Viacom Posts Strong Second Quarter 2018 Earnings, Revitalization Accelerates

by Stuart Winchester, Viacom

Viacom posted strong second quarter 2018 earnings this morning, outperforming projections with significant gains in both adjusted operating income and adjusted earnings per share as the company accelerates its pivot from stabilization and revitalization to growth.

Double-digit gains across all international Media Networks revenue streams, Paramount Pictures’ return to profitability, ratings increases at key flagship networks, significant benefits from cost savings, further diversification into live events and other adjacent businesses, and an increased focus on next-generation platforms and solutions all set Viacom on a trajectory toward a full fiscal year of growth.

“Viacom continued to accelerate progress against its strategic priorities, delivering improvements across key metrics in the quarter,” said Viacom President and CEO Bob Bakish. “Our flagship brands increased audience share among important demos for the fourth consecutive quarter, and we saw sequential improvements in domestic advertising and affiliate revenue performance. Internationally, Viacom continued its winning streak, achieving double-digit revenue and profit gains in the quarter while expanding its global footprint through new channel launches and innovative mobile distribution deals across Europe and Asia. Our cost transformation initiatives are well under way; we anticipate more than $100 million in cost savings in fiscal 2018, and now expect over $300 million in run-rate savings in fiscal 2019 and beyond.

“At Paramount Pictures, turnaround efforts have firmly taken hold as the studio improved margins and returned to profitability. This month’s outstanding box-office performance of A Quiet Place, the first film produced and released under the new team at Paramount, is a clear sign of our progress.

“Viacom also took strides to advance its participation into next generation platforms and solutions. We continued to benefit from growth in the vMVPD space, delivered revenue gains in Advanced Marketing Solutions, and significantly increased original content production through Viacom Digital Studios to drive off-linear consumption. Additionally, we continue to diversify into adjacent businesses by building on our live events strategy with upcoming tentpoles including Comedy Central’s Clusterfest, the BET Experience, Nickelodeon’s U.S. debut of SlimeFest and our first-ever VidCon.”

Viacom’s core business continues to strengthen

Improved performance throughout Viacom’s core business – domestic and international Media Networks and Paramount Pictures – allowed the company to meet or beat guidance on key metrics year-over-year for the quarter, producing five percent adjusted operating income growth and a 16 percent jump in adjusted earnings per share.

Domestically, both advertising and affiliate revenues increased. Viacom’s flagship brands (NickelodeonNick Jr.MTVBETComedy CentralParamount Network), grew audience share year-over-year for the fourth consecutive quarter, while the company continued to hold the top share of basic cable viewing in key demos, including adults 18-34, African-Americans, and kids 2-11. BET grew year-over-year ratings and share by double digits for the third consecutive quarter, while VH1, CMT and TV Land notched year-over-year growth in audience share and ratings. MTV’s programming resurgence continued, with a third straight quarter of year-over-year primetime ratings growth led by Jersey Shore: Family Vacation, which, with 10 million viewers on its opening weekend, was the biggest unscripted cable premiere since 2012.

Viacom International Media Networks is on pace for another record year after posting double-digit increases in profitability, as well as across all revenue streams.

Paramount Pictures returns to profitability

After notching a $75 million year-over-year improvement in adjusted operating income under its new management team, Paramount Pictures raised the curtain on the third quarter with the release of smash hit A Quiet Place. The film rode overwhelmingly positive critical response and deft marketing to the studio’s best opening since 2016 and the second biggest domestic opening so far this year, earning more than $200 million in its first three weeks alone on just a $20 million production budget. Additionally, the studio’s Paramount Television production business anticipates $400 million in revenues this year. Behind these and other catalysts, Paramount expects meaningful improvement to its full-year adjusted operating income for the full fiscal 2018.

Viacom is aggressively increasing its digital output on next-generation platforms

Anchored by 850 million social media followers, the newly formed Viacom Digital Studios is poised to create more than 600 hours of short-form original content this year. This quarter alone, social video views shot up 70 percent (to 4.3 billion), and domestic minutes viewed increased by 78 percent (to 4.7 billion minutes) year-over-year.

The addition of Nickelodeon’s Noggin app to Amazon and a renewed agreement that adds more Viacom content to Snap’s programming slate, in addition to recent and forthcoming mobile deals, will continue to expand the reach of Viacom’s increasing volume of on-the-go-content.

