Kartoon Studios To Launch “Winnie-the-Pooh” Megabrand On Amazon Prime Video Alongside Nationwide Retail Program in Partnership with Alliance Entertainment

Kartoon Studios today announced its most ambitious project in the history of the company, Kartoon Studios’ “Winnie-the-Pooh.” Plans include an animated holiday movie, five holiday specials, and a four year/104 episode series, to premiere on Amazon Prime Video, via Kartoon Channel!’s subscription service on the platform. Concurrently, Alliance Entertainment (NASDAQ:AENT), a leading distributor of physical entertainment that supports major nationwide retailers, including Walmart, Target, Amazon and Barnes & Noble, will debut new merchandise through a nationwide retail program, in conjunction with Kartoon Studios rollout of a global consumer products campaign.

Kartoon Studios’ “Winnie-the-Pooh” is based on the designs and stories of one of the most successful brands of all time, A.A. Milne’s “Winnie-the-Pooh,” a property that has generated over $80 billion in sales over the last four decades and is estimated to currently generate $3-$6 billion per year for The Walt Disney Company. The total lifetime revenues exceed those of “Barbie,” “Harry Potter,” “Star Wars,” “Mickey Mouse,” “Peanuts,” “Ninja Turtles,” “Power Rangers,” “Marvel,” and almost every major brand in the world.

“Disney created an iconic and tremendously successful global brand with ‘Winnie-the-Pooh’ that we have all admired so much over many decades.  When the property went into the public domain, we knew we could only undertake creating Pooh for a new generation if we could bring a completely new, different and unique look that was contemporary, protectable, and gave voice to the characters and stories created by A.A. Milne, as has never been done,” said Kartoon Studios’ Chairman & CEO Andy Heyward. “We are thrilled to launch with Amazon Prime Video and Alliance Entertainment to deliver unique and  exceptional content, as we build out a new iteration of this entertainment brand and ‘Winnie-the-Pooh’-branded consumer products to the global marketplace.”

Pre-production has already begun on the animated holiday movie, set to premiere December 24, 2025, on Amazon Prime Video, through Kartoon Channel!’s subscription distribution agreement with them. Concurrently, the global retail program will kick off with the debut of products featuring an array of special features, distributed through Alliance Entertainment Corporation.

Kartoon Studios’ “Winnie-the-Pooh” animated content is being developed with a unique ‘yarn- based’ design and palette for the characters and backgrounds, along with original modern stories inspired by Milne’s beloved classic books. The beautifully imagined yarn gives the characters a depth and warmth.  Additionally, the stories will be told in a ‘Seussian style’ rhyme to provide an enriched dimension to the stories.

“In designing Kartoon Studios’ ‘Winnie-The-Pooh,’ we combined the best of both AI and human creativity to arrive at the unique look of the characters and backgrounds that could not have been imaginable prior to the advent of AI in our industry,” commented Heyward.  “Our use of our AI platform will enable us to bring a level of efficiency, speed-to-market, and creativity, to the production heretofore not possible,” said Heyward. “At a time when our world can be confusing for children, Pooh is an oasis of goodness, grounded in family, friendship, kindness, and love.  Those are the exact values our version of Pooh will showcase as we focus on building Kartoon Studios’ “Winnie-The-Pooh” into a long-term global megabrand, through which the simple and comforting values A.A. Milne originally imagined, will endure forever.”

Heyward added: “We think this is a generational opportunity to capitalize on one of the greatest properties ever created, with a proven track record.  Audiences around the world are demanding healthy, positive, family-friendly stories that will inspire and entertain kids, alongside a new line of products, from toys to books, videos to apparel, and more, that are steeped in these enriching values.”

The series is being financed through Joint Venture Production financing of $30 million provided by WTP SPV 1, a subsidiary of Catalyst Venture Partners.  It is non-dilutive, production financing.

Steven A. Horowitz, Sr. Managing Director  of WTP SPV and its parent company, Catalyst Venture Partners, stated: “We have committed to provide $30 million to the Special Purpose Joint Venture for this exciting new version of A.A. Milne’s ‘Winnie the Pooh’ from Kartoon Studios, which is non-dilutive to any of TOON’s existing stakeholders.  Being able to participate in a timeless and proven children’s classic such as Milne’s ‘Winnie-The-Pooh,’ through the production of original animated content and the licensing of consumer products from those proprietary character designs and stories, is a unique opportunity we are very excited about.  Andy Heyward and the team at Kartoon Studios have a long history of producing hit properties for children.  An all-star array of award-winning talent across development, production, marketing, consumer products, and distribution has been assembled to manage the brand launch, and we are excited to be a part of what we are confident will be a hugely profitable and enduring business.”

