From Machete to real-life hero, actor Danny Trejo, one of Hollywood's best-known villains, helped rescue a young special-needs child trapped in an overturned car in Sylmar, Los Angeles on Wednesday, August 7, 2019!
It wasn't a stunt for an upcoming movie. It happened in real life on Wednesday. The actor jumped into action after witnessing two vehicles crash causing one to rollover. The overturned vehicle that was sitting on its roof still had a baby strapped into a car seat inside.
Trejo, who also starred in From Dusk Till Dawn, Heat, Con Air, Spy Kids, The Devil’s Rejects and hundreds more, happened to be in the area when two cars collided Wednesday afternoon in the area of Hubbard Street and Jackman Avenue, ABC 7 writes with Trejo telling on-site reporters that one of the cars ran a red light.
“One of the vehicles overturned onto its roof and a young child was trapped inside, strapped into a car seat. Trejo and another bystander [Monica Jackson] helped rescue the child,” explains the site.
“Trejo crawled into the overturned wreckage from one side, he recalled, but he couldn’t unbuckle the child’s car seat from that angle.”
“The other bystander, a young woman, crawled in from the other side of the overturned vehicle and was able to undo the buckle. Trejo was then able to get the baby out of the car seat and pulled safely from the wreckage.”
“While that was happening, the boy’s grandmother remained trapped in the driver’s seat. Firefighters had to use equipment to free her.”
“Trejo says while the firefighters were working to free the woman, he was trying to distract the boy from the scene.”
"The only thing that saved the little kid was his car seat," Trejo told a photographer on the scene.
The Los Angeles Fire Department told CNN affiliate KABC that three people were taken to a hospital. Their injuries were not life threatening.
Thanks to his work with special-needs children, Trejo knew how to keep the boy calm.
“He was panicked,” Trejo told reporters. “I said OK, we have to use our superpowers. So he screamed ‘superpowers’ and we started yelling ‘superpowers,” Trejo added. “I said do this, with the muscles. He said ‘muscles.'”
“We got kind of a bond. I kept facing him away from the accident.”
Trejo can next be seen, er, heard as the voice of Boots the Monkey in Dora and the Lost City of Gold, Nickelodeon Movies and Paramount Players' brand-new live-action movie inspired by Nickelodeon's beloved Dora the Explorer animated preschool series, which sees an older Dora (Isabela Moner) go on all-new adventures, in theatres Friday, August 9, 2019!
Not only is @officialDannyT (Danny Trejo) one of the nicest actors, he’s also a #hero!
John Debney & Germaine Franco on Crafting the Music of Dora and the Lost City of Gold
Dora and the Lost City of Gold arrives in theaters this weekend, adapting the world of Nickelodeon's beloved animated preschool series Dora the Explorer for a whole new generation. The film follows a teenage Dora (Isabela Moner) as she ventures out of her life in the jungle and enrolls in an American high school. When her parents are kidnapped, Dora and her friends are sent on an adventure to save them -- and possibly solve an ancient Incan mystery in the process.
Adapting an iconic children's cartoon into an action-packed adventure is certainly no easy task, but Dora goes above and beyond to authentically portray its multicultural setting. This can be felt in a significant way in the film's music, which is composed by Oscar-nominated composers John Debney (Iron Man 2, The Greatest Showman) and Germaine Franco (Coco, Someone Great; Franco also has the honour of being the first Latina composer invited to join the Academy of Motion Picture Arts and Sciences’ Music Branch and to receive the Annie Award for Outstanding Achievement for Music in an Animated Feature (COCO)). The duo's score utilizes a live orchestra, choir, Latin musicians and indigenous Andean singers/musicians, all of which combines into an exhilarating soundtrack for the film.
Ahead of Dora and the Lost City of Gold's theatrical debut, ComicBook.com got a chance to chat with Franco and Debney about crafting the film's unique sound, their relationship with Dora, and the significance of diversity in the world of composing.
ComicBook.com: How did you both initially get into the world of music and composing?
Germaine Franco: I got into music at a pretty young age; I was really interested in drums, percussion. I had played in orchestras and jazz bands, marching bands, and I wound up going to a conservatory in Houston and that's when I had started writing. And I got into film music through theater, working at the Los Angeles Theater Center, writing a lot of music for theater, and that transitioned into film. That's the short story.