Growing ad revenue through Advanced Marketing Solutions

Viacom today detailed how its Advanced Marketing Solutions (AMS) portfolio would provide even greater opportunity to take advantage of new advertising platforms. The company also broke AMS – which increased its revenue 29 percent in the quarter – into two basic categories:

  1. Advanced addressable video inventory contains advertising units that Viacom can target to consumers, either through its brands’ apps, or by using set-top-box data from its advanced advertising partners, including Comcast, Charter and Altice USA.
  2. Brand solutions is a bundle of consulting, creative services and associated activations that includes social campaigns led by influence marketers WHOSAY, creative integrations with in-house integrated marketing and creative solutions team Viacom Velocity, and experiences at retail stores or Viacom’s growing portfolio of live events.

Viacom live events and consumer products lines continue to grow

Viacom continues to reinforce its brands and drive revenue through live events, recreation, consumer products and other business lines. This quarter marked a nearly 100 percent increase in live-event attendance over 2017, and there are plenty more events in the pipeline, including Comedy Central’s Clusterfest, the BET Experience, Nickelodeon SlimeFest, and the first VidCon since the online video conference joined Viacom – all of which should serve to double live-event and recreation revenue this year.

Viacom’s future looks strong

“Looking forward, we see continued momentum as we pivot from stabilization and revitalization of our business to a new phase of growth,” Bakish said.

To see what Viacom will debut in the months ahead, scroll through the timeline below, or click here to view the full-screen version.

Signing with Comcast, Viacom Continues to Enhance Advanced Advertising Capabilities

by Stuart Winchester, Viacom

Viacom has spent years finding better ways to match advertisements with audience. Last March, the company was a founding member of the OpenAP advanced audience platform. Its 2017 renewals with Charter and Altice USA included advanced advertising components. And CEO Bob Bakish has consistently emphasized the importance of continuing to develop these capabilities.

“….on the advanced advertising space, Viacom is clearly the market leader,” Bakish said at the UBS Global Media and Communications Conference in December. “…So I think that is a very exciting road ahead.”

Indeed. Especially since Viacom has now signed a multi-year agreement with Comcast that will further boost its advanced advertising and data capabilities.

The mutual advantages are clear. Viacom has a nationwide reach and deep advanced advertising expertise. Comcast, through anonymized data mined from set-top boxes in subscribers homes, knows who is watching which shows and can match that audience to ads using powerful tools developed through its FreeWheel unit. Together, they can better monetize ad inventory across premium video-on-demand and linear content.

“Today’s announcement reflects Viacom’s commitment to developing more expansive relationships with our distributors,” said Viacom Executive Vice President and Chief Data Officer Kern Schireson. “This new partnership with Comcast and FreeWheel builds on Viacom’s connections with valuable, diverse audiences and Comcast’s reach and data leadership, to create an advanced advertising platform with scale and sophistication. Marketers increasingly demand the ability to reach the right customers at the right time in a premium, trusted environment, and this transformative partnership furthers our ability to unlock greater value for our brand partners and accelerate the future of television advertising.”

“Viacom and FreeWheel have a shared goal of enhancing the value of the entire TV ecosystem,” said FreeWheel Executive Vice President and General Manager David Clark. “To do so, we believe in a shared vision of a TV and premium video unification roadmap that will accelerate the integration of TV’s broad reach and quality content with advanced cross-platform targeting, measurement and optimization capabilities.”

NBCU, which is a part of Comcast, also aligned with the OpenAP consortium last week.

Viacom to Launch Nickelodeon’s Preschool Video Subscription Service, NOGGIN, available on Amazon Prime Video Channels

Viacom will further accelerate its expansion on next-generation platforms by teaming up with Amazon to bring Nickelodeon’s NOGGIN to Amazon’s Prime Video Channels this May.

For $7.99 per month, young fans will be able to enjoy NOGGIN, an OTT product that provides curriculum-driven content to preschoolers, including: short-form videos; educational content; music videos featuring preschoolers’ favorite Nick characters; and over 1500 full-length library episodes of PAW Patrol, Dora the Explorer, Peppa Pig, Blue’s Clues, Max & Ruby, Go, Diego, Go! and Peter Rabbit, among others.

PAW Patrol episodes are featured on NOGGIN. Image courtesy of Nickelodeon.