“Capitalizing on the enormous equity inherent in A.A. Milne’s ‘Winnie-The-Pooh,’ the unique designs and storytelling, as well as the production efficiency by harnessing AI, Kartoon Studios’ new iteration of the timeless brand will have an exceptional array of attributes that we believe can lead to extraordinary profitability for the company,” stated Heyward.    

Former Hawaii Five-O And Magnum Pi Star Taylor Willy Has Died

Wily’s death was confirmed by KITV 4 Island News in Hawaii. Musician Lina Girl Langi, who had been close friends of Wily and his loved ones, announced the news on her lifestyle show, “Island Life Live.”

“It is with a heavy heart that I share the news of the passing of a Hawaii celebrity who was also a family friend,” Langi shared on the broadcast on Thursday. “Taylor Wily, former wrestler, MMA fighter and actor passed away today in Hurricane, Utah.”

She added: “He would look physically menacing until you just folded right into a hug, and that was it. My heart is breaking.” 

Her co-host, Davey D, described Wily as one of the “kindest” and “gentlest souls.”

His cause of death has not been revealed.

Wily — whose real name was Teila Tuli — played Kamekona on the CBS drama for 171 episodes for 10 seasons between 2010 and 2020. He reprised his role for seven episodes in “Magnum P.I.”

Born in Honolulu, Hawaii, in 1968, Wily also appeared in the 2008 romantic comedy “Forgetting Sarah Marshall,” which starred Jason Segel, Kristen Bell and Paul Rudd. Other credits included “Radical,” “MacGyver,” “North Shore” and “Marker.”

Off-screen, Wily was a sumo wrestler under the name “Takamishu.”

According to TV Insider, he won his first 14 matches before becoming the first foreign-born wrestler to win the championship in the third-highest makushita division. In 2000, he lost to fighter Gerard Gordeau in the Ultimate Fighting Championship.

He is survived by his wife, Halona, and their two children.

Canal+ Increases Stake In Asian Streamer VIU To 36,8% With The Option To Get Majority Ownership

French media and telecom conglomerate Vivendi’s pay-TV unit Canal+ Group has increased its stake in Asian streamer Viu to 36.8 percent, the company said on Thursday.

“After satisfaction of key business milestones, Canal+ Group has released the last installment of its $300 million staggered investment,” it explained. “A further investment, at Canal+ election, could result in an increase of Canal+’s stake in Viu to 51 percent.”

The company didn’t immediately outline what would be needed for it to make such a decision to go for a majority stake in the Hong Kong-based video streamer. But it did highlight its interest in Asia. “This investment is a renewed testimony to Canal+’s commitment to develop Asia as one of the group’s growth engines and underlines Canal+’s confidence in Viu and its team.”

Canal+ first bought into Viu, led by CEO Janice Lee, in a June 2023 deal with Hong Kong telecom powerhouse PCCW Group, taking a 26.1 percent stake. As part of that deal, Canal+ secured the option of paying an additional sum to increase its stake to a 51 percent majority. 

Launched in 2015 with backing from PCCW, Viu’s video service offers both advertising and subscription-supported options in 16 territories in Asia, the Middle East and South Africa. When it unveiled the Canal+ deal last year, he company said it had more than 66 million monthly active users and 12 million paid subscribers, the bulk of which is believed to be based in Asia. Viu has specialized in licensing and producing original Korean content, but it also creates original content in Southeast Asian territories including Thailand, Indonesia and Malaysia.  

Canal+ has 26.4 million subscribers worldwide, including 17.1 million in Europe, 8.1 million in Africa and 1.2 million in the Asia-Pacific region. Beyond its investment in Viu, it is also the largest shareholder in African pay-TV giant MultiChoice and in Viaplay, the Scandinavian pay-TV and streaming company. Earlier this year, it also took a stake in leading Senegalese production company Marodi TV.

Totally Spies! Live-Action Series In The Works At Amazon

A live-action TV series based on the cult classic French cartoon “Totally Spies!” is in development at Amazon with Will Ferrell as executive producer.

Described as a YA adaptation of the long-running Banijay Kids animated show of the same name, the new “Totally Spies!” will follow iconic best friends Clover, Alex and Sam as they navigate saving the world as international spies, while trying to survive the ups and downs of first year college life.

No writer or talent is currently attached to the potential “Totally Spies!” series, which is a collaboration between Amazon MGM Studios and Banijay Kids & Family, shepherded by Amazon’s head of Pan-English original series Rola Bauer.

Executive producing the project alongside Ferrell, under their Gloria Sanchez Productions banner, are Jessica Elbaum and Alix Taylor. Banijay Kids & Family CEO BenoƮt Di Sabatino is executive producer for the studio.

Created by Vincent Chalvon-Demersay and David Michel, the original “Totally Spies!” has aired nearly 200 episodes since debuting in 2001 and spawned a prequel film, “Totally Spies! The Movie,” and a spinoff series, “The Amazing Spiez!” The show recently premiered its seventh season in France and will air in the U.S. on Cartoon Network later this year. “Totally Spies!” is currently streaming on Amazon’s Prime Video.