John Debney: Well, same with me. I started playing at a really young age and started working for other composers as an orchestrator for quite a while in television. And then, like Germaine, went to college, got my degree in composition, and started working my way up, and here we are today.
What was your background with Dora going into this project? I know the character has become this sort of cultural touchstone, so I was curious about what kind of relationship you both had with that.
Franco: I have a son, so we spent many hours watching the Dora TV show and the specials. We speak Spanish as well, so it was, you know, part of our son's growing up. He always enjoyed it. Dora always felt more culturally relevant to us. So when the chance came to work on Dora with John; I was super excited because I already knew so much about her character.
Debney: It was the same with me. I have a lot of nieces, and I remember years ago when they were smaller, they were watching Dora and loved Dora. So I sort of got to know Dora back - almost twenty years ago, something like that. I always thought it was a pretty great animated show. So I kind of fell in love with it during then myself.
I love that you both worked with Latin and indigenous musicians with the Dora and the Lost City of Gold score. I was wondering if you both could speak to that and the significance of it.
Debney: I couldn't have picked a better partner and co-composer than Germaine. The choice was sort of made by the studio, and Germaine and I knew each other and respected each other's work, so it was sort of a no-brainer. And in terms of the cultural influences, that was hugely important to both of us. We wanted to both do a resurgent to ancient music, like ancient Incan music, etc. for all different ancient cultures. So we wanted it to be true to the culture and true to the heritage. And Germaine did some wonderful translation of ancient poems.
Franco: We originally wanted to go to Peru, but we came onto the project in [post-production], and there was a deadline and such. So we decided, "What can we do to make it culturally relevant?" And make it have some voice of the Indigenous people of Peru, and using some of the traditional instruments. So I started researching and reading a lot of books and pushing through a ton of music. And there's also of Peruvian musicians in L.A that we've worked with in the past, who had some idea the instrument keys and had used them on some other score.
I wanted to use the Quechua language in, you know, some of the choir pieces and for some soloists. So what I did was I wrote some poems in Spanish, and then I had the Quechua consultant who is a professor at the University of Pennsylvania, and he translated those.
We also found Bolivian musicians and Peruvian musicians. We had a language coach named Dante Concha who played all the indigenous flutes and the panpipe. And then another woman named Phaxsi Coca, and she's from Bolivia and speaks Quechua as well. And so they were chanting, and then helped us add their beautiful instruments on top of the score, which was really organic and added so much to it.
What is your favorite thing about the score for Dora and the Lost City of Gold? Is there like a certain sequence that you're particularly proud or anything like that?
Debney: I'm most proud of our collective work together, you know, Germaine and I were worked so thoroughly and every day, daily, at the, when we saw it all together, I think we were both really impressed that our styles worked so well together. And I think I'm most proud by how we integrated these instruments, these ancient instruments, and we kind of created a score that is a big adventure score but it's also infused with all these great colors of other cultures.
Franco: Yeah, I think what's really great about it besides the fact that we had our two voices, our sound, become one cohesive score was the way that we worked with so many different varieties of musicians and cultural styles. Because we have the epic, huge adventure cues, and there are emotional cues, and then there are the indigenous sounding cues. And so we had these incredibly trained orchestral players, and then the next two hours later we had the indigenous chanting going on, and we had the choir. So it was just a whole experience of putting them all together and collaborating that was, for me, a fantastic experience.
Germaine, I know you've become a champion for more diversity in the world of composing. What progress would you like to see made in terms of women and people of color, getting more opportunities in the composing industry?
Franco: I think the first thing is education, more females and people of color accepted into these incredible conservatories. But it has to happen at a really young age, because to cultivate a composer it takes years and years and hundreds of thousands of hours of practice. So we have to start really young, and so, for example, Sundance, they've already done it: they take fifty percent women, fifty percent men right off the top. I'd love to see that within my own performance rights organization, ASCAP, do the same thing.
Also, I speak at different universities, and when I go and I see just one or two women in the audience. And I would like to see more women admitted to those programs because it is the people coming out of those programs that are getting the bulk of work. I mean, there is a whole other group of musicians that are artists and you know, do pop and rock and jazz that turn to scoring. But having that incredible foundation of music education is very essential to get a bulk of the work done.