“Our audiences continue to enjoy Viacom content in more places and with more flexibility than ever before,” said Tom Gorke, Executive Vice President, Head of Distribution and Business Development for Viacom.

“The availability of NOGGIN on Prime Video Channels will be a great new way for Nickelodeon fans to watch and interact with the best in preschool content on the popular Amazon platform.”

Along with the rapid growth of Viacom Digital Studios and recent acquisitions of influence marketer WHOSAY and online video conference mecca, VidCon, NOGGIN’s expansion on Prime Video Channels is another way that Viacom is strengthening its presence on key next-generation digital platforms.

Nickelodeon launched NOGGIN as a stand-alone app in February 2015, and the ad-free platform has since topped the charts of Apple and Google, ranking as one of the Top 10 Kids Apps on the App Store’s Free Apps chart, as well as being the no. 1 grossing app for Music and Video in the Family Category on Google Play.

BET’s New Slate of Programming Continues to Entertain, Empower and Engage Its Audience

BET is in tune with what African-American viewers want: high-end drama and comedy, along with more refined reality and hard-hitting investigative documentary series.

On Wednesday, April 17, BET announced its upcoming slate of programming for 2018-2019, which will include all-star talent and a dramatic increase in original content.

“Creating powerful, engaging and provocative content has been BET Networks’ legacy for decades,” said Connie Orlando, Head of Programming, BET Networks. “With the increase in our original programming slate for 2019, we’re committed more than ever to telling the most compelling and authentic stories about the Black experience.”

BET Networks President Scott Mills spoke to The Hollywood Reporter ahead of the announcement to discuss the network’s reorientation toward original, scripted content.

“Our new focus is on shows that are dramatic, character-driven, aspirational and authentically anchored in the African-American experience,” said Mills.

“We are confident that content in that vein is going to allow us to more consistently pull big audiences you’ve seen us pull with The New Edition Story, the BET Awards, Being Mary Jane and The Game.”

via GIPHY

Here’s a look at some upcoming programming:

Paramount Pictures’ Boomerang has boomeranged back from Viacom’s deep library

Eddie Murphy’s 1992 film Boomerang is being modernized into a 30-minute comedy series, which BET will partner with Paramount TV to produce. The show mines evergreen themes from the OG film like office politics, shown through the lens of today’s culture. Expect to see plotlines develop around gender roles and the relationship between Gen-X and millennials in the workplace.

Read More

Creative Resurgence Drives Ratings Growth For Viacom’s Adult Brands

by Stuart Winchester, Viacom

Fresh off a successful launch for the Paramount Network, Viacom’s portfolio of adult channels (Paramount Network plus CMT and TV Land), just wrapped the quarter with strong ratings growth – in some cases, the highest in several years, making an essential contribution to the company’s ongoing transformation.

CMT secured its 16th consecutive month of year-over-year ratings growth. TV Land stamped out its best ratings month in more than four years. And Paramount Network debuted its premium content to enormous ratings gains over its predecessor network.

“As we look at how Viacom is performing domestically, there have [been] huge properties and huge networks, and I don’t see that changing,” Frank Tanki, who acts as general manager for CMT and TV Land, recently told Broadcasting & Cable. “We’ve got a lot of support from a lot of the Viacom management team, so I feel good about our future.”

Paramount Network – originals are connecting with new viewers

Driven by the success of the critically-acclaimed scripted event series Waco and anchored by returning hits Lip Sync BattleInk Master and Bar Rescue, Paramount Network’s original series are up 94 percent versus a year ago, with significant increases in both live and delayed viewing versus the prior quarter.

“Our goal this quarter was to introduce the channel to new viewers and begin to establish it as the home for premium scripted series,” said Kevin Kay, president of Paramount Network, CMT and TV Land, in a recent email to staff.

Paramount Network’s lineup of premium, high-quality series really gets moving this summer with the launch of several highly anticipated new series, including the sweeping epic drama Yellowstone starring Kevin Costner and written and directed by Taylor Sheridan (Wind River, Sicario, Hell or High Water) on June 20 and American Woman starring Alicia Silverstone and Mena Suvari launching June 7. Later this summer,  the dark comedy Heathers and Rest in Power: The Trayvon Martin Story, from producer, Shawn “Jay Z” Carter, will debut. Carter’s most recent project for the network, TIME: The Kalief Browder Story, garnered a prestigious Peabody Award.

