http://www.bonethefish.com/viewtopics.php?734#

This is a channel with programming for children and teenagers.

In the fall of 2002 after the SUMMER MARATHONS

Got rid of the 90's nicktoons

It was great in the '90s with shows like Clarissa Explains It All, All That (the first few seasons), Kenan & Kel, Ren & Stimpy, Salute Your Shorts... I wish they'd show the classic shows; I can't watch the garbage they show now.

I lost all interest in Nick when YCDTOT was dropped.

Personally, Nickelodeon "boned the fish" around the time that Cyma Zarghami's regime came in around 2006. Here's some links to get a better idea of what I'm talking about:
https://groups.google.com/forum/#!topic/alt.tv.nickelodeon/uYFFrMHSk9o

Meanwhile, a decline in Nickelodeon’s programming began towards the second half of the last decade. Cyma Zarghami (https://groups.google.com/forum/#!topic/alt.tv.nickelodeon/EokFA1dVayE) is particularly noted for this; she became the president of children’s programming at Viacom (https://groups.google.com/forum/#!topic/alt.tv.nickelodeon/WiYCZnZ8EJ0) in 2006 (https://groups.google.com/forum/#!topic/alt.tv.nickelodeon/pd_WVVVv5OM), which is explained to have been the beginning of the network’s downfall (https://groups.google.com/forum/#!topic/alt.tv.nickelodeon/_4oy51qJflA). She obsesses over the happiness over females and appears to focus solely on that aspect of her career. She began a change known as the MTV effect; this involved changing the programming on Nickelodeon and its blocks, while dramatically altering the actual programming of MTV. Subsequently, this resulted in a few changes; firstly, it caused all of the Nickelodeon blocks to ultimately become individual channels (except for Nick@Nite); secondly, it changed the type of programming from individually unique, innovative cartoons, Nickcoms, and game shows, to cash cows, “S***coms” that revolve around inaccurately portrayed teenage life, music, or the internet, and programming that will often be unloved and either cancelled or discarded to a sister network; thirdly, she wanted the complete abandonment of the splat logo (https://groups.google.com/forum/#!topic/alt.tv.nickelodeon/1XRVUJRws9E), because "We wanted to clean it up and allow Nick to be the stamp on all of these channels," and "In asking ourselves if everything could live under the splat, we decided that the splat was dated," she said. "It just couldn't be done in a streamlined way." Except Cyma Zargahmi fails to understand the symbolism of the splat logo. Over the years of the splat logo’s use, there have been many variations of the same logo, varying in shape and incarnation among Nickelodeon, its sister networks, and its programming. The significance of the splat logo is that it did not have to always use the iconic splat. The unique design allowed it to become virtually anything, and it symbolized a wide diversity of programming able to uniquely diversity yet stay united under a common name. This is why the splat logo of Nickelodeon is so iconic and memorable. Yet under the MTV effect, which forced more musical-based media in Nickelodeon, the network slowly began to lose its variety of programming. Nickelodeon’s Cash Cows, such as Spongebob Squarepants (https://groups.google.com/forum/#!topic/alt.tv.nickelodeon/CIoy8XFD5-E), The Fairly Odd Parents, ICarly, Victorious, Degrassi, and Dora the Explorer all began to be focused on more, while other shows were either cancelled or reduced in reruns.

To diminish the demographic-oriented blocks and the sister networks, they merged the two; while The N and Noggin were relatable to TEENick (https://groups.google.com/forum/#!topic/alt.tv.nickelodeon/EHYq3NVLrOc) and Nick Jr. respectively, they sister networks were not meant to fall under the same name due to their dramatically differing programming. Nicktoons Network also fell under this category, although it was mistakenly associated with Nickelodeon due to its splat logo and reruns of older Nick programming. Cyma Zargahmi began to move the blocks that were on Nickelodeon to the sister networks; although the programming remained on the main channel, the Nicktoons and TEENick blocks were discontinued so she could rebrand all four networks in fall 2009. She forced these networks under one common appearance to encourage conformity, as well as have the cash cows infect the other networks, in addition to the already-existing cash cows air more often.

Cyma doesn’t realize that if she had not altered the demographics for the main and sister networks, there would not be a need for rebranding Nickelodeon. In fact, ICarly, Victorious, and even Dora the Explorer became Cash Cows under her command, and due to her obsession of girl power. “I think for all kids, but for girls in particular, that the opportunities presented to them and the people around them are critically important to their success, particularly as tweens.” Not only does this give an intimation of being sexist, but she is also completely ignorant to positive influences. In fact, her cash cows actually destroyed opportunities in a sense, and made tweens think they had to be more like what they were seeing more often on TV.