And then the last thing, I think, is not assuming that because we're women, people tell us that we only write a certain type of music. For example, people assume, "Well if your last name is this, then you only write that type of music from your cultural background", and that is completely not the case. Most composers write all kinds of music from a variety of styles. So, I think that would be good.
If you were to give advice for someone who wants to get into your shoes and break into the composing world, what would it be?
Debney: Wow, that's a class right there. I would tell younger composers to study, study, study. Meaning really learn the task of, you know, learn counterpoint, learn harmony, learn orchestration, right Germaine? It's incredible to have a musical gift, but I think just to stand the test of time and have longevity, the more well-rounded you are as a musician, the better.
I look at Germaine, Germaine is a wonderful instrumentalist and a brilliant composer. And I think that the more we learn and the more we do and running to different styles, I think that all helps.
Franco: Oh, I agree. I've worked with many interns and composers graduating from Bachelors and Graduate degrees. And the thing that separates the ones that I want to work with on my team and the ones that I would say need more work is exactly what John said: harmony, orchestrations. Because you've got to learn to work with a full orchestra.
And it's fantastic to have all of the software down. You must have the technical, but you can't just be technical. You have to have both. You have to have a musical background. So, not just listening to film composing, or scores, you got to listen to the basics and learn all the Western harmony. And then also study the music of other cultures outside the Western realm. Because there are thousands of new composers coming out every year, and so in order to differentiate yourself from the others, the ones that have the most musical skills and technical skills are the ones that I want to work with.
Debney: I would add one thing. I think Germaine is right. Especially now, we're certainly more global-oriented in terms of all the new things that are happening both for men and women composers. And I think studying other cultures and other cultures' art and music is an intentional thing. And I would just add that. I love that thought.
Nickelodeon Australia and New Zealand has announced the exciting news that Nickelodeon New Zealand will premiere Tiki Towns Season 2 in September 2019 to celebrate Māori Language Week (Te Wiki o Te Reo Māori)!
Have you ever been to Kumara, a small town on the West Coast of the South Island? You might think it’s named after the vegetable, but it’s real name is actually Kohimara, after the native white flower. Or what about the Ngauranga Gorge in Wellington? It’s real name is Nga Uranga meaning the landing place of many waka.
Come join Tiki Towns presenters Sonny Ngatai, Bobbie Millar and Te Ataakura Kupenga on a Tiki Town tour of Aotearoa, New Zealand. Tiki Towns explores the meaning and stories behind Māori place names and how they should be pronounced. Tiki Towns travels across Aotearoa from Ahipara to Hokitika covering 20 different cities, towns and suburbs.
Tiki Towns Season 2 is coming to Nickelodeon this September in celebration of Māori Language Week!
The news follows the success of Tiki Towns Season 1, a series of one minute intistitials, which debuted on Nickelodeon New Zealand in September 2018. The series is produced by Titahi Bay, Wellington-based Te Amokura Productions.
Watch all 30 episodes of Tiki Towns Season 1 with the fantastic playlist below!:
Nickelodeon Netherlands' (Nederland) Nickelodeon Tour will be visiting the Alexandrium Shopping Center in Rotterdam between Wednesday 28th - Saturday 31st August 2019, providing fans will lots of aweslime activities, meet and greet opportunities with their favourite Nick stars, and more! Full details below, via alexandrium-shopping-center.klepierre.nl:
NICKELODEON TOUR IN ALEXANDRIUM SHOPPING CENTER
Deze zomer is het tijd om jouw favoriete Nickelodeon helden te ontmoeten. Jouw favoriete TV helden komen langs in Alexandrium Shopping Center tijdens de Nickelodeon Tour.
Van 28 tot en met 31 augustus kun je de zomer komen vieren met PAW Patrol, Shimmer & Shine, SpongeBob en Top Wing in Alexandrium Shopping Center. Met leuke activiteiten en vooral hele leuke Meet & Greets met jouw favoriete Nickelodeon helden is er voor iedereen wat te doen.
