & Chief Executive, UK & Europe at Sky said: “This is another example of how we are innovating for our customers and further aggregating all the best apps and content together in one place on Sky Q, giving them more great TV to watch than ever before. Paramount+ is an excellent service with a huge range of fantastic films and TV series, and our new, broader agreement with ViacomCBS will benefit both businesses.”

Upon launch, Sky Cinema subscribers will get the bonus of Paramount+ included at no additional cost, providing access to two fantastic services side by side with more than 10,000 hours of extra content for one affordable price. As part of this partnership, Paramount Pictures’ feature films will remain available on Sky Cinema in the UK and will join Sky Cinema in Germany and Italy in 2022. All other Sky customers will be able to subscribe to Paramount+ as an add-on to their account.

Paramount+ features an expansive catalog of original series, hit shows and popular movies across every genre from world-renowned brands and production studios, including SHOWTIME®, BET, CBS, Comedy Central, MTV, Nickelodeon, Paramount Pictures and the Smithsonian Channel, in addition to a robust offering of premier local content. Outside of the United States, the premium streaming service offers nearly 3,000 episodes of kids’ content, 1,000 episodes of reality, more than 500 films, and 2,500 hours of Paramount+ Originals, CBS and SHOWTIME® series, dramas, and sitcoms.

Titles that will become available through 2022 in the UK, Ireland, Italy and GSA include a collection of scripted, exclusive Paramount+ Originals and exciting new takes on iconic franchises, including HALO, The Offer and the new iCarly series. As the international home of SHOWTIME, the service will offer The Man Who Fell to Earth, Ripley, Super Pumped, and American Gigolo, in addition to popular titles from ViacomCBS, such as Kamp Koral: SpongeBob’s Under Years, Star Trek: Prodigy, and MTV Unplugged. The service will also feature a collection of new movie premieres and fan favorites from Paramount Pictures such as films from the Mission Impossible and Transformer franchises.

In addition, ViacomCBS and Sky reached a multi-year extension for carriage of ViacomCBS’ linear channels — including Comedy Central, MTV and Nickelodeon — in the UK, Ireland, Italy and GSA. The channels will be complemented by a strong selection of box sets, giving customers the flexibility to watch the content they love whenever and wherever they want.

ViacomCBS renewed its multi-year agreement with Sky as an ad sales partner for all platforms and channels in the UK and Italy. Sky Media will continue to handle ad sales across the ViacomCBS portfolio of channels, including Channel 5 in the UK, where ViacomCBS and Channel 5 will benefit from Sky Media’s market-leading innovation in addressable advertising.

Other terms of the agreements were not disclosed.

Paramount+ will also be available direct-to-consumer in UK, Ireland, Italy and GSA through the Paramount+ app for iOS and Android and across supported connected TV devices and OTT platforms. Pricing and local content offering will be announced at a later date.

About Paramount+

Paramount+ is a global digital subscription video streaming service from ViacomCBS that features a mountain of premium entertainment for audiences of all ages. Internationally, the streaming service features an expansive library of original series, hit shows and popular movies across every genre from world-renowned brands and production studios, including SHOWTIME, BET, CBS, Comedy Central, MTV, Nickelodeon, Paramount Pictures and the Smithsonian Channel, in addition to a robust offering of premier local content. Launched on March 4, 2021, the service is currently available in the U.S., Canada, Latin America, and the Nordics, with Australia to launch August 11, 2021. By the end of 2021, ViacomCBS will have launched Paramount+ in 25 markets, ramping to 45 markets by the end of 2022.

For more information about Paramount+, please visit www.paramountplus.com and follow @ParamountPlus on social platforms.

About ViacomCBS Networks International (VCNI)

ViacomCBS Networks International (VCNI), a unit of ViacomCBS Inc. (NASDAQ: VIAC), is comprised of many of the world’s most iconic consumer brands. Its portfolio includes Channel 5, Telefe, Network 10, Nickelodeon, MTV, Comedy Central, BET, Paramount Network, as well as streaming services Paramount+ and PlutoTV, and ViacomCBS International Studios, among others. In addition to offering innovative streaming services and digital video products, ViacomCBS Networks International provides powerful capabilities in production, distribution, and advertising solutions for partners on five continents and across more than 180 countries.

VIAC-IR

About Sky

Sky is Europe’s leading media and entertainment company and is part of Comcast Corporation, a global media and technology company. Across six countries, we connect our 23 million customers to the best entertainment, sports, news and arts including our own award-winning original content.

Our technology, including the market leading Sky Q, connects people to everything they love – with entertainment from Sky TV, Netflix, Disney+, Amazon Prime Video and BBC iPlayer, and apps like Spotify, YouTube, BBC Sounds, Highbrow, Peloton, Fiit, and more, in one place, easy. Our streaming service NOW brings viewers all the enjoyment of Sky with the flexibility of a contract-free service. Through our new B2B broadband provider, Sky Connect, we offer superfast broadband with business-grade 4G back-up to small businesses in the UK.