CMT – connecting with fans onscreen and off

Driving the ratings growth at CMT is a pivot toward the unscripted fare that its core fans react to so strongly (like most Viacom networks, CMT has drastically reoriented itself since CEO Bob Bakish took the helm in late 2016). Country music remains front and center, with music series and specials including, CMT Crossroads, and Hot 20 Countdown garnering their highest ratings in several years, while CMT Artists of the Year, nabbed its highest ratings ever.

The network tapped The Hills and Laguna Beach creator Adam DiVello for Music Citywhich documents five scrape-your-way-to-the-top strivers trying to insert themselves into Nashville’s music scene. CMT has a new slate of unscripted originals that will begin rolling out this year, including fan-favorite Wife Swap. With the hugely popular scripted hit Nashville wrapping up its sixth and final season in July, this unscripted slate provides a clear path forward for CMT.

“So these are the kinds of ideas that I think make more financial sense for a network,” Kay told Adweek. “If you pick the right properties, you don’t have to be spending millions and millions of dollars an episode to bring an audience to a channel.”   

With steady ratings growth anchoring the core television business, CMT’s leadership has begun exploring more ways that they can sync with Viacom’s company-wide focus on growing its live events business (all six of Viacom’s flagship networks – BET, Nickelodeon, Nick Jr., MTV, Paramount Network, and Comedy Central – will host live events this year). Last year’s CMT Music Awards rippled out into a three-day festival in downtown Nashville, and the net plans to expand its CMT on Tour and CMT Next Women of Country Tour.

“There’s so much opportunity in the space,” Kay told Adweek. “We should be in the CMT festival business, [to] which we’re getting very close.”

TV Land – modern pop culture classic series is appealing to more viewers

TV Land’s mix of beloved modern pop culture classic series is connecting with fans. Driven by the strong performance of RoseanneMomKing of Queens and Everybody Loves Raymond, the net ranked as the 15th highest-rated channel on all of ad-supported cable in March.

With momentum building toward the new seasons of Younger and Teachers on June 5, TV Land is likely to continue its tremendous momentum over the summer.

“TV Land is just a great workhorse, and I think that there is still growth for our two originals, Younger and Teachers,” Tanki told Broadcasting & Cable. “Younger this past summer is coming off its highest season ever, which in a multi-season franchise is really exciting. Teachers is another really hysterical series that we want to get out there. So for TV Land, it’s a little bit of if it’s not broke, don’t fix it.”

Viacom Says “Yaaas” to Expansive First-Look TV Deal with Broad City Creators Abbi and Ilana

by Stuart Winchester, Viacom

Following the signing of expansive first-look deals with Tyler Perry and with Trevor Noah’s Day Zero Productions, Viacom has inked a similar comprehensive development agreement with Broad City stars Ilana Glazer and Abbi Jacobson. The move, which crosses all Viacom networks and grants first-look rights to television content created or developed by the pair together or individually, underscores the company’s commitment to identifying and forging close relationships with the best creatives in the industry.

Broad City’s Abbi and Ilana may appear to be aimless and full of hair-brained schemes, but Abbi and Ilana IRL have proven to be stellar creator/writer/performer/director/producers,” said Comedy Central President Kent Alterman. “Their supreme focus on telling new stories, in new worlds, with new talent is nearly scary.”

The expanded partnership further fills out a Comedy Central lineup that was already bolstered by a long-term first-look deal Viacom sealed with Daily Show host Trevor Noah last month. The agreement includes a Paramount Pictures film adaptation of Noah’s bestselling autobiography, Born a Crime: Stories from a South African Childhood.

Viacom CEO Bob Bakish has repeatedly expressed a commitment to better retaining homegrown talent, and the forming of these expansive cross-brand relationships with three of Comedy Central’s marquee names affirms that dedication.

The more intensive alignment with top talent is not limited Viacom’s current stars, however, as demonstrated by the expansive partnership the company signed last year with prolific writer, director, producer and actor Tyler Perry, granting Paramount Pictures first-look rights to his films and guaranteeing 90 episodes of annual content across BET and other Viacom networks beginning next year.

“By prioritizing efforts to work with the best, most versatile talent in the entertainment industry, we are better positioned to deliver must-watch content across our brands and platforms,” Bakish said at the time of the Perry announcement.