Dus kom de laatste week van de zomervakantie nog even genieten voor de scholen weer beginnen en kom genieten tijdens de Nickelodeon Tour in Alexandrium Shopping Center!
Hieronder een overzicht van alle Nickelodeon activiteiten.
SpongeBob Pineapple Game - Plein bij KFC
Gooi jij de meeste punten bij de SpongeBob Pineapple Game? Probeer de ananassen in de baskets te gooien en zoveel mogelijk punten te scoren.
Beauty Corner Shimmer & Shine - Plein bij Zara
Laat een glittertattoo zetten en shine op de catwalk!
Nickelodeon Creative Zone - Plein bij HEMA
Knutsel van gerecyclede materialen een echte PAW Patrol Pup of een echte Top Wing vliegtuig.
Nickelodeon Bioscoop - Plein bij C&A
Even bijkomen van al die leuke activiteiten? Bezoek de Nickelodeon Bioscoop en kijk naar de allerleukste afleveringen van jouw Nickelodeon Helden!
Meet & Greet Area - Plein bij JD Sports
De Nickelodeon helden bezoeken Alexandrium Shopping Center voor een handje, een high-five en een foto! De foto krijg je op vertoon van de ALEX klantenkaart of inschrijving uitgeprint mee als aandenken aan het supergave Nickelodeon evenement.
Planning Meet & Greets
Binnenkort kun je hier de Meet & Greet tijden vinden.
Graag tot ziens bij de Nickelodeon Tour in Alexandrium Shopping Center!
*De Meet & Greets zijn volgens bovenstaande planning en alle andere activiteiten zijn van:
Woensdag 28 augustus van 11.00-18.00 uur
Donderdag 29 augustus van 11.00-18.00 uur
Vrijdag 30 augustus van 11.00-18.00 uur
Zaterdag 31 augustus van 11.00-18.00 uur
HOE tof! Je kunt (gratis) je Nickelodeon-helden ontmoeten
Wat leuk dit! Van 28 tot en met 31 augustus kun je de zomer komen vieren met PAW Patrol, Shimmer & Shine, SpongeBob en Top Wing in Alexandrium Shopping Center. En dat helemaal gratis!
Verwacht leuke activiteiten en vooral hele leuke meet & greets met de verschillende Nickelodeon-helden. We zetten de activiteiten even op een rij. De activiteiten vinden elke dag van 11.00 tot 18.00 uur plaats.
SpongeBob Pineapple Game – Plein bij KFC
Probeer ananassen in de baskets te gooien en zoveel mogelijk punten te scoren.
Beauty Corner Shimmer & Shine – Plein bij Zara
Laat een glittertattoo!
Nickelodeon Creative Zone – Plein bij HEMA
Knutsel een echte PAW Patrol Pup of een echte Top Wing vliegtuig.
Nickelodeon Bioscoop – Plein bij C&A
Bezoek de Nickelodeon Bioscoop en kijk naar afleveringen van jouw Nickelodeon-helden.
Meet & Greet Area – Plein bij JD Sports
Je krijgt een foto! De foto krijg je (alleen op vertoon van de ALEX klantenkaart of inschrijving uitgeprint) mee als aandenken.
-- Delivered Strong Results Across Key Financial Metrics, with Year-over-Year Increase in Consolidated Revenues, as well as Reported and Adjusted Diluted Earnings Per Share
-- Returned Domestic Advertising Revenue to Growth, up 6% Year-over-Year, Driven by Continued Acceleration in Advanced Marketing Solutions
Achieved Tenth Straight Quarter of Year-over-Year Improvement in Paramount Adjusted Operating Income
-- Continued to Expand Pluto TV, with the Launch of 28 New Channels and Pluto TV Latino; Monthly Active Users Advanced to 18 Million in July
NEW YORK--Viacom Inc. (NASDAQ: VIAB, VIA) today reported financial results for the quarter ended June 30th, 2019.
Statement from Bob Bakish, President & CEO
“Viacom delivered another strong quarter, as our core businesses and investments in strategic priorities fuel our growth and evolution. Importantly, we returned Domestic Advertising Revenue to growth, which is a direct result of the strategy we have been executing for the last two years and the significant progress we have made in scaling Advanced Marketing Solutions. Paramount’s momentum also continues, keeping us on track to deliver full year profitability. As this quarter shows, Viacom’s brands are strong, our strategy is delivering, and our investments continue to position us well for the future.”