“’Totally Spies!’ is a huge success for Banijay Kids & Family, having been translated in 60 languages and sold to more than 220 territories,” Di Sabatino said. “With a social media base of 3 million, the series continues to thrive in its animation form with the recently launched 7th season. Rola Bauer approached me for a live-action adaptation, and we were thrilled to partner with Amazon MGM Studios. With her, Ludovic Attal, and Punit Matoo’s support, we are honoured to join such a stronghold of female-focused producers in Gloria Sanchez Productions to produce for Prime Video.”

“Will, Alix and I are thrilled to be joining our partners at Amazon and Banijay to bring ‘Totally Spies!’ to life as a live-action show,” Gloria Sanchez president Elbaum said. “Gloria Sanchez was originally founded to tell stories about complicated characters and empower female voices and storytellers. As longtime fans of the animated show, we couldn’t think of a story more fitting to our ethos. The themes of girl-power, never sacrificing friendship, fun, or your true self to be successful resonated with us then, and feel ripe to revisit now.”

Sanlam To Buy 60% Of MultiChoice's Insurance Business

Sanlam will buy a 60% stake in MultiChoice's insurance business for R1.2bn in cash up front and a potential performance-based earn-out of up to R1.5bn, the groups said on Tuesday.

MultiChoice, Africa's biggest pay-TV company, said while its insurance business has demonstrated substantial growth in South Africa, its ambition to expand locally and in Africa “requires a step-up in resources, expertise and technology”.

“Sanlam's extensive presence and expertise in the African continent, coupled with its track record of success in insurance ventures with non-insurers, positions it strongly for a strategic venture with MultiChoice,” the companies said in a joint statement.

The potential cash earn-out payment is contingent upon the total gross written premium generated by the insurance business for the year ending December 31 2026, they added.

A pre-acquisition dividend of R59m will also be declared by MultiChoice's insurance business.

Shares in Sanlam were up nearly 5% up on Tuesday morning, while MultiChoice inched up 0.36%.

MultiChoice will retain a 40% interest in the insurance business and 40% in the broader commercial venture with Sanlam.

The deal gives Sanlam an opportunity to further expand its insurance and financial services business in Africa, the companies said. Opportunities outside South Africa will be facilitated through its SanlamAllianz business.

MultiChoice has a subscriber base of 21-million households in 50 African countries, while Sanlam operates in 31 countries, including eight of the top 10 largest African economies.

BENOIT. Wrestling With The Horror That Destroyed A Family And Crippled A Sport (PDF)

Featuring the Canadian WWE wrestler Chris Benoit. Over a 3 day period ending on June 24, 2007, Benoit killed his wife Nancy, strangled his 7yr. old son, and subsequently hanged himself. The personal and the public remifications; the fallout for "sports entertainment" and sports in general; the role the media has played and whether professional wrestling as we know it will survive the scrutiny of fans and lawmakers alike - in this book four of the industry's most respected commentators weigh in on the horrific murder-suicide that outraged the nation, making wrestling's macho but fake cartoon world all too vulnerable and chillingly real.

Becoming Batman The Possibility Of A Superhero (PDF)

Battling bad guys. High-tech hideouts. The gratitude of the masses. Who at some point in their life hasn't dreamed of being a superhero? Impossible, right? Or is it? Possessing no supernatural powers, Batman is the most realistic of all the superheroes. His feats are achieved through rigorous training and mental discipline, and with the aid of fantastic gadgets. Drawing on his training as a neuroscientist, kinesiologist, and martial artist, E. Paul Zehr explores the question: Could a mortal ever become Batman? Zehr discusses the physical training necessary to maintain bad-guy-fighting readiness while relating the science underlying this process, from strength conditioning to the cognitive changes a person would endure in undertaking such a regimen. In probing what a real-life Batman could achieve, Zehr considers the level of punishment a consummately fit and trained person could handle, how hard and fast such a person could punch and kick, and the number of adversaries [...]that individual could dispatch. He also tells us what it would be like to fight while wearing a batsuit and the amount of food we'd need to consume each day to maintain vigilance as Gotham City's guardian. A fun foray of escapism grounded in sound science, Becoming Batman provides the background for attaining the realizable -- though extreme -- level of human performance that would allow you to be a superhero.

Disney TV Announces New ‘Prep & Landing,’ ‘Moon Girl’ Shorts, ‘Kindergarten: The Musical,’ ‘Big City Greens’ S5 & Much More

Today, during the Annecy International Animation Film Festival, Disney Branded Television (DBT) announced a lineup of new animated projects and shared first looks from its preschool and kids slate. The announcements were made by Ayo Davis, President of Disney Branded Television, alongside DBT animation leaders Meredith Roberts, EVP of Disney Television Animation; Alyssa Sapire, SVP of Development, Series and Strategy, Disney Junior; and Orion Ross, VP, International Animation.

