UPDATE:

On August 7th, 2025, Nickelodeon owner Paramount and Skydance have merged to form a new company, Paramount Skydance.

This merger was formed under the Donald Trump administration, made in response to a bribe made by CBS, made in response to litigation following an interview made of Kamala Harris during the 2024 campaign, in a clear act of lawfare, an action which Donald Trump ironically claims is done against him. The lawsuit has been described by CBS themselves as without merit, but a total of 16 million dollars was paid in a 'settlement', as well as the firing of Stephen Colbert, a longtime critic of Trump.

It has also been brought to light that Donald Trump was a former best friend of underage sex trafficker Jeffery Epstein, and evidence exists to the fact that his alleged suicide was an assassination ordered by Trump during his first term in office, to say nothing of the endless corrupt deals made in both of his terms, support of Israel in its genocide against Palestine, destruction of the constitution and rule of law, massive deportations of immigrants with no criminal records (and some American citizens) and no due process, to name but a few of his misdeeds.

These are all but a sample of the crimes of Donald Trump and his White House, and it was the owner of Nickelodeon who made a deal with him in spite of these facts for their own personal gain.

This is equal to complacency and support for Donald Trump.

As such, I have altered my mission slightly from its original intent, meant for the purpose giving Paramount a means of atoning for its mistake. My work contains and spreads themes and messages of antifascism and calls for equality and justice, all things that I believe belong in and are inseparable from superhero fiction, and stands against men like Donald Trump and all who follow his ideology or similar ideologies.

My intent is to see my work in theaters to better spread these messages, making use of a popular medium, on top of continuing the regular shows themselves, to say nothing of the original shows themselves promoting values of kindness and virtuousness.

Once again do I call on you to eschew from purchasing anything from Paramount Skydance, making it clear that they cannot be forgiven for their complacency or let it be forgotten, as many are doing now with the #CancelParamount movement.

I continue my lobbying campaign for the above stated reason, in order to ensure that the company is changed for the better, away from any such horrendous decisions. The company is also in talks of acquiring an unsuccessful pro-Zionist outlet known as The Free Press as a means of further continuing the work of the Trump regime, so I remain as a means in the hopes of swaying the public conversation and change hearts and minds in the opposite direction, albeit through the means of fiction rather than journalism.

Until I succeed, I also offer myself and my work as a public option against Nickelodeon and Paramount in the meantime, offering you the same intellectual properties as them for no charge whatsoever, and with a better care for quality then they have shown their own properties for decades.

To put it shortly, I'm working to (at risk of appropriating a phrase of Trump) make Nickelodeon great again the old-fashioned way: By offering you a better product for a better price (in this case, for free), and by winning the argument.

Your signature here would serve primarily as a protest vote against their actions, and a statement to make clear fascism, corporatocracy, corruption, genocide, and white nationalism are not profitable movements to appeal to, and to appeal to the good of the country rather than the good of the pockets of Donald Trump and his donors.

-

Once upon a time, Nickelodeon was the undisputed king of cartoons.

Ranging from zany and comedic offerings like Rocko's Modern Life and The Fairly Oddparents, to adventurous and carefree ones like The Wild Thornberrys and ChalkZone, to action-packed thrill rides like Danny Phantom and My Life as a Teenage Robot, slice-of-life scenarios like Hey Arnold and Rocket Power, to unique offerings that stand out altogether, such as Invader Zim and Avatar: The Last Airbender.

Like many children of my generation, I grew up on these shows, and they helped shape who I am as a person.

And much like most people now my age, I remember these shows fondly, and want to see a full crossover between all shows in the Nicktoons library to date, something that has been in the works at Nickelodeon at sporadic points of production, but never came to completion.

Nonetheless, the demand for such a crossover is still strong, among the old fans and the new alike. Crossovers would come in the form of video games every so few years in the past, but recent additions consist mostly of party games that exist for no other purpose than a cheap cash-grab.

The demand is still present, and has not been met with supply.

The shows in general have had also little in the way of continuations or completions; the exceptions to this rule being Hey Arnold! The Jungle Movie and Invader Zim: Enter the Florpus, the latter of which was outsourced to Netflix. There exist expanded media such as graphic novels or books, but these vary in quality, and do not reach near as large an audience as movies or television.

But perhaps the worst offense is the overindulgence and saturation of the little yellow menace named SpongeBob SquarePants. While this show was indeed fun and enjoyable in its prime, those glory years are few and far away.