FILMED ENTERTAINMENT
Paramount delivered its tenth consecutive quarter of year-over-year adjusted operating income improvement. Revenue growth was driven by strong licensing and home entertainment results.
-- Adjusted OI increased by $41 million YOY – nearly doubling from the prior year quarter.
-- Licensing revenue increased 29% driven by monetization of the library and growth in TV production.
-- Home entertainment revenue grew 35%, primarily benefiting from last quarter’s release of Bumblebee.
-- Theatrical revenue reflected the strong performance of Rocketman and Pet Sematary, which was more than offset by the performance of A Quiet Place in the prior year quarter.
Operational Highlights
-- Paramount benefited from the successful releases of Rocketman and Pet Sematary in the fiscal third quarter.
− Rocketman was a global success, generating over $185 million at the global box office.
− Pet Sematary drove over $110 million at the global box office.
-- Current quarter releases include:
− Crawl, which received great reviews and is performing well in theaters.
− Dora and the Lost City of Gold, a live action film based on Nickelodeon’s Dora the Explorer franchise, premieres in August, rekindling this beloved Nickelodeon franchise.
-- Paramount’s fiscal 2020 film slate is now at 16 films, and includes Gemini Man, Terminator: Dark Fate, and the sequel to Top Gun.
-- Paramount Television continues its momentum, with 26 shows ordered to or in production.
− Third season of 13 Reasons Why premiering on Netflix in the second half of 2019.
− New series ordered include Shantaram for Apple, Made for Love and Station Eleven for HBO Max, When the Street Lights Go On for Quibi and Sexy Beast for Paramount Network.
− Also producing The Angel of Darkness, the sequel series to the highly praised limited series The Alienist for TNT, as well as a second season of Boomerang for BET.
Viacom delivered strong results across key financial metrics.
MEDIA NETWORKS
Viacom Media Networks benefited from strong advertising performance, as domestic ad sales returned to growth.
-- Domestic advertising revenue rose 6% in the fiscal third quarter, driven by accelerating growth in Advanced Marketing Solutions (AMS).
-- Domestic affiliate revenue declined 1%.
− Performance driven by subscriber declines, partially offset by higher contractual rates and OTT and studio production revenues.
− From a timing perspective, certain revenue shifted from FQ3 to FQ4.
-- Viacom International Media Networks delivered strong constant currency results † :
− International advertising revenue increased 9% driven by strong growth in Argentina and the U.K.
− Affiliate revenue increased 8% benefitting from growth in linear, as well as SVOD and other OTT deliveries.
-- Adjusted OI declined 6% impacted by marketing for current and upcoming original programming launches, as well as investments in key growth initiatives.
Domestic advertising revenue rose 6% in the fiscal third quarter, driven by accelerating growth in Advanced Marketing Solutions (AMS).
Operational Highlights
-- Domestic Media networks continued to grow audience share as total portfolio share increased by 1% YOY.
− Comedy Central delivered its ninth consecutive quarter of share growth – up 6% YOY.
− Paramount Network earned its third straight quarter of share growth – up 11% YOY – and its largest P18-49 share gain in 5 years.
− Viacom owned more top 20 original cable series in the quarter than any other cable family among key demos.
-- Internationally, Telefe remained #1 in ratings for 19 straight months, while Channel 5, Comedy Central and Paramount Network International all grew share YOY in the quarter.
-- Studio production continued to expand worldwide with premieres of The Perfect Date and Trinkets on Netflix, and season 2 of Light as a Feather on Hulu in July.
-- In June, Viacom announced a joint venture with Tyler Perry to launch BET+, a premier subscription video-on-demand service focused on the African American audience.
-- Viacom Digital Studios extended its video consumption growth, placing 7th in Tubular’s Media & Entertainment ranking in June, up from 13th a year ago.
− Video views grew 17% YOY to 5.9B and watch time increased by 85% YOY with 9.6B minutes viewed.
- Viacom’s live events drew close to a million fans in the fiscal quarter, with attendance at BETX up, sold out shows at JoJo Siwa’s D.R.E.A.M Tour, Clusterfest, Slime City and several new Bellator events.