Additionally, Disney Television Animation commemorated its illustrious 40-year anniversary at the festival with a special panel highlighting the studio’s dominance in kids’ animation over four decades — with beloved titles like Phineas and Ferb, Mickey Mouse Clubhouse, Monsters at Work, The Proud Family: Louder and Prouder, Sofia the First and more — as well as current and future hits ranging from Kiff to Big City Greens, ZOMBIES: The Re-Animated Series, Hamster & Gretel and StuGo.

Disney Junior, Disney Television Animation and International Animation teams will feature several additional panels throughout the week, including one that highlights the power of storytelling through music and features Disney Junior’s Ariel, Kindergarten: The Musical, ZOMBIES: The Re-Animated Series, Kiff and Big City Greens, as well as a panel for the upcoming global series The Doomies.

“Disney Branded Television is proud of our four-decade legacy of creating magical and visually stunning animation beloved by young audiences around the world,” said Davis. “It’s a momentous year at Annecy, as we celebrate our studio’s milestone anniversary and showcase some of our most exciting new projects and creative talent that are ushering us into a new era of storytelling.”

Among the new Disney Junior and Disney Television Animation titles and first looks announced at Annecy are the following:

New Series & Specials

Prep & Landing: The Snowball Protocol (22-minute special)
Produced by: Disney Television Animation
Executive Producers: Kevin Deters and Stevie Wermers-Skelton
Story Editor/Co-Producer: Colleen Evanson
Producer: Melissa Kurtz
Director: Shane Zalvin
Writer: Hilary Helding

In this new installment of the Emmy-winning holiday specials, the high-tech team of elves from the elite unit known as Prep and Landing is back! When their holiday missions go awry, Wayne thinks he is in BIG trouble with Santa, which opens a vault of merry mishaps from the past. It’s going to be hard to dig their way out of the snowbank this time in Prep & Landing: The Snowball Protocol. The special will debut next year.

Marvel’s Moon Girl and Devil Dinosaur: Moon Girl’s Lab (Shorts)
Produced by: Disney Television Animation
Executive Producers: Laurence Fishburne, Helen Sugland and Steve Loter
Co-Executive Producers: Rodney Clouden and Pilar Flynn

Marvel’s Moon Girl and Devil Dinosaur: Moon Girl’s Lab is a new musical S.T.E.M.-focused short-form series in which Moon Girl is dropping knowledge and dropping bars as she uses the power of science to take down some serious baddies. Each of the eight shorts will feature a new song by Grammy Award winner Raphael Saadiq, who serves as executive music producer on the series, and a science theme, including adaptations, states of matter, plants, force and motion, light, echolocation and coding.

The shorts will premiere Friday, June 28, on Disney Channel and Disney Channel YouTube. All eight shorts will be available on Disney+ the same day.

SuperKitties: Sup-Purr Adventures (Shorts)
Produced by: Sony Pictures Television – Kids in association with Disney Junior
Creator: Paula Rosenthal
Executive Producers: Sarah Mullervy, Kirk Van Wormer and Audu Paden
Supervising Producer: Bryan Korn

SuperKitties: Su-Purr Adventures is a new short-form series inspired by 2023’s No. 1 new preschool series, SuperKitties. It features Bitsy, Ginny, Sparks and Buddy as they showcase their superhero skills and kitty kindness that they use to work together as a team to make their town of Kittydale a great place to live.

The shorts will premiere Wednesday, August 7, on Disney Junior and Disney Channel and next day, Thursday, Aug. 8, on Disney+ and Disney Junior YouTube.

Series Renewal 


Big City Greens (Season 5)
Produced by: Disney Television Animation
Creators/Executive Producers: Chris and Shane Houghton
Executive Producer: Anna O’Brian
Co-Executive Producer: Stephen Sandoval
Producer: Michael Coughlin

Greenlit for a fifth season today, Big City Greens was the No. 2 most-watched kids animated series of 2023, with more than 2 billion hours watched across linear and streaming since it debuted in 2018.

The series follows the offbeat adventures of 10-year-old Cricket Green (voiced by Chris Houghton), a mischievous and optimistic country boy who moved to the big city with his wildly out-of-place family. The show is heavily influenced by the brothers’ childhood growing up in St. Johns, Michigan, a small rural town north of Lansing, also known as the mint capital of the world. Many of the characters are inspired by real-life family members and childhood townsfolk.

This summer also marks the premiere of Big City Greens the Movie: Spacecation, which will be screened at Annecy as part of the prestigious Le PĆ¢quier lawn screening series. Additionally, Anna O’Brian, director of the movie, has joined the series for season five as executive producer.