It was originally meant to end with The SpongeBob SquarePants Movie in 2004, but Nickelodeon refused to allow it the proper ending it deserved, and opted to continue the show long past its welcome, making it overshadow several other shows and relegate them to cancelation, such as El Tigre: The Adventures of Manny Rivera.

Worse yet, it has taken to producing spin-offs of the core show, going against the wishes of its creator, Stephen Hillenburg, after his death in 2018, exploiting his creation even further into irrelevance and making it lose whatever made it special in the first place.

So, to summarize, Nickelodeon has neglected the greatest works it has produced, and focused solely on churning out meaningless product for the short-sighted goal of quick profit.

The situation is unacceptable.

And I am here to fix it.

For the past 7 years, I have been taking an autodidactic approach to writing and teaching myself to write works of fiction. I displayed a high understanding of English at a young age, and I have taken to try to develop this talent again for the sole purpose of creating a Nicktoons crossover series, fulfilling what Gen X and Millenial adults never got to have as children, and giving the original shows the attention they deserve.

I read approximately 60 comics a week, taking after Stan Lee's advice that reading makes you a better writer, and I have watched thousands of movies throughout my life, all spanning different genres and generations.

Some of my favorite filmmakers include, in no particular order: Robert Rodriguez, Quentin Tarantino, Sam Raimi, James Cameron, John Carpenter, Richard Donner, Stanley Kubrick, Ryuhei Kitamura, Paul Verhoeven, Don Coscarelli, John Woo, Alex Proyas, David Fincher, Christopher Nolan, Terry Gilliam, Christoph Gans, Mamoru Oshii, Yoshiaki Kawajiri, Guillermo del Toro, Penelope Spheeris, Bong Joon-ho, David Cronenberg, Roland Emmerich, Peter Chung, Bryan Singer, Takashi Miike, Steven Spielberg, Kevin Smith, Ralph Bakshi, George Miller, Sergio Leone, Chang Cheh, Oliver Stone, and The Wachowskis.

Some of my favorite comic book writers include Frank Miller, Alan Moore, Brian Michael Bendis, Chris Clermont, Marv Wolfman, Steve Gerber, Robert Kirkman, Peter David, Jack Kirby, Phil Hester, Grant Morrison, Mark Millar, Jim Shooter, Neil Gaiman, Rick Veitch, J. Michael Straczynski, Warren Ellis, John Wagner, Chuck Dixon, Doug Moench, and Garth Ennis.

I am a person completely self-taught at my craft. Some of the most influential filmmakers such as Stanley Kubrick, Quentin Tarantino, and Peter Jackson were completely self-taught, and influential writers such Mark Twain, George Orwell, H.P. Lovecraft, and even Alan Moore had very little to no education at all, creating works that were completely original and changed the public consciousness entirely as a result.

Whether or not I'll achieve that status, only time will tell, but I can tell you that I sure as hell gave it all I had, because this project has required nothing short of my all.

I have no experience in film whatsoever, but don't let my lack of experience fool you. The majority of filmmakers in work now are all college educated, having attended film school... who have all been taught how to make movies in the exact same way, and therefore produce films that are all alike in tone and production, making fodder that is forgotten and dismissed by the next film season.

I'm not here to do it their way, because it isn't working. I'm here to do it my way, to give you something entirely new.

As of the time this petition was written, a total of 6 stories are written in full, with the 7th undergoing writing now. My approach for writing the films has been similar to that of Quentin Tarantino's, in which they have all been written as novels to be used as screenplays later, retaining my direction as closely as possible.

The stories have a combined word count of over 2 million, and counting.

The Nicktoons I have planned for this series includes, listed with how many feature films each shall receive (list is subject to change):

• Hey Arnold! (2)
• Danny Phantom (2)
• Rocket Power (1)
• ChalkZone (1)
• The Loud House (2)
• Invader Zim*
• My Life as a Teenage Robot (1)
• Rugrats/All Grown Up** (1/2)
• The Wild Thornberrys** (1/2)
• El Tigre: The Adventures of Manny Rivera (1)
• Doug***
• Avatar: The Last Airbender/The Legend of Korra (2)
• Full crossover films (4)

*Invader Zim does not have a movie of its own, but it is incorporated in the series, with a heavily supporting role in the primary crossover film.

**Rugrats/All Grown Up and The Wild Thornberrys will be a in a single crossover film.

***Doug is currently owned by Disney, but this one has been requested so much that I opted to use it anyway, and will do whatever is possible to reacquire the show.

In order to test my skills to see that they are up to the task, I have been posting my work onto fanfiction websites such as FanFiction.net and Archive of Our Own (AO3). I have gone through several drafts of each story in order to obtain the best possible product.