“Girls today need to have a great opinion of themselves, no matter what, they need to have confidence in what they want to do, and they need to have confidence in what they don’t know yet.” Which is like saying Adolf Hitler should be proud for killing 8 million Jews, whether he knew or not, or even considered, who or how he might be hurting others. This blind confidence boosts the ignorance to “justify” the expansion of the cash cows, and would ultimately give other networks an alleged justification for creating cash cows themselves. “And they need to be able to ask a lot of questions, and they need people to be able to ask those questions of. Girls need great role models, girls need opportunities, and they need to be inspired along every step of the way to do great things.” On the contrary, Nickelodeon’s leading female role models, Miranda Cosgrove and Victoria Justice, play the roles of ignorant teenagers who only find happiness through fame or musical talent, and often make irrational decisions without any parental consent or guidance. In fact, Victoria Justice has been seen wearing more revealing clothing than most women in adult films. “I think the more that girls are encouraged to do anything and everything that boys are able to do is also a great thing.” In other words, she is attempting reverse sexism. It can be conjectured that her prejudice towards males in Nickelodeon programming may have something to do with her Iranian Heritage, more specifically the heavy Muslim influence in that area. Additionally, religion plays a minor role in networking, although more in Disney Channel than any of the three mainstream networks at the time. It is important to remember that Nickelodeon is iconic because it had a great representation of kids’ interests and desires, while giving important life lessons in their shows so kids could truly learn what is good for them and others. Modern Nickelodeon is deliberately dramatically different from the old network because Cyma wants to throw away true fan representation in favor of appeasing adults. Mainstream media is purposely forcing cash cows and conformity down everyone’s throats, and it is important to have morality behind television production.

In the fall of 2002 after the SUMMER MARATHONSAlso this SPONGEBOB CRAP!!!!


Oh my,terrible!!

The over-reliance on certain series and A.D.D. programming choices have damaged them greatly in the last couple years (Though the Netflix deal is the scapegoat). Now they are cannibalizing the sister networks. It's a mess.

As for Cyma Zarghami, she's been a constant at Nick for nearly 30 years.

When they added the New Adventures Old Christine

The over-reliance on certain series and A.D.D. programming choices have damaged them greatly in the last couple years (Though the Netflix deal is the scapegoat). Now they are cannibalizing the sister networks. It's a mess.

As for Cyma Zarghami, she's been a constant at Nick for nearly 30 years.

Just because Cyma Zarghami has been w/ Nick for many years before becoming president doesn't exactly excuse or exempt the actual job performance that she has done when she actually elevated to a bigger position of power (and logically, has more influence over what goes on the channel).

http://www.toonzone.net/forums/nicktoons-forum/311141-what-worked-2013-a.html

1. ANIMATION NO. 1
Nick refocused on developing and cultivating its animation. Through the collapse, it was all SBSP and over a dozen live action shows. But since Summer 2012, Nick has launched four top-rated Nicktoons in LoK, TMNT, FOP (Season 9), and SJC. SBSP, FOP, SJC and TMNT are four of the top five cartoons this year and have solid fan bases. Nick will add four more Nicktoons in 2014.

2. CONSISTENT PREMIERES/BLOCKS/SCHEDULIES
Nick was plagued by pulling new episodes last minute, taking shows off schedule, airing premieres randomly on different days and times, and putting shows on long hiatuses. Now, every Nick show airs during an established premiere block, day, time and generally gets two to three premieres a month as well as regular repeats.

3. AGGRESSIVE ADVERTISING/PROMOTIONS
Nick launched shows and premieres with poor, minimal or no promotion. But from TMNT on, Nick has been aggressive in advertising new shows and new episodes. Every program on air has had moderate to heavy promotions at some point with the core receiving solid overall advertising. KCAs, SaC, SJC, TTM, Swindle, Jinxed, and SBSP specials in particular saw huge pushes.

4. QUICK EXTENSIONS AND RENEWALS
Nick cancelled many shows over the last two years (2013 especially), but they also made quick investments in others. LoK, TMNT, SJC, SaC, TTM and THH received early episode extensions and renewals, allowing creative teams to plan, fan bases to build and minimal hiatuses.