First Look

Disney Junior’s Ariel
Produced by: Wild Canary in association with Disney Junior
Executive Producer: Lynne Southerland

An exclusive first-look clip from the highly anticipated new series Disney Junior’s Ariel was released today.

Inspired by the beloved story of The Little Mermaid, the series debuts Thursday, June 27, on Disney Junior in the U.S. with an initial batch of eight episodes available on Disney+ the following day, Friday, June 28.

The series follows 8-year-old mermaid princess Ariel as she and her friends embark on fun-filled, action-packed underwater adventures throughout their Caribbean-inspired fairy tale kingdom of Atlantica and beyond.

Kindergarten: The Musical
Produced by: Oddbot Entertainment in association with Disney Junior
Creators: Michelle Lewis and Charlton Pettus
Executive Producers: Tom Warburton, Michelle Lewis, Kay Hanley, Charlton Pettus and Dan Petty
Co-Executive Producer/Story Editor: Laurie Israel

The main title theme song — performed by Grammy Award-winning and Tony Award-nominated actress and singer Eva Noblezada (The Great Gatsby) — and key art for Disney Junior’s upcoming new series Kindergarten: The Musical was also released today.

The series follows five-year-old Berti, who, along with her new friends, is navigating all the exciting and emotional experiences that come with starting school for the very first time. Taking place in a kindergarten classroom at Porter Elementary, the series features fantastical Broadway-style song and dance numbers that help kids express their big feelings and provide a peek into their incredible imaginations. The series is set to debut on Disney Junior and Disney+ later this year.

StuGo
Produced by: Titmouse in association with Disney Channel
Creator/Executive Producer: Ryan Gillis
Co-Executive Producer: Sunil Hall
Story Editor: Craig Lewis

The main title theme song for StuGo was also released today. The series is set to premiere this fall on Disney Channel and Disney+.

The series follows six overambitious middle schoolers tricked into attending a fake academic summer camp by a mad scientist. Now they’re stuck for three months on a wild tropical island with mind-reading manatees, giant fighting fungi and fashion-forward mutants ― less academia than they’d hoped for but a lot more adventure.

The Doomies
Produced by: Xilam in association with Disney+
Co-Creator/Director: AndrƩs Fernandez
Co-Creator/Head Writer: Henry Gifford
Co-Creator/Art Director: RƩmi Zaarour

An exclusive first look of Disney’s new spooky comedy animated series, The Doomies, was released today.

The chilling series follows best friends Bobby and Romy, who mistakenly open a gateway to the underworld and turn their sleepy coastal town into a hotspot for terrifying creatures of doom. As they try to cover up their mess, they get roped into an epic monster mystery, which will see them battle both literal and inner demons.

Shari Redstone, Paramount End Talks With Skydance

After months of negotiations, Paramount‘s controlling shareholder Shari Redstone has broken off merger talks with David Ellison‘s Skydance, according to the WSJ.

The two sides have been deep in discussions during and after a one-month exclusive negotiating period in April and Redstone at one point had favored the deal, which would have paid her a premium, and kept the businesses together, at least initially. The transaction was for Skydance to acquire Redstone’s family holding company NAI, which controls Paramount, and then see Par and Skydance merge.

As of this weekend talks were intense but there were a few major sticking points, one said to be over which party party would assume legal liabilities in the case of shareholders lawsuits.

Paramount Global stockholders vocally disliked the deal from the start and threatened to sue. Skydance, backed by Larry Ellison and Gerry Cardinale’s RedBird Capital, revised the deal several times to sweetened the pot for them, but they still weren’t enamored.

Meanwhile, a few other bidders had emerged to acquire Shari Redstone’s controlling stake in a deal that would be a change of control of the publicly traded company, but not a merger. Producer Steven Paul put together a group of deep-pocketed investors and is interested. And former Universal chief Edgar Bronfman, Jr., backed by Bain Capital, is also looking at a deal.

Rogers Communications Creates Content Partnership With NBCUniversal For Bravo And Warner Bros. Discovery For Factual Entertainment

Rogers Communications has agreed to bring content from NBCUniversal and Warner Bros. Discovery to streaming platforms in Canada.

The Canadian telecommunications company said Monday that it has penned multi-year deals with the two U.S.-based mass media and entertainment companies

Starting in September, Rogers will Launch NBCUniversal's Bravo channel in the country and will become the English-language television content rights holder in Canada.

A few months later in January, Rogers will be the distribute Warner Bros. Discovery's U.S. lifestyle and factual brands, including HGTV and The Food Network.

Rogers said it will work with Canadian distributors to make the content widely available, and that it will increase its investment in original Canadian content and collaborate with Canadian independent producers.