Glazer and Jacobson also announced that they will end the hilarious, quirky, two-time Emmy-nominated Broad City with its upcoming fifth season.

Read More

Viacom’s Creative Renaissance Ignites With “Jersey Shore Family Vacation” and “A Quiet Place”

by Stuart Winchester, Viacom

In the last week, Paramount Pictures’ A Quiet Place won the domestic box office and MTV’s Jersey Shore Family Vacation rolled to the strongest unscripted cable debut in six years. The efforts provide commercial evidence of Viacom’s ongoing transformation – fueled by wide-ranging creative investments in talent, programming, and marketing.

The chart-topping numbers are especially encouraging in a media environment of ever-more-elusive audiences. The divergent paths to success of these two properties – A Quiet Place delivering something novel by elevating a horror story to a genre-busting blockbuster that appeals to all audiences, Jersey Shore Family Vacation building on MTV’s deep well of intellectual property to connect with its core demographic – underscore the way in which a creative renaissance is driving Viacom’s growth.

Marketing a near-silent film in an era of loud

Making a bet on the film’s potential playability, Paramount unveiled A Quiet Place at SXSW to great response. The highly original film immediately started compiling incredibly strong reviews. A clever marketing campaign then helped launch A Quiet Place to a $50.3 million opening weekend, good for the second-best domestic opening of 2018 (behind Black Panther). With a $17 million budget, the Platinum Dunes-produced and John Krasinski-directed film is a validation of Paramount’s reoriented slate and refreshed marketing approach under CEO Jim Gianopulos, who joined the studio last year.

“An innovative concept, with great talent both behind the camera and in front, and a savvy distribution and marketing plan led to Paramount’s biggest opening since 2016,” wrote Viacom CEO Bob Bakish in a staff memo about the film’s success.

Building strong relationships with talent has become a particular focus for Viacom under Bakish, and Krasinski, who will produce and star in the Paramount Television-produced Jack Ryan for Amazon and co-created Paramount Network’s hit show Lip Sync Battle, demonstrates the enormous cross-brand potential that forming such deep relationships can yield.  

A Quiet Place’s unique storyline – featuring a family tiptoeing through a post-apocalyptic world infested with insectoid monsters that will devour anyone who makes a sound – created an opportunity for Paramount to execute an equally original pre-release marketing plan. They delivered: moviegoers in nearly 100 theater chains caught the sonically attuned monsters devouring noisy spectators in pre-show spots, with the stern warning that “the movie theater should be A Quiet Place.” A pre-Super Bowl ad, a launch of the second trailer on Ellen, and a kick-off spot and accompanying stunts at the SXSW Film Festival primed diverse audiences for the film’s release.

“Paramount’s reconstituted management team is focused on allowing great filmmakers to make great movies, and then doing everything we can to support those movies,” said Paramount Pictures Chairman and CEO Jim Gianopulos. “In A Quiet Place, we did exactly that: We gave a talented young director license to put together something unlike anything else out there, and then threw our marketing and distribution expertise behind the project.”

Tapping an iconic property to connect with a core audience

Jersey Shore Family Vacation had less work to do in the name-recognition department, as its iconic predecessor, Jersey Shore, had long ago etched its cast into the cultural conversation. The unknown was whether this fist-pumping bunch, six years older and reunited in the beaches and bars of Miami, would still connect with audiences.

It did. The show’s nearly 10 million total viewers and 4.2 average rating in the core 18-34 demo on live-plus-three-days metrics made Jersey Shore Family Vacation the most-watched unscripted debut on U.S. cable since 2012. The original Jersey Shore had ignited a global franchise – with spin-offs in the UK, Spain, Poland and Mexico, plus the recently launched hit Floribama Shore in the U.S – and the cast’s return resonated globally, with the premiere airing in nearly 180 countries and territories.

The strong ratings complemented a seven-hour trending run on Twitter and acted as an emphatic endorsement of MTV’s revamped creative direction under President Chris McCarthy. Under his leadership, the network has grown ratings for three consecutive quarters for the first time in seven years behind a blend of revitalized franchises, returning classics and original programs.  

“MTV is about celebrating youth culture and music where talent and creativity unite to produce content that resonates across generations,” said McCarthy, who also oversees VH1 and Logo. “Jersey Shore Family Vacation and the new Floribama Shore demonstrate how MTV can harness our heritage to create programming that appeals to a mass audience while serving as a great launching pad for our new series.”