5. UNIQUE BRAND
Nick now has a unique brand of promos, bumpers and art that makes them distinct from competition. No longer are they only using music clips. Instead, Nick’s new brand is cartoonish, comedic, random and quirky - reminiscent to 90s Nick.

6. PROGRAMS MOVING FORWARD
Yes, Nick has cancelled, ended and shipped almost two dozen shows since 2010. But in the process, Nick has established its core (SBSP, FOP, LoK, TMNT, SJC, RI, SaC, THH, TTM, PR). The network is fresh (only SBSP and FOP prior to 2012) and with a handful of shows joining in 2014, this is Nick’s longterm lineup.

7. PROGRAM DIVERSITY
Nick tried hard to find the next SBSP and the next music/superstar themed sitcom. They also relied too much on CGI cartoons and Dreamworks properties, while overusing creators like Hartman and Schneider (no disrespect to either). Shows like FBaCC, Planet Sheen, Fred, and Bucket and Skinner were geared toward SBSP fans; HTR was the third music show; and PoM/KFP and FOP/TP were too similar. But now on animation, Nick has comedy (SBSP/FOP/SJC) and action (TMNT/LOK), and the sitcoms have distinct premises.

8. NEW CHILD STARS
The iCarly, Victorious and BTR casts aged considerably while on Nick. The shows – which probably aired longer than they should’ve – likely lost aging fans to more mature programming, while the younger audiences couldn’t relate to older casts. Now, all three sitcoms (plus SDR/IM of NaN) have over a dozen child actors that could be the network’s future. Although the older McCurdy and Grande are the only true superstars, Nick has a group to work with.

9. ORIGINAL MOVIES
Quality original movies were missing. However, A Fairly Odd Christmas, Swindle and Jinxed were all ratings hits and generally well received. Imperative for Nick to produce original movies that can begin or push the their actors’ careers, while creating big ratings events for the network.

10. AIRING THEATRICAL MOVIES
Theatrical movies have been ratings hits for competition, but Nick would only air Spongebob: The Movie and Rugrats in Paris. But Nick aired a bunch this year, and regardless of the quality, all garnered great ratings. Nick will be more competitive with an expanded movie library incorporated into the schedule.

i remember the good old days of nick
ycdtot , mr wizzard world, pinwheel,standby lights camera action ,
nick rocks, danger mouse, Special Delivery,
those was the good old days of nick

I don't think there was a particular point where Nickelodeon "Jumped the Bone."

Nickelodeon hit its peak from 1993-1999 and has been on a downward spiral since.

.....it became the Spongebob channel.

http://www.imdb.com/title/tt2487090/board/flat/225210735?p=1

http://www.imdb.com/title/tt2487090/board/flat/225210735?d=225212694#225212694

Nickelodeon's main downfall was they became complacent toward the end of the century and were slow to react to new and emerging trends fast enough to capitalize on them.

Disney struck gold with Hilary Duff/Lizzie Maguire and the (then) untapped tween girl demographic that was revealing itself at the start of the millennium and capitalized on it by producing diverse shows (mostly comedy, but some drama, suspense, etc.) that continued to build on this new demographic once Lizzie ended e.g. That's So Raven (2004), Phil of the Future (2005), etc.

These efforts hit its peak with High School Musical and Hannah Montana in 2006, where it was just a perfect storm of products and an rapt audience to buy those products (movies, DVDs, iTunes songs, CD Soundtracks, etc.) en masse.

So, the basic strategy Disney used was to continually nurture its key demographic it had stumbled onto in the early 2000s to its ultimate conclusion around 2009, 2010 when that era finally started to die down.

Nickelodeon was slow to react to this change / new demographic and probably wouldn't have reacted at all if it wasn't for Dan Schneider, and his various efforts e.g. Zoey 101 (2005), Drake & Josh (2006) and ultimately iCarly (2007) which actually beat Disney during the ratings war on numerous occasions.

Fast forward to now and we are once again witnessing another shift, but I don't know to what, exactly. Perhaps it hasn't revealed itself yet, but it's obvious (to me) shows that seemed like slam dunks just a year, or six months ago aren't delivering on their promises ratings-wise for Disney.

Nickelodeon is capitalizing on this by having shows that aren't worse than Disney shows, but not exactly stand out, either. This is all verifiable by the weekly ratings and is no longer subjective opinion, anymore.

So, what should Nickelodeon do next?

I don't know.