The Death Of WCW Explained

Really, the answer is Jamie Kellner. He was the one who made the call to pull the plug and kill the promotion. But, really, Kellner only made that call because WCW was losing so much money. If it was profitable, there’s a chance he never would have closed its doors. 

And why wasn’t it making money? Well, because Vince Russo made lots and lots of bad decisions. He took a company that turned a profit of $30 million dollars, and made it one that lost over $60 million dollars. 

But, Russo was only there to fix the mess that Bischoff had put the company in. Russo is an easy scapegoat, but Bischoff’s refusal to look past Hogan is a huge contributing factor to the death of WCW.

Hogan had a shelf life, and Bischoff – and Hogan – couldn’t see that. And giving Hogan creative control from the get go did lead to a lot of issues on what were supposed to be big shows.

He also spent big on contracts.

Contracts that were so big that when WWF bought WCW, they didn’t pick up a lot of the TimeWarner contracts for the likes of Hogan, Hall, Nash, Goldberg etc because it would have upset their own pay structure in the WWF.

But perhaps the person who killed WCW was the man who created it in the first place.

A lot of WCW’s problems can be traced back to Ted Turner’s decision to merge with Time Warner in 1995.

If Turner hadn’t made that merger, they wouldn’t have been involved in the AOL merger of 2000 which wouldn’t have brought in Jamie Kellner who pulled the trigger on the Death of WCW

Turner lost a lot of power after the TimeWarner merger, and even more from the AOL one.

Eric Bischoff even argues that once Turner lost his power after the TimeWarner merger, he no longer was able to have Eric’s back and sign off on his big money spending, and he had other people to answer to who didn’t like the way he spent money, like giving wrestlers big contracts.

You could make the argument for any one of these people being the ultimate reason for the downfall of WCW, but in actuality, it was all of them.

‘SpongeBob’ Universe Expands With Three Paramount+ Spinoff Movies, New Theatrical Film

Three new SpongeBob SquarePants character spinoff movies for Paramount+ are in the works at Nickelodeon Studios, in addition to a new theatrical release about the porous resident who lives in a Pineapple-under-the-sea. The news was announced today by Brian Robbins, Chief Content Officer, Movies and Kids & Family for Paramount+ at the ViacomCBS Investor Event.

The first of Paramount+’s SpongeBob character spinoff movies, which focus on different Bikini Bottom residents, will drop in 2023.

The expansion of the SpongeBob franchise follows the recent success of SpongeBob series offshoots Kamp Koral on Paramount+ and The Patrick Star Show on Nickelodeon, the first season of which will be available soon to stream on Paramount+.

Paramount has made three SpongeBob feature movies, the first in 2004, which altogether have grossed close to $471M worldwide. The highest grossing installment was 2015’s The SpongeBob Movie: Sponge Out of Water which grossed over $325M WW. However, because of the pandemic, Paramount was forced to pull The SpongeBob Movie: Sponge on the Run from U.S. release in 2020. The sequel received a Canadian theatrical release in August of that year, making $4.8M, while the film in the states served as the branded launch for Paramount+ in 2021. The pic’s foreign rights, except for China, were sold to Netflix.

“As we’ve known with Nickelodeon’s long-standing success, the kids and family audience is incredibly loyal, and we see that on Paramount+ as well, with kids and family ranking as one of the strongest genres on the service in terms of both engagement and subscriber acquisition,” said Robbins. “So as they stay for our shows and look for even more of them, we’re doubling down on giving them what they want by expanding the universes of the characters they love the best.”


Paramount Confirms Merger Plans For Their Streaming Service

For many months now, Hollywood insiders and industry commentators have been talking about Paramount+ — at least the service as it currently exists — as a dead streamer walking. This week, however, the obituary notices started coming from within the building.

During a shareholder presentation Tuesday, the three execs currently running Paramount Global (at least for now; the company may be on the verge of being sold) announced that they had a plan to “transform” the company’s streaming strategy, which currently focuses on the stand-alone streamer Paramount+ (and, to a lesser degree, free streamer Pluto TV). Toward this end, the trio said they had begun actively exploring the formation of a joint venture with either a rival streamer or a tech company — and that they’d already received interest from possible partners. While they didn’t go into any details of what such a joint venture would entail, both history and common sense suggest an outcome where Paramount+ either becomes a tile on another service, or its content gets folded into a new or existing platform featuring content from multiple companies, similar to how Hulu at one time existed as a partnership among ABC, NBC, and Fox’s corporate owners.

The execs went out of their way to stress that they’re not thinking small here. “Let me clear: I’m not talking about marketing bundles,” like the one Disney and Warner Bros. Discovery are planning, said Chris McCarthy, president/CEO of Showtime/MTV Entertainment Studios and Paramount Media Networks, and part of Par’s three-headed exec branch. Instead, the company is looking to form “a deep and expansive relationship, one that would make the most of our hit content while improving the customer offering.” McCarthy said Par wants a new paradigm that both reduces subscriber churn and, perhaps most importantly, controls cost.

