Starz Placed $25 Billion Bid For All Of Warner Bros. Discovery’s Cable Networks Including Cartoon Network And TLC

Starz put in a $25 billion bid for all of Warner Bros. Discovery’s cable networks and 20% of its studio and streaming businesses last month, TheWrap has learned, acting as a dark horse contender for an asset most companies bidding on the entertainment company were not interested in.

Warner Bros. Discovery revealed in a filing with the U.S. Securities and Exchange Commission that a previously undisclosed company — labeled “Company C” in the filing — put in the $25 billion all-cash bid on its Nov. 20 deadline. It also proposed a 90-day exclusivity period, which Netflix, Paramount Skydance and Comcast (labeled “Company A” in the filing) did not.

That company was Starz. While the WBD board considered all the bids on Nov. 21, it found that Company C’s bid was “not actionable at that time” and responded to the top three bidders on Nov. 22.

Puck first reported the news.


The filing also revealed more details about Netflix’s and Paramount’s efforts to purchase some or all of WBD, as the companies publicly advocate for their bids to WBD’s shareholders. Netflix and WBD entered into an exclusive arrangement for the streamer’s $82.7 billion bid for the studio and streaming businesses, while Paramount has mounted a $30-a-share hostile takeover bid for the entire company. WBD on Wednesday rejected Paramount’s latest offer.

A Starz spokesperson declined to comment. Starz CEO Jeff Hirsch previously told TheWrap that he wanted his company to be “additive” to networks he believed were too linear-focused in a digital age.

“There’s a lot of networks out there today that are marooned on the linear side and don’t have technical capabilities to do what we’ve done,” he said in May after Starz completed its spin-off from Lionsgate. “We think we can be very additive to content that is stuck on the linear side to give them a digital future.”

Starz reported a $53 million loss in its third quarter, missing Wall Street expectations, and revenue dropped 8% to $320.9 million. It reported a loss of 130,000 U.S. subscribers for a total of 17.5 million, driven mostly by linear subscribers’ cord-cutting. Linear subscribers also dropped by 24o,000 to 5.17 million while it saw a streaming increase of 110,000 U.S. subscribers for a total of 12.3 million.

Still, Hirsch teased the possibility of venturing into the M&A space during its third-quarter call in November, a week before the company reportedly placed its bid for WBD’s cable networks.

“With a potential for increased consolidation across the media landscape, we believe that we are uniquely positioned to capitalize on potential M&A opportunities,” Hirsch said. “Given our track record of profitability converting our business from linear to digital and our industry-leading tech stack, we are positioned to increase our scale as assets that are strategically valuable to Starz become available.”

The company reportedly found its first target last month when it expressed interest in A+E Global Media, the parent company of networks such as Lifetime and the History Channel.

Warner Bros. Discovery Rejects Paramount's $108 Billion Bid For The Company

Warner Bros. Discovery still isn't interested in Paramount Skydance's offer.

Paramount's latest bid "is inadequate, with significant risks and costs imposed on our shareholders" compared to Netflix's bid, which "represents superior, more certain value for our shareholders," said Samuel Di Piazza, the chair of WBD's board of directors, in a statement to shareholders on Wednesday morning.

In a letter to shareholders, WBD's board recommended that shareholders reject Paramount's all-cash bid of $30 per share in favor of Netflix's cash-and-stock offer. Paramount wants to buy all of WBD, including its cable channels, while Netflix's bid of $27.75 per share is for WBD's studio, HBO, and HBO Max. A key difference between the two bids revolves around the value of WBD's TV networks, such as CNN and TNT, which Netflix isn't interested in buying.

Di Piazza said that Paramount's seventh proposal "once again fails to address key concerns that we have consistently communicated," including about Paramount's financing.

Paramount has said its bid is fully backstopped by Larry Ellison, one of the richest people in the world and father to Paramount CEO David Ellison. The WBD board said in the letter to shareholders that it relies "on an unknown and opaque revocable trust" whose assets or liabilities are subject to change.

Meanwhile, Netflix is paying with cash and stock. Its shares have fallen recently but surged more than 600% from mid-2022 to mid-2025. Netflix has a market cap of over $400 billion.

While Paramount has said that it would have an easier time securing regulatory approval than Netflix, the WBD board says it "does not believe there is a material difference in regulatory risk" between the two proposals.