For once, I'm not going to play armchair TV exec because this is uncharted territory BOTH networks are entering into and there are no real patterns, or past indicators that recommend a specific course of action either way.

I do agree Nickelodeon... And Disney... Need a more diverse line-up of live-action shows, but a lot of this has to do with the slowly recovering economy that also hit the entertainment biz harder than most people know. Sitcoms are cheap to produce, so this is why they dominate kids TV just like so-called reality TV dominates (or used to dominate) broadcast shortly after the crash of 2008.

The consensus here seems to be that Cyma Zarghami has managed to dig Nickelodeon into a hole. But the question is, would it be better if Herb Scannell was still running it (http://www.toonzone.net/forums/nicktoons-forum/373491-would-nick-better-if-herb-scannell-still-here.html#.VAQcRaMmbs0)?

He was the president of Nick from '96-'06, and a lot of fans believe he started the network's decline in quality (http://www.retrojunk.com/community/post/index/47381): canceling Invader Zim and Rocko's Modern Life, oversaturating the network with Klasky-Csupo, converting SNICK into SNICK House, phasing out the game shows, bringing back All That and Rugrats for lesser-quality episodes, closing down Nick Studios, etc.

Fans are pretty conflicted on him. Some think that he caused Nick to crash and burn in 1998, while others consider 1998-2004 a "Silver Age" of sorts. It was flawed, but there was still some quality programming, most of all Hey Arnold and SpongeBob seasons 1-3. What do you think?

.....it became the Spongebob channel.

I had sooooo many choices, but Spongebob REALLY hindered the station and made him into a cash sea cow!

when they stopped showing their classic shows

I voted for Schneider overload.

http://www.theatlantic.com/magazine/archive/2015/07/messages-nickelodeon-disney/395303/?utm_source=SFFB

"I’m an ice-cream man. I am what the summer is.” Poetry, is it not? We’re at the end of a 1991 episode of Nickelodeon’s The Adventures of Pete & Pete, and Mr. Tastee, his light and pressureless voice slightly muffled by his enormous ice-cream-swirl fake head, is standing by his ice-cream truck, explaining to Big Pete, Little Pete, and Ellen why he cannot stay in Wellsville and be their friend. The kids are deeply attentive, almost understanding; their solemnity is absolute. “Fireflies, thunderstorms, butt sweat on the car seat,” continues Mr. Tastee, his threnody running on. “And when it all goes, I have to go with it.” The lovely things, they melt, they are evanescent, they boom or flicker brightly in the lengthening shadow. Oh, grief and sweetness. Oh, innocence. Oh, ice cream. Bring me to my knees.

Well, it will tend to make you feel autumnal, turning from a gauzily off-the-wall show like The Adventures of Pete & Pete to the current crop of shiny, metallic tween sitcoms—the tweencoms. Your Henry Dangers, your K.C. Undercovers. College rock bands no longer flop and whirl on the front lawn. Mom no longer has a plate in her head that can pick up radio stations. That blurry hipness, that dream logic, has been suppressed, erased, vacuumed out by the corporate nozzle. Across the two biggest children’s networks, Nickelodeon and the Disney Channel, the gags and obsessions are all the same, the characters and their glossy environments more or less interchangeable. Mechanized laughter reigns.

What happened? Whence this uniformity? Weren’t the Disney Channel and Nickelodeon once opposing brands—the former a squeaky-clean twinkle factory, the latter more splattery and indie-spirited—battling for the eyeballs of America’s children? Yes, they were. And Disney won, at least according to the veterans interviewed in Slimed!, Mathew Klickstein’s recent oral history of Nickelodeon. Having ruled the ’90s with programming rooted in what a former network vice president, Mike Klinghoffer, calls the “Us vs. Them” theory (“The kids against the grown-ups. It’s like the Revolutionary War.”), the Nickelodeonites lost their way or their nerve or both. “They got seduced by the success of Disney’s shows with older tweens and teens living fantasy lives,” laments Alan Goodman, who helped author Nickelodeon’s great 1980s relaunch. “Wizards, a rock star in disguise, twins who live in a palace. But you can’t beat Disney doing ‘dreams come true.’ ” Pete & Pete co-creator Will McRobb concurs: “We had tried to be the anti-Disney. Now they’re just trying to be Disney … Everything’s about wish fulfillment now.”