Building on the success of Sky Originals like Chernobyl, Gangs of London and Brassic, we are doubling our investment in original content by 2024 through Sky Studios. Sky News provides impartial and trustworthy journalism for free, Sky Arts is the UK’s only dedicated free-to-air arts channel making the arts accessible for everyone and Sky Sports, our leading sports broadcasting service, brings customers some of the biggest and best global sporting events from the Premier League to Formula 1 and everything in-between. Our new TV and movie studio, Sky Studios Elstree, which will open in 2022, is expected to create over 2,000 new jobs and generate an additional £3 billion of production investment in the UK over the first five years.

We believe that we can be a force for good in the communities in which we operate. We’re committed to being Europe’s first net zero carbon entertainment company by 2030 and we’re proud to be a Principal Partner and Media Partner of COP26. We take pride in our approach to diversity and inclusion: we’ve been recognised by The Times and Stonewall for our commitment to diversity and we’ve set ambitious 2025 targets to continue to increase diversity and representation. We’re also committed to investing £30million across our markets over three years to improve our approach to diversity and inclusion, and to tackle racial injustice.

ORLANDO, Fla., July 1, 2021 — Starting today, an expanded number of central Florida viewers will get a taste of the future as eight Orlando TV stations band together to launch NEXTGEN TV. Delivering more expansive audio and video options, as well as other innovative new capabilities, NEXTGEN TV enables TV stations to better personalize their broadcasts with information and interactive features, making the content more relevant and engaging for viewers.

“With NEXTGEN TV, viewers are immersed in stunning video with brilliant color, sharper images, and deeper contrast, making them feel like they’re part of the action,” explained Mike McClain, senior vice president and general manager of WOFL-TV, WRBW-TV, and WOGX-TV. “Offering a whole new dimension to broadcast TV viewing, the Dolby Audio System for NEXTGEN TV offers movie-theater quality sound, consistent volume across channels, and Voice + enhanced dialogue so viewers can hear every voice clearly.”

Orlando has a lot to be excited about, as NEXTGEN TV will change the way viewers experience live broadcast television.

NEXTGEN TV is a feature built into select new TV models manufactured by LG Electronics, Samsung, and Sony, and now widely available to consumers. While features available on NEXTGEN TV will vary by device and by broadcaster as commercial service becomes available in local markets, it is designed to be upgradable, enabling a viewer’s television set to advance with the latest technology.

NEXTGEN TV delivers:

Stunning 4K, High Dynamic Range (HDR) video
Movie theater-quality sound
Voice + dialogue enhancement
Consistent volume across channels
Enhanced internet content on demand
“Viewers in Orlando have a lot to be excited about, as NEXTGEN TV is going to change the way they experience live broadcast television, and it will only get better as more features are added down the road by their local stations,” said John Soapes, president and general manager of WESH-TV. “NEXTGEN TV ensures the future of television, where content and the experience of watching culminates, leaving viewers informed, entertained, and inspired.”

Orlando, which is the nation’s 17th largest television market, joins Tampa, Tallahassee, and Pensacola, and nearly 30 other early-adopter cities across the country where NEXTGEN TV service is already available. The eight local stations launching the new digital TV broadcast technology are Fox Television owned-and-operated WRBW-TV (MyNetwork, Channel 65) and WOFL-TV (FOX, Channel 35), Cox Media Group’s WFTV-TV (ABC, Channel, 9) and WRDQ-TV (Independent, Channel, 27), Graham Media Group’s WKMG-TV (CBS, Channel 6), Hearst Television’s WESH-TV (NBC, Channel 2) and WKCF-TV (CW, Channel 18), and University of Central Florida’s WUCF-TV (PBS, Channel 24).

“NEXTGEN TV merges over-the-air TV with the internet, changing the way viewers watch live broadcast television and revolutionizing their interactions with their home screens,” added Anne Schelle, managing director of Pearl TV, the broadcaster business group that is coordinating NEXTGEN TV station launches. “Because NEXTGEN TV can also be enhanced with internet content, viewers across central Florida will be able to get the most out of live news, live events, and live sports.”

The participating stations have worked together to ensure current programming remains available to all viewers, regardless of whether their television service is provided over-the air or by a cable or satellite company. Antenna viewers can simply rescan their TV sets to ensure full service. Rescan instructions are available at: fcc.gov/rescan. Cable and satellite subscribers do not need to take any action. Because NEXTGEN TV has no impact on a household’s internet bandwidth—competition for bandwidth in the home is eliminated, viewers will benefit from the enhanced viewing experience alongside whatever streaming platform they use.

Orlando viewers can learn more about NEXTGEN TV by visiting www.watchnextgentv.com, which offers a guide to cities carrying the service, as well as links to available NEXTGEN TV models.