So far, my work has reached critical acclaim among the fans, with a recommendation on TVTropes. I am ready to put that to the test of general audiences.

I have crafted each story to follow where each original show left off, with the exception of The Loud House, in which I created a separate continuity for it, and will do so for Doug, ignoring the Disney-produced seasons and movie. I also adhere to all the original works as closely as possible, which I have received great praise for.

Each one has also been written in order to be self-contained, not introducing too many new ideas at once, as not to repeat the same mistakes of other failed shared film universes such as Warner Brothers' DCEU or Universal's Dark Universe. They have also been made to be friendly for new audiences, keeping deep continuity pulls to a minimum and allowing anyone to jump in at any time and follow the series.

So far, these are the proposed films that have complete stories:

• Hey Arnold! The Football Head Returns. The majority of the other Nicktoons involved in this project are superhero-based in some way, so I opted to make this one a superhero origin story. It follows 5 years after The Jungle Movie, reappropriating the original concept of the canceled spin-off The Patakis, in which Arnold stays in San Lorenzo. This time, he returns to San Lorenzo and lives among the Green-Eyed People, returning with a mission to save the now downtrodden city of Hillwood. The episode "Deconstructing Arnold" established that he alone is a force for good which helps the city, so I explored what a Hillwood without Arnold would be like, depicting it as smutty and crime-ridden, with Arnold being the only one to save it. The character of Thaddeus "Curly" Gammelthorpe shall serve as the main villain, acting as an equal and opposite to Arnold. In the original show, Curly was one of the few people that Arnold did not successfully help, so I wanted to make him a counter to his good nature by being a being of a completely bad nature, creating a foil for his goodness.
•  Danny Phantom: End of Days. This is based loosely on the Danny Phantom: 10 Years Later concepts created by Butch Hartman, the original creator of the show, as well as deleted concepts from canceled future seasons. It involves Dark Danny returning to the Earth, where the future now has full knowledge of the Ghost Zone and the afterlife, and shifted away from religion as a society, forcing it to the underground. The Fentons are also wealthy off their ghost technology, becoming the richest people on Earth, with Tucker Foley as president, and Dani Phantom as a street urchin. The story is a reflection and analysis on religion and government corruption, and how the two concepts play into each other.
• Rocket Power: Zero Gravity. A common complaint about this show is that many found the character of Otto Rocket brash and unlikable, so I opted to lean into this, portraying him as a loser down on his luck. Where Reggie and Sam struggle in the real world, but get by enough, Otto, living with Twister, tries for a broken dream of being a famous skater, and gets nowhere. This changes when he uncovers a plan to buy up all of the nearly-abandoned Ocean Shores, involving skateboards that defy the pull of gravity itself. This story is a commentary on economics and family, showing the effects a larger corporation has on regular people.
• ChalkZone: Quest for the Golden Chalk. This one is a throwback to old family adventure films, and explores ChalkZone itself and the very concept of human creativity. Rudy Tabootie has been missing for years, and Penny Sanchez had recently moved back to Plainville, alongside her two children from a previous marriage. Her children discover the lost world of ChalkZone and find Rudy Tabootie, going on a quest to find a piece of magic Chalk which, when used, makes anything it creates real, to find it before the evil Chalk King, a threat to ChalkZone who has come with Rudy's disappearance, can use it to take over the 'Zone. Along the way, Rudy also has to overcome his own personal trauma, both to reconnect with Penny, and find his creativity again.
• The Loud House: Ace of Spades. This one is a parody of the superhero genre itself, done in the style of Mel Brooks or the Zucker-Abrahams-Zucker troope to cleanse the pallette of cheap, shallow parodies that have bastardized the very idea of satire films. Lincoln Loud starts to grow anxiety over the fact that his sisters all have a special talent, but he does not. After getting a summer school assignment requiring him to talk about superheroes in the real world, he opts to become a superhero to do the report on himself, with the added goal of trying to make his favorite comic book character, Ace Savvy, popular again. This story comments on the media and culture war, using superheroes as a backdrop.
• Hey Arnold! The Maximum Curly Saga. This further explores what I have set up with Curly as the main villain and foil against Arnold, with this taken to its logical conclusion. This is the longest work I have written, spanning over 600,000 words, but its purpose is simple: What happens when an unstoppable force meet an immovable object? This story focuses on trying to deconstruct Arnold's desire for good further, seeing what would happen when he meets one person whose sole existence is to make him give up, and be the one person that he can never save.
• Nicktoons Unite. Despite the title, this story has no connection to the video game of the same name. The premise involves the entire Irken armada, having had enough of Zim's problems he has given them, cancel Operation Impending Doom II to destroy the Earth, for the sole purpose of killing Zim. The characters from all the respective shows so far, Arnold Shortman, Danny Fenton, Otto Rocket and the Rocket family, Rudy Tabootie, and Lincoln Loud and the Loud family, must band together to stop it.  This one I am currently in the middle of writing.