So it would certainly appear. It’s about being a superhero (Nickelodeon’s Henry Danger and The Thundermans), a secret agent (Disney Channel’s K.C. Undercover), a pop star (Disney’s Austin & Ally, Nickelodeon’s Make It Pop), or a nanny to the jet set (Disney’s Jessie). Make It Pop, which just completed its first season, is particularly shrill: three boarding-school girls—a compulsive tweeter, a fashionista, and an A student—get together with a lonely DJ kid to take selfies and whip up cheapo Katy Perry–style emancipation mantras. Let’s light it up / I see it all around us / One and all / The fire’s gonna guide us … etc. Indeed, the voice of Katy Perry, huge and exhortatory, as if running for office or declaring war, seems to roll through all these shows. Power is her theme, every Katy Perry fan a kind of private banana republic of self-affirmation—You’re gonna hear me ro-OOOAR!—and power is the major trope of today’s tweencom: hidden power, superpower, star power, money power, the proper usage and disposal of one’s electrifying potentialities. I am, you are, we are exceptional! goes the theme song for Disney’s A.N.T. Farm, which follows the gifted teens of the Advanced Natural Talents program.

Needless to say, I am not the target audience for these shows. Trespassing in the realm of the tweencom with my wonky grown-up mind, I was smitten again and again—as in some Black Forest fairy tale—by unconsciousness. It happened with dreamlike punctuality: five minutes into Bella and the Bulldogs (cheerleader becomes quarterback), a powerful stupor would seize me and I’d topple sideways into the couch cushions. The kids, on the other hand—the kids are watching this stuff like they’re on an Adderall jag. Have you observed the phenomenon of preteens in front of a tweencom? Pure scholarly intensity. They barely smile. No loose guffaws or assenting chuckles escape them. The sight gags, rants, and one-liners are received not with (to quote G. K. Chesterton) “pothouse applause” but “in silence, like a benediction.” They may giggle when they repeat them afterward, but rarely upon initial viewing. This is serious business.

Here’s why. The sitcom is an essentially conservative form. And the superpower/star-power shows, even as they seem to glorify the rogue and untapped energies of youth, are really tutorials on how to keep those energies within the iron laws of normality—on how to be special but not too special. “Kids, stop using your powers!” implores Mr. Thunderman of The Thundermans, as his children exchange playful mega-zaps across their bright suburb. “We don’t want to draw attention to ourselves!” Over on the Disney Channel, meanwhile, K.C. in K.C. Undercover has a dilemma: Should she accompany her parents and brother on a secret-agent mission to the airport, or go to cheerleading tryouts with her best friend, Marisa? The best-friend problem, a collision point between two worlds, is archetypal for the tweencom. Can Henry and Charlotte in Henry Danger trust their excitable friend Jasper with the information that they are superhero sidekicks to the indestructible Captain Man? Should Miley (in the pilot episode of Disney’s Hannah Montana) let Lilly know that she moonlights as a monstrously famous pop star?

Control your mega-ness, kids. Don’t be too rebellious, but don’t be a Goody-Two-Shoes, either.

Control your mega-ness, kids. That’s the lesson. In the endless negotiations of the main character with the various types—nerd, spaz, depresso, preening jock—that surround her, the gospel of tweencom is handed down: Avoid extremes of all kinds. Don’t be too rebellious, but don’t be a Goody-Two-Shoes, either. Don’t be too vain or confident, but don’t you dare be gloomy. Here rises the terrible Scylla of duncehood; over there is the ship-swallowing Charybdis of geekdom. By alternately incorporating and rejecting aspects of her co-characters, by teasing them without being mean (very important), by dissipating the tension with humor, by successfully managing her superpower, the main character cultivates self-awareness. She locates herself in the comic center. The joke, whatever it might be, the great and dreaded free-floating chorus of ridicule that cruises the school hallways and gathers by the lockers, is not on her.

And what does too much specialness look like? It looks like Madame Goo Goo, the rather brilliant Lady Gaga parody on A.N.T. Farm, whose creative process involves throwing alphabet soup at a whiteboard. It looks like Farkle Minkus, the prodigiously oblivious weirdo on Disney’s Girl Meets World, who mutters “Farkle farkle farkle” when he snores. His singularity is irrepressible but undesirable: his amorous overtures to Riley and Maya, the show’s two heroines, are steadily repulsed. But even Farkle is not the limit. That would be the girl known as Back-of-the-Class Brenda. Look at Brenda, in her red spectacles and goofy dress, waving at Farkle with a hopeful, lopsided grin. Sad world, sad world. Not even Katy Perry can save her.