It’s not that Par execs think their programming isn’t popular enough to work in a subscription universe. Quite the opposite: The exec trio talked up the populist appeal of its content and noted Paramount+’s ability to become a top-five streamer just a couple of years after launch, with over 70 million global subscribers. But Paramount has decided the costs of running its own streaming service — marketing dozens of shows, finding a user interface that actually works, etc. — are too high. Instead, it wants to create a new blueprint where Paramount content (CBS shows, MTV reality series, the Yellowstone universe, Paramount Pictures movies) has a guaranteed home, but not in an expensive, self-contained luxury island where Par shareholders pay the full mortgage. Think of it this way: Paramount wants to move its streaming offering from the ritzy mountaintop mansion where it’s lived the past few years and relocate it to a still very nice duplex condo where another owner (or owners) helps pay for building upkeep.

To underscore just how serious they were about moving on from the current Paramount+ status quo, McCarthy said the company has “already had a great deal of an inbound interest” in the idea and that there would be more details “soon.” It’s worth noting here that back in February, The Wall Street Journal reported that Paramount had engaged in conversations with Peacock owner Comcast about a Peacock–Paramount+ merger “through a partnership or joint venture” — the exact same wording McCarthy used this week. The paper has also reported Warner Bros. Discovery’s interest in a team-up. Nothing has happened publicly on this front, in part because of the aforementioned potential sale to David Ellison’s Skydance Media, producer (with Par) of the recent Mission: Impossible and Top Gun movies and TV shows like Reacher and Jack Ryan. Per multiple published reports, the Skydance-Paramount deal is both all but done and possibly in doubt, given some supposed last-minute doubts from Shari Redstone, the media mogul who basically controls Paramount through her family’s movie-theater chain National Amusements.

It’s this uncertainty that may explain why Tuesday’s admission by Paramount’s current leadership that Paramount+ as a stand-alone business no longer makes sense hasn’t generated a ton of headlines. Fact is, as long as there’s a strong chance that new ownership could be taking over, any plans from the current “office of the CEO” of Paramount Global come with a major asterisk attached. It’s hard to imagine any potential Paramount+ partner would sign a deal without knowing for sure that either the people executing said deal will be around to see it through or that the new owners are onboard with the idea. And then there’s this: Many in the media and Wall Street have been operating under the assumption that Paramount+ as it is now isn’t long for this world, and that any new owner, including Skydance, would look to make a meaningful change in streaming. (In fact, I continue to hear rumblings from very good sources that a Peacock–Paramount+ team-up of some sort is more likely than not, however the current ownership drama gets resolved.) So the fact that the current management officially signed on shaking things up might not read as worthy of a breaking-news alert.

But if Redstone’s supposed waffling ends with the Skydance bid being called off and Paramount Global moving forward with one or all of its current leaders, then this week will go down as a very important milestone in the streaming wars. Five years after Apple and Disney officially kicked off hostilities versus Netflix in the race to win SVOD share, a major combatant could be getting ready to sue for peace.

Source: Vultures 

Paramount And Skydance Media Agree To Terms Of A Merger, Awaiting Approval

Paramount and Skydance have agreed to terms of a merger. A deal could be announced in the coming days, he said.

A Paramount special committee and the buying consortium — David Ellison's Skydance, backed by private equity firms RedBird Capital and KKR — agreed to the terms. The deal is awaiting signoff from Paramount's controlling shareholder, Shari Redstone, who owns National Amusements, which owns 77% of class A Paramount shares, Faber said Monday.


The agreement terms come after weeks of discussion and a recent competing offer from Apollo Global Management and Sony Pictures.

"We received the financial terms of the proposed Paramount/Skydance transaction over the weekend and we are reviewing them," said a National Amusements spokesperson.

The deal currently calls for Redstone to receive $2 billion for National Amusements, Faber reported Monday. Skydance would buy out nearly 50% of class B Paramount shares at $15 apiece, or $4.5 billion, leaving the holders with equity in the new company.

Skydance and RedBird would also contribute $1.5 billion in cash to Paramount's balance sheet to help reduce debt.

Following the deal's close, Skydance and RedBird would own two-thirds of Paramount, and the class B shareholders would own the remaining third of the company, Faber reported. The negotiated terms were reported earlier by The Wall Street Journal.


The deal will not require a vote from the shareholders, which was part of the negotiations, Faber reported. Paramount's annual shareholder meeting will take place on Tuesday.

The deal is valued at $8 billion, an increase from the $5 billion offer on the table earlier. Under those earlier terms, Redstone would have received less than $2 billion for her stake, and the class B shareholders would have been bought out at a nearly 30% premium at $11 a share.