The rest of the stories to come I will leave unspoken here as not to spoil anything. You can find the finished works so far here:

FanFiction.net:

https://www.fanfiction.net/u/10513191/DevilBoy216

Archive of Our Own (AO3):

https://archiveofourown.org/series/2883423

Above all, this pitch is not just meant for Nickelodeon themselves. I am also pitching it to you, the fans, to be the person to bring you the crossover you deserve. I have worked very hard over these past 7 years, and I will continue to do so if you support me to get hired for the job. I intend to waste no time talking to producers who don't know what they're doing and don't know what you want, and pledge to only work with the original creators of these shows for the best authenticity possible.

To Nickelodeon themselves, here is my terms and conditions for being hired:

1. I RETAIN FULL CREATIVE CONTROL AND RETAIN FINAL CUT PRIVILEGE. NO EXCEPTIONS. In light of your numerous failures over the decade, you have proven yourselves to be incapable of doing the job. I'm not offering my services to be told what to do; I'm here to show you how it's done. You may own the rights to these shows, but this is my series. I did not come this far for you to ruin it.
2. THE ORIGINAL CREATORS OF THE SHOWS ARE TO BE OFFERED PRODUCER ROLES IN EACH SHOW, AND ALL OF THE RESPECTIVE VOICE ACTORS OF THE CHARACTERS ARE TO RETURN. All voice actors will be offered double the salary of the standard pay rate for voice acting work, all characters whose voice actors who have died or otherwise uninterested in filling their roles again shall be recasted at the discretion of the original creators, and/or surviving voice actors may choose their replacement. The original creators, whether or not they accept their job offerings, are to be paid a total of 10 million dollars apiece, and an additional 5 million dollars per spouse and dependent. The exceptions to this clause are Butch Hartman and Chris Savino; the former excluded for his controversies and scandals, and the latter excluded for his sexual impropriety. For his story contributions to Danny Phantom: End of Days, Butch Hartman will be entitled to no more than 100,000 dollars for his concepts, or he may be added to the clause if he provides a full refund to those who supported his OAXIS scam and donates a total of 5 million dollars to the Autistic Self-Advocasy Network. Additionally, Tara Strong shall not be involved in the project for her support of the Israeli genocide against the state of Palestine, unless she offers a full apology for her actions, and donates a total of 1.2 million dollars to Doctors Without Borders.
3. CANCEL SpongeBob SquarePants AND ALL ITS SPIN-OFFS. The show has overstayed its welcome and has no more place in western animation. It must be allowed to end once and for all, and Nickelodeon must wean itself off of the dead cash cow it has tied itself to.
4. ALL FILMS WILL HAVE FULL THEATRICAL RELEASES, AND WILL NOT BE ON ANY STREAMING SERVICE UNTIL ITS HOME MEDIA IS RELEASED. Streaming services have been doing irreparable damage to the movie theater industry, the very industry in which film itself was based in. Theaters are a social event just as much as a business, and an integral part of my strategy.
5. WHEN THE SERIES IS DONE, NO ONE ELSE MAY CONTINUE IT. The original creators of the shows are, of course, free to continue their own work as they please, but they are not to be connected to my work. I will not have what I created be ruined by retcons or be made into a cash-grab. This series belongs to me and me alone, and when I'm done with it, I'm done with it.
6. THE FILM SERIES CANNOT BE CANCELLED FOR ANY REASON WHATSOEVER, AND I CANNOT FIRED OR OTHERWISE REMOVED FROM THE COMPANY FOR ANY REASON WHATSOEVER. When you agree to the terms, you're in until it's over. When it's done, I am gone from the company. I have no interest in working on anything else past this film series. I came here to do a job, and I will not be hindered from it.
7. NO ARTIFICIAL INTELLIGENCE WILL BE INVOLVED WITH ANY PART OF THE PRODUCTION WHATSOEVER. AI has become a threat to all artists, and I will not accept its use anywhere, and will require all artists and anyone involved with the production to make a pledge not to use AI in any way, shape or form. Those that do will be fired with prejudice. AI replacement for deceased voice actors will also not be allowed; impersonators will be hired in their stead.
8. MY SERIES WILL RECEIVE THE MOST FUNDS ALLOCATED TO IT OUT OF ALL FILM PROJECTS, AND BE TREATED WITH THE UTMOST PRIORITY. Paramount has very little, if not no, major blockbuster franchise on par with the biggest names out, despite owning several big IPs. Mine is the solution to give them a massive franchise, and it shall be treated as such.
9. MY FEE FOR EACH FILM WILL BE 10 MILLION DOLLARS A FOR THE FIRST FILM, THEN 5 MILLION DOLLARS FOR EACH SEQUENTIAL FILM, PLUS DIVIDENDS OF 15% ON ALL REVENUE FROM THEATER SHOWINGS, HOME MEDIA SALES, STREAMING SERVICE HOSTINGS, AND DIGITAL SALES AND RENTALS. Each creator of the original shows will receive another 15% as well for the listed points of sale.
10. ANIMATORS WILL BE PAID DOUBLE THE GOING RATE FOR THEIR PROFESSIONS, AND BE GIVEN FULL HEALTH, EDUCATIONAL, AND RETIREMENT BENEFITS, WITH OPTIONS OF REMOTE OR AT-HOME WORK. Animators are the backbone and utmost important part of an animated film production, so I will see that they are treated with the utmost and best care and treatment, being given the respect and pay they deserve.