The Ellisons are close to President Donald Trump. However, Netflix co-CEO Ted Sarandos has pitched the president on the deal and seems to have earned some respect. Trump has called Sarandos a "great person," though he added that the Netflix-Warner Bros. deal "could be a problem" on the regulatory front. Still, the president hasn't come out publicly in favor of one side in the deal.

WBD also said its board "repeatedly engaged" with interested parties, including the Ellisons. Paramount had previously said that WBD went quiet late in the bidding process.

Not even Paramount can be surprised by WBD's decision to stick with its Netflix deal.

David Ellison was overheard saying last week that if WBD's leadership were to "accept the offer exactly as it is today, right, then they're admitting breach of fiduciary duty," Business Insider previously reported.

That's because Paramount said its $30-per-share hostile bid was nearly identical to its previous offer to WBD. Public companies are obligated to act in the best interests of shareholders. So if WBD's board had changed its mind, it could have opened itself up to shareholder lawsuits.

WBD had said in a statement after Paramount's hostile bid that it would "carefully review and consider Paramount Skydance's offer" in a way that was "consistent with its fiduciary duties and in consultation with its independent financial and legal advisors."

Now that WBD's board has given Paramount the cold shoulder again, it's Ellison's move.

The aspiring media mogul told CEO David Zaslav that Paramount's latest offer wasn't its "best and final," which suggests that a higher bid could be coming. Just how much appetite Paramount has to escalate the bidding war is the key question.

If no higher bid comes, WBD's investors have until January 8 to back Paramount, though it could extend that deadline. WBD would owe Netflix a $2.8 billion reverse breakup fee if its shareholders chose Paramount.

Read the full letter to shareholders here:

Dear Fellow Shareholders,

As your Board of Directors, we are committed to acting in your best interest. In this spirit, in October, we launched a public review of strategic alternatives to maximize shareholder value. This followed three separate proposals from Paramount Skydance ("PSKY"), as well as interest from multiple other parties.

That thorough process, overseen by the Board with the assistance of independent financial and legal advisors, as well as our management team, led to the company entering into a merger agreement with Netflix on December 4, with the substantial benefits to WBD shareholders described below. Having failed to submit the best proposal for you, our shareholders, PSKY launched an offer nearly identical to its most recently rejected proposal.

As a Board, we have now conducted another review and determined that PSKY's tender offer remains inferior to the Netflix merger. The Board continues to unanimously recommend the Netflix merger, and that you reject the PSKY offer and not tender your shares.

Below, and in more detail in our 14D-9 filing, we highlight the many reasons for the Board's determination. None of these reasons will be a surprise to PSKY given our clear, and oft-repeated, feedback on their six prior proposals.

The terms of the Netflix merger are superior. The PSKY offer provides inadequate value and imposes numerous, significant risks and costs on WBD.

The value we have secured for shareholders through the Netflix merger is extraordinary by any measure.

Our agreement with Netflix gives WBD shareholders $23.25 in cash, plus $4.50 in shares of Netflix common stock (based on a collar range of $97.91 - $119.67 in the Netflix stock price at the time of closing), plus the additional value of the shares of Discovery Global and the opportunity to participate in future potential upside following Discovery Global's separation from WBD. The entire Board is confident in our recommendation that Netflix represents the best value-creating path for shareholders.

PSKY has consistently misled WBD shareholders that its proposed transaction has a "full backstop" from the Ellison family. It does not, and never has.

PSKY's most recent proposal includes a $40.65 billion equity commitment, for which there is no Ellison family commitment of any kind. Instead, they propose that you rely on an unknown and opaque revocable trust for the certainty of this crucial deal funding. Despite having been told repeatedly by WBD how important a full and unconditional financing commitment from the Ellison family was — and despite their own ample resources, as well as multiple assurances by PSKY during our strategic review process that such a commitment was forthcoming — the Ellison family has chosen not to backstop the PSKY offer.

And a revocable trust is no replacement for a secured commitment by a controlling stockholder. The assets and liabilities of the trust are not publicly disclosed and are subject to change. As the name indicates, revocable trusts typically have provisions allowing for assets to be moved at any time. And the documents provided by PSKY for this conditional commitment contain gaps, loopholes and limitations that put you, our shareholders, and our company at risk.