In early May, Apollo and Sony formally expressed interest in acquiring Paramount for about $26 billion. However, Redstone has favored a deal that would keep Paramount together, and Apollo and Sony planned to break up the company.

In addition to the twists and turns of the negotiations with buyers, Paramount's C-suite has also undergone a shakeup in recent months.

Bob Bakish stepped down as CEO in late April and was replaced by what the company calls the "Office of the CEO." Paramount is now led by three executives: George Cheeks, CBS president and CEO; Chris McCarthy, president and CEO of Showtime/MTV Entertainment Studios and Paramount Media Networks; and Brian Robbins, the head of Paramount Pictures and Nickelodeon.

Hi Hi Puffy Amiyumi | Pilot | Cartoon Network

After Sam Register (the creator) pitched the idea of Hi Hi Puffy AmiYumi having their own cartoon series on Cartoon Network, the animation studio Renegade Animation created a pitch pilot, in the hopes of swaying Cartoon Network to green-light the show's production.

The pilot was sent to Cartoon Network and they accepted it and it was to air in late 2003, but for unknown reasons, the pilot was reworked and later premiered on November 19th, 2004. The series premiere was successful and was even at the time one of the highest-rated shows to premiere on Cartoon Network.

Elderly People Seen In Titanic Film Were Based On A Real Life Couple

Not only did the film - starring none other than Kate Winslet and Leonardo DiCaprio - recall the tragic sinking of the RMS Titanic in 1912 and deaths of over 1,500 passengers, but the movie also centred itself on the heart-wrenching love story between Rose and Jack too.

However, there's wasn't the only romance to board the ship.

The true story of another couple has since been revealed.

As well as featuring a scene where Jack paints Rose 'like one of his French girls' and a steamy rendezvous in the back of a car, another couple also makes a cut, spooning one another in bed as the water rushes onto the ship - ultimately deciding to die in one another's arms.

While the scene isn't entirely factually correct - the real-life couple actually deciding to hunker down for a hug on the deck opposed to back in their room - the shot is based on a real couple named Isidor and Ida Straus.

Married in 1871, the Jewish couple had seven children together. Isidor was 67 when he boarded the Titanic and Ida the age of 63.

After the Titanic was struck by an iceberg on that fateful day in 1912, the lives of women and children were prioritised on the lifeboats rescuing passengers from the sinking ship.

However, due to the Straus' status - Isidor a co-owner of Macy's Department Store located in New York - his chance to escape followed shortly after.

Despite being offered a seat due to his status and wealth, Isidor turned the opportunity down, stating: "I will not go before the other men."

Ida resolved to not leave without her husband and according to Historical Honey, said: "We have been living together for many years. Where you go, I go."

Isidor's body was recovered after the ship sunk, however, unfortunately Ida's has never been found.

However, their united love lives on in one of the scenes from the 1997 release - not only portrayed as the couple spooning on the bed, but the design for Rose's cabin room onboard the ship inspired by the Straus' actual room which was the best suite onboard the ship.

Skydance Media Plans To Merge Their Operations With Paramount Global, Could This Have An Everlasting Affect On Nickelodeon And MTV?

As some readers are aware, Shari Redstone is looking to sell her shares in Paramount Global home to MTV and Nickelodeon. Currently, Skydance Media and Sony Pictures Television in a joint bid with Apollo Global Management are battling it out.

The Sony-Apollo deal has garnered a lot of media scrutiny as insiders report a possible dismemberment of their linear portfolio. With Paramount Studios being merged onto Sony Pictures Television current offering and studio lots auctioned off.

Skydance Media proposal is said to be favorable because unlike Sony-Apollo they wouldn't go through any regulatory hurdles for foreign ownership. Their plan would be to merge their operations with Paramount Global of course the finer details haven't been outlined. 

From what several sources uncovered, Skydance Media is planning to merge/bundle Paramount+ with another streaming service. It is no secret that Netflix and Disney+ have been edging out the competition so it's likely they're looking after Paramount’s interests. 

Skydance Media has worked with Paramount Global on several projects such as Mission: Impossible, Transformers, Top Gun, Jack Reacher and Star Trek.

If anything, we presume a possible merger between Skydance Media and Paramount Global could lead to a reduction of content or at least for its linear portfolio. As mentioned, Skydance wants to merge Paramount+ with another streaming service. 

On top of that they've got several projects in development and with Paramount Pictures they'll expand on that. Prior to acquisition talks, Netflix had licensed various content from Nickelodeon like Saving Bikini Bottoms: The Sandy Cheeks Movie and Fairly OddParents: A New Wish.

Although Sony-Apollo would lead to the purging of TV channels outside of regulatory confinement. These channels could lose credibility under Skydance Media and serve as second fiddle to the endeavors licensed to Netflix or even Apple TV+.