AMS continued to scale in the quarter, with revenue increasing 84% YOY.
SPOTLIGHT ON DOMESTIC AD SALES, UPFRONT AND PLUTO TV
Viacom’s return to growth in domestic advertising was a milestone achievement in the company’s evolution.
DOMESTIC AD SALES
-- The return to growth in domestic ad sales is the result of the strategy Viacom began executing two years ago to launch AMS and help offset secular industry declines.
− Organically, the company introduced Vantage, one of the most sophisticated ad targeting platforms in the industry, and built key advanced marketing partnerships with MVPDs.
− Viacom also made strategic acquisitions, including AwesomenessTV, WhoSay and Pluto TV.
-- As a result, AMS now engages customers across linear and digital video, influencer and shopper marketing, branded content and Pluto TV.
-- AMS continued to scale in the quarter, with revenue increasing 84% YOY, more than offsetting linear headwinds and fueling domestic ad sales growth.
UPFRONT
-- Viacom delivered strong Upfront results, with high-single to double-digit price increases – the highest rate of change in over a decade – and doubled agency commitments across its digital, social and advanced advertising portfolio.
-- The strength of Viacom’s brands and demand for its AMS portfolio, especially Pluto TV, drove significant shifts to Viacom’s premium digital video inventory.
Pluto TV’s leadership in free streaming TV continues to grow, with monthly active users (MAUs) up 50% this calendar year.
PLUTO TV
-- Pluto TV’s leadership in free streaming TV continues to grow, with monthly active users (MAUs) up 50% this calendar year.
− Pluto TV is now integrated on Comcast’s Xfinity X1 and launching on Cox Communications’ Contour video and broadband platforms.
-- Pluto TV launched 28 new channels and continued to extend its international presence:
− In July, it launched Pluto TV Latino, a suite of 11 channels with 2,000-plus hours of programming in Spanish and Portuguese.
− Pluto TV was also added to UK on-demand platform My5.
BALANCE SHEET AND LIQUIDITY
-- Viacom continues to strengthen its balance sheet and improve free cash flow.
-- At June 30, 2019, gross debt outstanding was $8.96 billion. Adjusted gross debt was $8.31 billion.
-- For the nine months ended June 30, 2019, net cash provided by operating activities increased 11% to $1.1 billion.
-- For the nine months ended June 30, 2019, free cash flow increased 10% to $984 million, driven by an improvement in working capital management, partially offset by higher cash taxes.
Viacom 2019 Q3 Earnings Highlight Video
About Viacom
Viacom creates entertainment experiences that drive conversation and culture around the world. Through television, film, digital media, live events, merchandise and solutions, our brands connect with diverse, young and young at heart audiences in more than 180 countries.
For more information about Viacom and its businesses, visit www.viacom.com. Viacom may also use social media channels to communicate with its investors and the public about the company, its brands and other matters, and those communications could be deemed to be material information. Investors and others are encouraged to review posts on Viacom’s Twitter feed (twitter.com/viacom), Facebook page (facebook.com/viacom) and LinkedIn profile (linkedin.com/company/viacom).
This news release contains both historical and forward-looking statements. All statements that are not statements of historical fact are, or may be deemed to be, forward-looking statements. Forward-looking statements reflect our current expectations concerning future results, objectives, plans and goals, and involve known and unknown risks, uncertainties and other factors that are difficult to predict and which may cause future results, performance or achievements to differ. These risks, uncertainties and other factors include, among others: technological developments, alternative content offerings and their effects in our markets and on consumer behavior; competition for content, audiences, advertising and distribution in a swiftly consolidating industry; the public acceptance of our brands, programs, films and other entertainment content on the various platforms on which they are distributed; the impact on our advertising revenues of declines in linear television viewing, deficiencies in audience measurement and advertising market conditions; the potential for loss of carriage or other reduction in the distribution of our content; evolving cybersecurity and similar risks; the failure, destruction or breach of our critical satellites or facilities; content theft; increased costs for programming, films and other rights; the loss of key talent; domestic and global political, economic and/or regulatory factors affecting our businesses generally; volatility in capital markets or a decrease in our debt ratings; a potential inability to realize the anticipated goals underlying our ongoing investments in new businesses, products, services and technologies; fluctuations in our results due to the timing, mix, number and availability of our films and other programming; potential conflicts of interest arising from our ownership structure with a controlling stockholder; and other factors described in our news releases and filings with the Securities and Exchange Commission, including but not limited to our 2018 Annual Report on Form 10-K and reports on Form 10-Q and Form 8-K. The forward-looking statements included in this document are made only as of the date of this document, and we do not have any obligation to publicly update any forward-looking statements to reflect subsequent events or circumstances. If applicable, reconciliations for any non-GAAP financial information contained in this news release are included in this news release or available on our website at ir.viacom.com.