These conditions are non-negotiable and cannot be retroactively altered in any way. You can either take it or leave it...

...but I am going to make it a very painful decision for you if you do dare to leave it.

For the fans who choose to support me, not only can you support me by signing this petition, but also by taking these other actions:

• DO NOT PAY TO SEE ANY FILMS DISTRIBUTED BY PARAMOUNT PICTURES, OR WATCH ANYTHING FROM NICKELODEON, MTV NETWORKS, OR ANY OF THEIR AFFILIATES.
• DO NOT PURCHASE A SUBSCRIPTION TO PARAMOUNT+, PLUTO TV, SKYSHOWTIME, BET+, CBS NEWS STREAMING NETWORK, CBS SPORTS HQ, NOGGIN, NICK+, OR PHILO, AND CANCEL ANY SUBSCRIPTION YOU HAVE OF THESE RESPECTIVE SERVICES.
• DO NOT PURCHASE OR CANCEL ANY CABLE OR SATTELITE PACKAGE THAT INCLUDES NICKELODEON, NICK JR., THE PARAMOUNT CHANNEL, SHOWTIME, THE SMITHSONIAN CHANNEL, TV LAND, MTV, FLIX TV, POP, OR LOGO.
• DO NOT BUY ANY TOYS OR MERCHANDISE THAT IS RELATED TO NICKELODEON OR ITS PROPERTIES.
• DO NOT EVEN MENTION ANY OF THEIR MOVIES, SHOWS, OR PRODUCTS, EVEN IN A NEGATIVE WAY. ACT AS IF THEY DO NOT EXIST.
• SIGN LETTERS TO NICKELODEON AND PARAMOUNT DEMANDING THEY HIRE ME FOR THE JOB, AND DO SO RELENTLESSLY. MAKE SURE THEY CANNOT GO A DAY WITHOUT HEARING OF ME OR MY PITCH.

It was petitions such as this one and letters and fan support that got us Hey Arnold! The Jungle Movie, showing what an entire fanbase can do when it mobilizes. This one aims to do the same, on a much larger scale. It worked once, and it can so so again.

But the way you also make them listen is by voting with your wallet, because money is the only thing that companies and corporations understand. If they feel like the approach they are taking now is not profitable, and that going my route is, then they will adjust accordingly.

Part of that comes with ensuring that their profits are completely minimized. It was hatewatching and bad press that allowed Warner Brothers' Velma a second season, but, if it were simply treated with indifference, it would have not been renewed and forgotten.

Indifference is the biggest threat to a company's profit margin. So long as someone knows it exists, someone will buy it. But if no one knows it exists, then, effectively, it doesn't exist, and, by definition, it cannot make money.

And, by the same edge of that sword, you must ensure that I exist.

You have the power in your hands. You alone can send a message to end the sad state of animation in this media landscape and be the change you want. I'm just a vessel for your wants and needs, and the tool to get it.

I've done everything in can to prepare and teach myself for the task at hand. I've written over 2 million words to finish the stories that we grew up with, and I'm just getting warmed up.

If you want a Nicktoons movie, and all your favorite shows back, I'm your best, last, and only shot at making that happen.

I'm up for the job. If you think I'm right for the job, then sign this petition and help me get to Nickelodeon so I can help you.