‘Beavis and Butt-Head’ Returning With Two New Seasons (and Spin-Offs) at Comedy Central

The ViacomCBS-owned cable network is reviving Beavis and Butt-Head, with series creator Mike Judge returning to re-launch and re-imagine the franchise.

‘Beavis and Butt-Head’ Returning With Two New Seasons (and Spin-Offs) at Comedy Central

Comedy Central is summoning the great Cornholio.

The ViacomCBS-owned cable network is reviving Beavis and Butt-Head, with series creator Mike Judge returning to re-launch and re-imagine the franchise as part of a sizable deal that includes a two-season order and plans for additional spin-offs and specials.

Judge will return as the show’s central driving force and will write, produce and provide voiceover for both of the iconic characters, who became pop culture sensations in the early 1990s on Comedy Central’s corporate sibling, MTV.

In the new incarnation, Beavis and Butt-Head will enter a “whole new Gen Z world” with meta-themes that are said to be relatable to both new fans who may be unfamiliar with the original series and old.

“We are thrilled to be working with Mike Judge and the great team at 3 Arts again as we double down on adult animation at Comedy Central,” said Chris McCarthy, who oversees ViacomCBS’ entertainment and youth group as president. “Beavis and Butt-Head were a defining voice of a generation, and we can’t wait to watch as they navigate the treacherous waters of a world light-years from their own.”

The new take on the teenage couch potatoes comes less than 10 days after Comedy Central became the home of Jodie, the adult animated series that is a spinoff of Daria, which itself was an offshoot of Judge’s Beavis and Butt-HeadBeavis and Butt-Head, like the Tracee Ellis Ross-led Jodie, hails from MTV Studios, the in-house division launched two years ago by McCarthy with a larger goal to monetize the company’s vast library and sell to third-party buyers. With McCarthy now overseeing Comedy Central, MTV and a slew of other cable brands at the company, he’s now turning the studio into a content supplier of his own.

Beavis and Butt-Head originally launched as part of MTV’s Liquid Television in 1992 before being turned into a series a year later. The show would run between 25 and 50 original episodes a year through 1997 before being revived for an eighth season in 2011. A feature film, Beavis and Butt-Head Do America, debuted in 1996 and grossed $63 million domestically on a budget of $12 million. Judge’s unadulterated satirical commentary look at Gen X became a pop culture phenomenon, complete with merchandising lines including comic books and multiple video games as well as a spinoff, Daria. The series is known to haveinspired Trey Parker and Matt Stone to create mega-hit South Park.

“It seemed like the time was right to get stupid again,” Judge quipped of Beavis and Butt-Head’s return.

The deal with Judge marks a homecoming for the prolific comedy creator, who launched his career with the series before going on to write and direct features Office Space andIdiocracy as well as Fox series King of the Hill and HBO’s live-action Emmy-winning comedy Silicon Valley. The Beavis and Butt-Head pact is in addition to his rich overall deal with WarnerMedia-backed HBO, where he has been based for years. Under that deal, Judge is already working on two series — QualityLand and limited entry A5

For its part, Comedy Central continues to ramp up its animated offerings with Beavis and Butt-Head joining Daria as well as veteran South Park. The cabler is also the home syndicated repeats of adult animated series including BoJack Horseman, Judge’s King of the Hill and Seth MacFarlane’s The Cleveland Show. (It’s worth noting that Judge and co-creator Greg Daniels had “preliminary conversations” with Fox for a King of the Hill revival in 2017.)

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

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

 

Source : Billboard More   

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On This Day In Billboard Dance History: Madonna Shined a ‘Ray of Light’ on Clubland

In July 1, 1998, Madonna's electronic-oriented single "Ray of Light" was having its four week run at No. 1 on Billboard's Dance Clug Songs chart.

On This Day In Billboard Dance History: Madonna Shined a ‘Ray of Light’ on Clubland

Incredibly, 50 Madonna songs have reached No. 1 on Billboard’s Dance Club Songs chart, giving her the distinction of the artist with the most No. 1s on this chart. But only one of these tracks started in the folk world before entering the club scene.

No. 1 on the chart 22 years ago today (July 1), “Ray of Light” was an adaptation of the 1971 song “Sepheryn” by English folk duo Curtiss Maldoon. The song entered Madonna’s field of awareness more than two decades later, when English musician and producer William Orbit sent her a version of the song — renamed “Ray Of Light” and performed by the niece of one of the members of Curtiss Maldoon — to consider for inclusion on her upcoming album.

Madonna liked it, and together with Orbit, she revamped the lyrics, updated the instrumentation and sped the BPM way up. By the time the song was released as the title track from Madonna’s 1998 LP, the minor folk hit had been transformed into a synth-laden electronica anthem that would become both one of the biggest hits of Madonna’s career and reflect who the pop queen had become by the late 90s. The reworked lyrics of the second chorus explored themes related to motherhood and spirituality, as her daughter Lourdes had been born two years prior, and Madonna had begun her exploration of Eastern mysticism and Kabbalah during this same period.

“This album is reflective of where I am in my life right now–in terms of my musical interests and in terms of my personal beliefs,” Madonna in 1998. “I feel like I’ve been enlightened, and that it’s my personal responsibility to share what I’ve learned so far with the world.”

Effectively, she completed this sharing by making people dance. While her previous LP, 1994’s Bedtime Stories, had included slowed-down R&B tracks like “Take a Bow” and “Secret,” “Ray of Light” spread its message of love and positivity via its embrace and expansion of the late ’90s electronica genre, at that point being explored by scene stars like Moby, Björk, Underworld and more.

“I’ve been a fan of all kinds of electronic music for many years,” Madonna said in the same Billboard interview, “and I wanted to incorporate that sound into my music.”

Indeed, while many of Madonna’s biggest hits — “Vogue,” “Like a Prayer,” “Like a Virgin” — certainly worked in nightclubs, the song’s styles and structures firmly embedded them in the pop world. But with “Ray Of Light,” Madonna was not simply making pop music that would work in the clubland, but music aesthetically connected to the roots of the genre, taking particular influence from the acid house that was a staple of the ’90s underground rave scene.

Altogether, it got bodies moving around the globe. “Ray Of Light” spent four weeks at No.1 on Dance Club Songs chart, from the charts dated June 20, 1998 to July 11. This run makes the song one of her longest leaders – “Holiday/Lucky Star” spent five weeks at No. 1 in 1983, “Music” later spent five weeks in this position in 2000, “Like A Virgin” spent four weeks in 1984-’85 and “Hung Up” spent four weeks in the top spot in 2005.

“Ray of Light” was the second of three singles from the Ray Of Light album, after “Frozen” (2 weeks, April-May ’98) and before “Nothing Really Matters” (2 weeks, March ’99). It was her 20th No. 1 on the chart at the time. The song’s lauded  video was directed by Jonas Åkerlund, who had directed the infamous clip for The Prodigy’s “Smack My Bitch Up.” Meanwhile, the song won the 1999 Grammy for best dance recording, while the album won that year’s best pop vocal album trophy. Those two awards, along with the other pair she won that evening, were the first audio Grammy awards of her career.

The 1999 Grammys ceremony was a long way from the underground club scene, and in fact even further away from the English folk world. Yet all of these musical stepping stones had helped Madonna create a song that remains one of the brightest lights of her enduring career.

Source : Billboard More   

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