You can read Viacom's press release featuring the company's 3rd Quarter 2019 report in full, including tables of Viacom's statements and balance sheets, here on BusinessWire.com.
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During their Fiscal Third Quarter 2019 Earnings Call, Viacom revealed that:
-- After three months on-air, Ryan's Mystery Playdate has become the number-one show on TV for preschoolers! The show is #1 with K2-5 & Top 5 with K2-11, with 42% of show's viewers being new to Nick.
-- Viacom and Nickelodeon have been encouraged by the performances of Nick's All That and Are You Smarter Than A 5th Grader,both of which have been attracting new audiences to the network!
-- Nickelodeon will be debuting its latest ever slate of new content across its portfolio during Fall 2019!
-- Nickelodeon saw enormous success with the premiere of "SpongeBob’s Big Birthday Blowout", SpongeBob SquarePants' 20th anniversary special in July 2019!
Dora the Explorer is swinging into theatres this summer in Dora and the Lost City of Gold, Nickelodeon Movies and Paramount Players' brand-new live-action movie inspired by Nickelodeon's beloved animated preschool series, which sees an older Dora (Isabela Moner) go on all-new adventures. However, will the movie feature a post-credits scene? Read on to find out! (Caution: spoilers ahead!)
Post-credits scenes in movies have become a trend in recent years, often giving fans an Easter egg or hints at what the sequel might be about. However, Dora and the Lost City of Gold will reportedly be bucking the trend - although the credits themselves will be a treat for fans!
Instead of following the trend in post-credit scenes, the movie will instead be following a different trend: a group dance number! The credits open with the main characters doing a massive dance number at their high school, with Dora finally winning over the classmates that previously mocked her. It’s a fun scene that fans are sure to love. Once the number is over, the credits begin to roll.
Fully choreographed dance numbers have become the norm in movies, with Ghostbusters: Answer the Call, Zootopia, Trolls, and Sing all closing out with songs performed by the characters. Even the newest Peanuts movies featured Charlie Brown, Snoopy, and the rest of the gang dancing to Meghan Trainor. While it’s a trend that was first popularized with Shrek nearly two decades ago, the end credits dance number appears to be more popular than ever.
Dora’s going on her biggest adventure yet in Dora the Explorer, inspired by Nickelodeon's beloved animated preschool series Dora the Explorer, swinging into theatres across the U.S. from Friday, August 9! #DoraMovie Click the following link to watch the latest trailer!: http://nickalive.blogspot.com/2019/07/dora-and-lost-city-of-gold-2019-new.html
Having spent most of her life exploring the jungle with her parents, nothing could prepare Dora (Isabela Moner) for her most dangerous adventure ever – High School. Always the explorer, Dora quickly finds herself leading Boots (her best friend, a monkey), Diego (Jeffrey Wahlberg), a mysterious jungle inhabitant (Eugenio Derbez), and a rag tag group of teens on a live-action adventure to save her parents (Eva Longoria, Michael Peña) and solve the impossible mystery behind a lost city of gold.