“It is the summit of idleness,” Martin Amis once wrote, “to deplore actuality.” That’s a handy maxim for a middle-aged critic grumbling and nodding off in front of the TV. The fireflies and butt sweat may be gone, but the tweencom has reached some ultimate refinement, and its audience, the only audience it cares about, is locked in. A breed of socialization is being workshopped on these shows. They may even be helpful. The trials of adolescence loom, God knows. The journey is hazardous; guidance is not to be rejected. Steer the middle course, tiny Odysseus. And good luck to you.

Last month marked the 10th anniversary of Cyma Zarghami becoming (https://groups.google.com/forum/#!topic/alt.tv.nickelodeon/3LZm3NE05Wk) the head of Nickelodeon (a position that she still holds today), succeeding Herb Scannell. So take that if you will! ;)

In my eyes the reason why Nickelodeon went downhill is because they changed their image to gain a whole new audience and a new generation of fans. But Nickelodeon's image started to change starting with the debut of their current logo and gone from the channel were the variety format and a new look and lineup. What I think caused Nickelodeon to go downhill is that they started to copy Disney Channel by showing it's own original movies and because of the success of the original movies Nickelodeon launched Nickelodeon Movies and by making such movies such as Harriet The Spy Nacho Libre and the animated movies Barnyard The Original Party Animals and The Rugrats Movie Rugrats In Paris and The Wild Thornberries Movie and Rugrats Go Wild Nickelodeon was on a roll. But if you look at Nickelodeon today it's all cartoons and live action sitcoms these days and with a more improved variety Nickelodeon would be great. On the game show and variety show side it shocks me that Nickelodeon doesn't have any shows that appeals to people and kids and something like a weekend music video show would work on Nickelodeon and then you would have an hour of sitcoms like Hey Dude and My Brother And Me and many others. At least Nickelodeon is returning to it's game show roots by having the show Paradise Run but they should make new game shows and it would be impressive indeed. I think why Nickelodeon is obsessed with cartoons is that they think cartoons are successful and gain ratings and we saw this when Nickelodeon debuted the Nicktoons line in 1991 and when Spongebob Squarepants debuted Nickelodeon's ratings soared but a new and improved Nickelodeon would be cool to see and I hope Nickelodeon will show a variety of other shows too not just cartoons and sitcoms indeed
Bestie

Newer/Current Nick Logo, it been here for 7 years now.

I really liked Nick when I was what would be considered a kid becoming a "tween." To me, the Golden Era of Nick was watching game shows like Double Dare, Legends of the Hidden Temple, Nick Arcade, Get the Picture, Make the Grade, Finders Keepers and others I'm sure I'm missing.

I also LOVED Nick's original programming: Hey, Dude, Salute Your Shorts, Clarissa Explains it All, Doug, Rugrats, Fifteen (go back and watch it! Ryan Reynolds is on it!)

Nick lost me when it became all about SpongeBob... I understand networks have to make money, but there IS such a thing as overkill.

I used to watch Nickelodeon with my daughter , niece, and nephew. I really can't forget about it because I remembered that it was one of their favorite shows. They learned from it and had much fun.

Does anybody else agree that this was the big turning point for Nickelodeon or at least the "old style" (http://www.avclub.com/article/nickelodeon-grew-and-blew-1996-240472) of Nick. What turned out to be the final episode of The Adventures of Pete & Pete in late 1995, kind of symbolized the end of an era as well as the changing of the guard. In other words, fundamentally "weird", irreverent and experimental programs like Pete & Pete (and telling its stories from a childhood perspective) were beginning to receded into the background.

It could be mostly because of the departure of Geraldine Laybourne as Nick's president in favor of Herb Scannell? I don't know how to properly explain how Nick transformed going onward. Kenan & Kel and Blue Clues were perhaps the first big standard bearers if you will, of a more "strictly formulaic" type of Nick shows. Scannell's "More Nick" strategy, in essence also meant, more Kenan and Kel besides their duties on All That. This eventually also meant, more Dan Schneider produced shows and more cartoons (it was also around this time that Doug transferred from Nick to Disney/ABC and Ren & Stimpy ended its run) from the Klasky-Csupo factory.

r-seeo7gJF0

In "Sam's Swan Song",Clarissa shows her bare feet,saying one of her earrings stabber her foot. Melissa Joan Hart has NEVER went barefoot on this show. If I could find this episode on DVD,I'll show you why I'm OUTRAGED!!!http://www.google.com/clarissa darling feet