Amplifying the concerns about the credibility of the equity commitment being offered by PSKY, the revocable trust and PSKY have agreed that the trust's liability for damages, even in the case of a willful breach, would be capped at 7% of its commitment ($2.8 billion on a $108.4 billion transaction). Of course, the damage to WBD and its stockholders were the trust or PSKY to breach their obligations to close a transaction would likely be many multiples of this amount.

WBD's merger agreement with Netflix is a binding agreement with enforceable commitments, with no need for any equity financing and robust debt commitments. The Netflix merger is fully backed by a public company with a market cap in excess of $400 billion with an investment grade balance sheet. The debt financing for the PSKY bid relies on an unsecure revocable trust commitment as well as the credit worthiness of a $15 billion market cap company with a credit rating at or only a notch above "junk" status from the two leading rating agencies. The financial condition and creditworthiness of PSKY, which, if its proposed transaction were to close, would have a high gross leverage ratio of 6.8x 2026E debt to EBITDA with virtually no current free cash flow generation before synergies, raise substantial risks for its acquisition of WBD. Such debt levels reflect a risky capital structure that is vulnerable to even potentially small changes in the PSKY or WBD business between signing and closing.

Additionally, PSKY contemplates $9 billion in synergies from the mergers of Paramount/Skydance and their offer for WBD. These targets are both ambitious from an operational perspective and would make Hollywood weaker, not stronger.

The Board's review was full, transparent and comprehensive — establishing a level playing field that fostered a rigorous and fair process.

The Board repeatedly engaged with all parties, including extensive engagement with PSKY and its advisors over the course of nearly three months. We held dozens of calls and meetings with its principals and advisors including four in-person meetings and meals between David Zaslav and David and/or Larry Ellison and provided multiple opportunities for PSKY to offer a proposal that was superior to those of the other bidders, which PSKY never did.

After each bid, we informed PSKY of the material deficiencies and offered potential solutions. Despite this feedback, PSKY has never submitted a proposal that is superior to the Netflix merger agreement.

Despite PSKY's media statements to the contrary, the Board does not believe there is a material difference in regulatory risk between the PSKY offer and the Netflix merger.

The Board carefully considered the federal, state, and international regulatory risks for both the Netflix merger and the PSKY offer with its regulatory advisors. The Board believes that each transaction is capable of obtaining the necessary U.S. and foreign regulatory approvals and that any difference between the respective regulatory risk levels is not material. The Board also notes that Netflix has agreed to a record-setting regulatory termination cash fee of $5.8 billion, significantly higher than PSKY's $5 billion break fee.

The PSKY offer is illusory.

The offer can be terminated or amended by PSKY at any time prior to its completion; it is not the same thing as a binding merger agreement. The first paragraph of the offer states it is "subject to the conditions set forth in this offer to purchase (as it may be amended or supplemented from time to time)" and continues on the next page, "we reserve the right to amend the Offer in any respect (including amending the Offer Price)". In addition, the offer is not capable of being completed by its current expiration date, due to the need for, among other things, global regulatory approvals, which PSKY indicates may take 12-18 months. Nothing in this structure offers WBD shareholders any deal certainty.

The PSKY offer provides an untenable degree of risk and potential downside for WBD shareholders.

There will be additional costs associated with PSKY's offer that could impact shareholders.

When considering the PSKY offer at this juncture, it is important to note that its acceptance could incur significant additional costs to shareholders — all of which PSKY has ignored in their communications. WBD would have to pay Netflix a $2.8 billion termination fee, which PSKY has not offered to reimburse. In addition, WBD would incur approximately $1.5 billion in financing costs if we do not complete our planned debt exchange as agreed to with certain of our debtholders, which would not be permitted by the PSKY offer. This additional $4.3 billion in potential costs represents approximately $1.66 per share to be borne by WBD shareholders if the offer does not close.

We look forward to moving ahead with our combination with Netflix and delivering the compelling and certain value it will create for shareholders. We urge you to carefully read the 14D-9 filed with the SEC this morning and available on our website, which more fully details the strategic review process and the Board's reasons for its recommendation to you.

Sincerely,

The Warner Bros. Discovery Board of Directors

Paramount+ Greenlights Mo Willems’ ‘The Elephant & Piggie Show’ and ‘The Pigeon Show!’