About Pearl TV:
Pearl TV is a business organization of U.S. broadcast companies with a shared interest in exploring forward-looking broadcasting opportunities, including innovative ways of promoting local broadcast TV content and developing digital media and wireless platforms for the broadcast industry. Pearl’s membership, comprising more than 750 TV stations, includes nine of the largest broadcast companies in America: Cox Media Group, Graham Media Group, Gray Television, Hearst Television Inc., Meredith Local Media Group, Nexstar Media Group, Sinclair Broadcast Group, the E.W. Scripps Company, and TEGNA, Inc.

About WOFL/WRBW/WOGX:
WOFL/WRBW/WOGX are part of the FOX Television Stations, which owns and operates 29 full power broadcast television stations in the U.S. These include stations located in nine of the top ten largest designated market areas (DMAs), and duopolies in 11 DMAs, including the three largest DMAs (New York, Los Angeles and Chicago). Of these stations, 17 are affiliated with the FOX Network. In addition to distributing sports, entertainment and syndicated content, our television stations collectively produce nearly 1,000 hours of local news every week. These stations leverage viewer, distributor and advertiser demand for the FOX Network’s national content.

SOURCE Pearl TV

CONTACT: Havas Formula for Pearl TV, pearltv@havasformula.com

STOCKHOLM, June 28, 2021 /PRNewswire/ — Sherlock Holmes is ready for new intriguing and mind-boggling adventures going audio first. An exclusive agreement between Storytel and The Conan Doyle Estate gives Storytel the privilege of developing completely new stories featuring the world’s most iconic and loved detective. The adventures will be written by a team of writers under the creative lead of award winning novelist and screenwriter Anthony Horowitz.

“The Conan Doyle Estate’s curiosity and interest in our idea of taking the Sherlock Holmes legacy to a new place in a new digital format is a dream come true, and so is getting Anthony Horowitz signed to the project. Not only is he an amazing plot maker and writer of successful novels and tv-scripts, through the novels House of Silk and Moriarty he has already dwelled deep into the Sherlock Holmes universe. I am more than convinced that Anthony is perfect for leading this unique project creatively,” said Rickard Henley, Head of Global Direct Publishing at Storytel.

Anthony Horowitz is one of the most versatile, prolific and successful authors in the UK – and unique for working across many media. His Alex Rider series has sold around 20 million copies worldwide and is credited with encouraging an entire generation to read. In total, Anthony has written over 40 books including new Sherlock Holmes and James Bond novels and award winning television series including Midsomer Murders and Foyle’s War. His bestselling novel, Magpie Murders has just been filmed. A Line to Kill, the third in the series which involves him personally in murder investigations, along with ex-DI Hawthorne, comes out in August.

In a deal brokered by his agent Jonathan Lloyd at Curtis Brown, Horowitz has signed a showrunner agreement with Storytel for three completely new stories about Sherlock Holmes. The license agreement with Conan Doyle Estate will give him and Storytel access to both the brand and the vast knowledge and expertise that lies in the heritage of Sir Arthur Conan Doyle.

“Growing up, we were always reminded of my great uncle Arthur’s passion for telling stories to his children as his mother had done with him. He created some of the world’s most famous stories and characters because of his first love for storytelling. Our mission for the estate is to expand Sir Arthur’s universe and characters far past the original stories. We are delighted to be collaborating with Storytel and Anthony Horowitz on this audio first project which will give Sherlock and his universe a whole different dimension,” said Richard Doyle of The Conan Doyle Estate.

Anthony Horowitz

said:”This is going to be Sherlock Holmes from a very different perspective, staying true to the spirit of the books – which I have always loved – but expanding the narrative and the vision of Conan Doyle in all sorts of unexpected ways. I’m excited to be collaborating with Storytel who has a huge worldwide audience. For me this project is an adventure in itself”.

The scripted series will be written by a team of writers under the creative lead of Anthony Horowitz and Storytel’s Executive Producer Søren Vestergaard. The format is audio first for release on all Storytel markets from Spring 2022. Discussions with print publishing partners and tv- and movie adaptations are already underway.

FNCA Sweden AB is the company’s certified adviser. FNCA can be reached at info@fnca.se or +46 8 528 00 399.

For more information, please contact:

Dan Panas, Head of Global Communications & PR at Storytel
Tel: +46 70 186 52 90
Email: dan.panas@storytel.com

About Storytel

Storytel is one of the world’s largest subscribed audiobook and e-book streaming services and offers listening and reading of more than 500 000 titles on a global scale. Our vision is to make the world a more empathetic and creative place with great stories to be shared and enjoyed by anyone, anywhere and anytime. Storytel’s streaming business is conducted under the brands Storytel and Mofibo. Storytel’s publishing business area is carried out through the audiobook publisher StorySide and acclaimed Nordic publishing houses such as Norstedts, People’s and Gummerus. Storytel operates in 25 markets around the globe and is headquartered in Stockholm, Sweden.

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https://news.cision.com/storytel/r/storytel-and-the-conan-doyle-estate-in-exclusive-agreement—bestselling-author-anthony-horowitz-cre,c3375268

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ANTHONY HOROWITZ

SOURCE Storytel