11-time Emmy and four-time BAFTA nominee director James Bobin (Alice Through the Looking Glass) has assembled a cast of diverse superstars to star in the movie, including: Isabela Moner (100 Things to Do Before High School, Legends of the Hidden Temple, Transformers: The Last Knight) as Dora, Eva Longoria (Desperate Housewives, Overboard) and Michael Peña, who play the parents of the titular character; Eugenio Derbez (Overboard, Instructions Not Included; How to Be A Latin Lover), who plays Alejandro, a mysterious jungle inhabitant who tries to protect the teenagers from the marauders; Jeffrey Wahlberg (Future World, Ballers, Counterpart, Reefa) in the role of cousin Diego; Nicholas Coombe (Spy Kids: Mission Control, Midnight Sun) as Randy, a fellow high schooler who develops an immediate crush on Dora; Madeleine Madden (Picnic at Hanging Rock, Tidelands) as the school’s snooty class president, Sammy; Academy Award nominee Adriana Barraza (Babel, Amores Perros, Thor, The 33) as Dora’s grandma, Abuelita Valerie; Temuera Morrison (Green Lantern, Moana), who will play the role of Powell; Q’orianka Kilcher (The Alienist), who will play Inca Princess Kawillaka; Pia Miller (Home and Away) as Dora's aunt Mami; Madelyn Miranda, who portrays Young Dora; Benicio del Toro as the voice of Swiper the fox, Danny Trejo as the voice of Boots the Monkey; and Marc Weiner (Dora the Explorer, Go, Diego, Go!, Dora and Friends: Into the City, Weinerville) as the voice of Map.
Tickets for Dora and the Lost City of Gold are available to purchase now!
Nickelodeon will be celebrating Dora the Explorer's 20th anniversary in 2020.
Does Dora and the Lost City of Gold have a post-credits scene?
When it was announced that the classic Nickelodeon kids' show Dora the Explorer was getting the live-action treatment, with a full-length film featuring a high-school-aged Dora, people could hardly believe it. Over time, though, they've started to warm to the idea of this new movie. Now that Dora and the Lost City of Gold is upon us, hype is actually quite high, and audiences are starting to wonder whether the film will cement itself as a legitimate summer movie with one key element almost all other blockbusters feature: an end-credits scene.
So, does Dora and the Lost City of Gold have a post-credits scene?
The simple answer is "yes."
Warning: We're about to get into some mild spoilers for Dora and the Lost City of Gold.
According to Raising Whasians, those who head out to see Dora and the Lost City of Gold should "be prepared for a plethora of familiar singing Dora moments — all of which will undoubtedly get stuck in your head." Anyone who grew up watching Dora the Explorer on Nickelodeon will want to keep their butts in their seats until after the credits roll, when an after-credits scene plays out and gives a "small nod to the show."
Per AfterCredits.com, this end-credits stinger features the Fiesta Trio — a musical group comprised of a little blue frog, a small orange cricket, and a tiny pink-and-purple snail — coming out and playing the fanfare music as heard on Dora the Explorer. Within the series, the Fiesta Trio would arrive when Dora and her monkey sidekick Boots would finish a mission. The three creatures would play an eight-note tune to congratulate the heroes, and then would scurry away.
Though it isn't a traditional post-credits scene that caps off Dora and the Lost City of Gold and teases a potential sequel (as most stingers do), the sequence is still pretty cute. Whether or not it's worth sticking around for is up to audiences' discretion, but small children and anyone who is a hardcore Dora the Explorer fan (hey, no judgment here) will likely get a kick out of the end-credits moment.
If you don't feel like sitting through several minutes of scrolling text to witness a small tip of the hat to Nickelodeon's Dora the Explorer, Dora and the Lost City of Gold actually features a pre-credits scene as well. It's a choreographed song-and-dance number in which the film's main characters assemble at their high school and sing the famous Dora song "We Did It." At the end of the film, the peers who once poked fun at Dora are now her friends and the high-stakes mission to unravel the mystery of the lost Inca civilization is complete, so "We Did It" is certainly an apt song to sing.
Directed by James Bobin, Dora and the Lost City of Gold follows Dora (Isabela Moner) as she leaves the jungle and heads to public high school. But her exploring ways and her life in the wilderness catches up to her, thrusting her into chaos and sending her on a dangerous journey. With her monkey best friend Boots, her cousin Diego (Jeffrey Wahlberg), the jungle-dweller Alejandro Gutierrez (Eugenio Derbez), and a group of students from her new school, Dora must crack the case of the lost city of gold and rescue her parents (Eva Longoria, Michael Peña) before it's too late.
Dora and the Lost City of Gold hits theaters on Friday, August 9.