Paramount’s Downsizing Demonstrates Outsized Impact With an Environmental Media Award Nomination

*spoilers below*

In addition to Critics’ Choice and Golden Globe nominations, Paramount’s Downsizing has earned a nod from the Environmental Media Association (EMA) in its feature film category. The annual EMAs honor the most environmentally conscious works in film and television.

Downsizing posits what would happen if scientists took a drastic step to conserve the Earth’s resources. Matt Damon stars as Paul Safranek, a regular guy living a near-future version of the American Midwest with his wife, Audrey (Kristen Wiig), and struggling to pay the bills. To maximize their finances, the Safraneks decide to shrink themselves to five inches tall. Paul’s life in the lap of Lilliputian luxury sours once he finds out his wife has changed her mind and will not be downsizing, and subsequently divorces him.

Paramount’s film tackles heavy themes: economic disparity, political and racial inequality, and what has attracted attention from the EMA board—environmental sustainability.

Read More

5 QUESTIONS With: Paramount Television & Digital Entertainment’s Amy Powell

With hits such as 13 Reasons Why, The Alienist, Grease: Live and the upcoming Tom Clancy’s Jack Ryan, Maniac and Catch-22, Paramount Television is creating compelling content spanning multiple networks and platforms. We sat down with Amy Powell, President of Paramount Television and Digital Entertainment, to learn more about her group’s approach to storytelling, the audiences they reach and what they have planned for the future.

A Partnership Is Born: Viacom and Trevor Noah’s Day Zero Sign Feature Film, First-Look Deal

by Stuart Winchester, Viacom

Viacom today announced a long-term strategic partnership with Trevor Noah’s Day Zero Productions, substantially expanding the company’s relationship with one of its most talented young stars. The deal grants Viacom first-look rights to all projects developed by Noah and his international production and distribution company across television, feature film, digital and short-form video content.

One of the first projects will be a Paramount Players film adaptation of Noah’s bestselling autobiography, Born a Crime: Stories from a South African Childhood, propelling the Daily Show host into the broader Viacom ecosystem while reinforcing a key strategy of Viacom President and CEO Bob Bakish to more thoroughly mine the company’s ecosystem for cross-brand opportunities.

“Working with the best, most versatile talent in the entertainment industry is a strategic priority for Viacom, which is why we are thrilled to expand our relationship with Trevor and his creative team at Day Zero with this cross-house partnership,” Bakish said. “Trevor’s creative sensibilities and ability to drive the cultural conversation around issues that matter to our young, global audiences make him an ideal partner for Viacom across every screen we serve. We are particularly proud that Born a Crime will be produced and distributed by Paramount.”

Academy Award-winner Lupita Nyong’o will star in the film as Noah’s mother, Patricia. Liesl Tommy, a Tony nominee for her work directing Nyong’o on Eclipsed and a South Africa native, will direct the film.

NEW YORK, NY – SEPTEMBER 28: Trevor Noah hosts Comedy Central’s “The Daily Show with Trevor Noah” premiere on September 28, 2015 in New York City. (Photo by Brad Barket/Getty Images for Comedy Central)

Viacom will also make an investment in Day Zero. “I’ve found a strong and incredibly valuable partnership in Viacom,” said Noah, who has hosted The Daily Show with Trevor Noah on Comedy Central since 2015 and is signed to continue hosting the show through 2022. “Our shared vision of bringing diverse cultural conversations and exciting creative projects to the forefront of the entertainment industry and to our constantly expanding audience, continues to strengthen our relationship. I couldn’t be more excited to share Born A Crime with Paramount and the very talented Lupita Nyong’o.”

The expansive partnership with Noah and Day Zero echoes a far-reaching deal Viacom signed with prolific writer, director, producer and actor Tyler Perry last year, granting the company first-look rights to feature films and guaranteeing 90 episodes of new content for BET and other networks beginning next spring.

Born a Crime is the latest project for the rapidly expanding Paramount Players, which collaborates with Viacom flagship brands Nickelodeon, MTV, Comedy Central and BET to develop films. The division’s other projects in development include Perry’s The List, starring Tiffany Haddish (who will host MTV’s Movie & TV Awards in June), which will hit theaters in November, and a Dora the Explorer live-action film in development with Michael Bay’s Platinum Dunes label for a 2019 release.