Paramount+ is getting into the Mo Willems’ animated animal business in a big way. The streamer announced today that it has greenlit two animated series, The Elephant & Piggie Show! and The Pigeon Show! Starring the Pigeon, based on the best-selling children’s author and illustrator’s books. This is the first time Paramount+ is collaborating with the author’s Hidden Pigeon production company.

“Mo Willems has delighted kids and ‘former kids’ around the world with these beloved characters,” said Jane Wiseman, Head of Originals for Paramount+. “Whether it’s Elephant and Piggie navigating the hard work of ‘best-friending’ or The Pigeon confusing wants and needs (a hot dog! a cookie! to drive the bus!), these characters remind us that the best stories are the ones that make us laugh and feel something real. We’re thrilled to bring them to life on Paramount+.”

“We are so excited to be partnering with Paramount+ to further expand the world of Mo Willems through these two new series,” said Karen K. Miller, CEO of Hidden Pigeon Company. “We can’t wait to present more of the characters and stories that kids everywhere already know and love in ways that will surprise and delight them at every turn.”

The Elephant & Piggie Show! is described as a warm, comedic pre-K series about the hilarious and sometimes challenging work of “best-friending.” The series takes place in the small, walkable neighborhood of Willemsburg, which is full of new locations audiences will love. Elephant Gerald is careful; his best friend Piggie is not. Gerald worries so that Piggie does not have to and together, along with young audiences, they will celebrate the messy and joyful art of friendship.

The Pigeon Show! Starring the Pigeon animates the day-to-day struggles of a pigeon who just wants to be listened to. He will be your best friend if you have a bus and you let him drive it. The series features familiar characters from Willems’ books, such as the adorable Duckling who always seems to get what she wants, plus new characters, like The Pigeon’s 150-million-year-old pterodactyl grandmother, Nana-Dactyl, and his best wing-pals, Ima Pigeon and Doug Pigeon.

Willems is a #1 New York Times best-selling author and illustrator who has received the Caldecott Honor on three occasions (for Don’t Let the Pigeon Drive the Bus!, Knuffle Bunny: A Cautionary Tale, and Knuffle Bunny Too: A Case of Mistaken Identity). His popular Elephant & Piggie early reader series has been awarded two Theodor Seuss Geisel Medals (for There Is a Bird on Your Head! and Are You Ready to Play Outside?) and five Geisel Honors (for We Are in a Book!, I Broke My Trunk!, Let’s Go for a Drive!, A Big Guy Took My Ball!, and Waiting Is Not Easy!). Mo began his career as a writer on Sesame Street, where he received six Emmy Awards.,

How Netflix's Potential Acquisition Of Warner Bros. Discovery Affects M-Net, DStv And Showmax?

Not long ago, it was reported that Netflix won the bid to acquire Warner Bros. Discovery valuing the deal at $72 billion. This deal would DC Entertainment/Studios, Cartoon Network Studios, HBO, Warner Bros. Pictures/Television and New Line Cinema.

Below is a how this deal is bad news for MultiChoice

M-Net and Showmax
MultiChoice had been licensing Game Of Thrones and Penguins from HBO to M-Net and Showmax. In the event of an acquisition, Netflix had expressed interest to continue these partnerships with local broadcasters but it may not be easy.

If MultiChoice continues to license content from Warner Bros. they could as well look to increase the rates. This is something MultiChoice's new owners Canal+ may not find amusing as they've begun cost cutting due to DStv's shrinking consumer base.

Besides that, the previous owners at MultiChoice had been anti-Netflix for sometime so the general audience had sort of painted a certain image of the company. While free-to-air broadcasters such as SABC and eMedia Investments had been licensing from the streamer.

MultiChoice put up a wall between them and Netflix again this was the previous owners regime as Canal+ does view them as partners. They do have an agreement to bundle their services in francophone markets alongside a content deal through K+.

The reality is while Warner Bros. continues to license content to M-Net and Showmax, Netflix will likely make further productions exclusive to their services. If they do continue licensing, I doubt MultiChoice would want their scraps.

Netflix is already available in the market which further complicates things as M-Net and Showmax are meant to go hand in hand with their content. But then again, MultiChoice is part of StudioCanal's parent company which gives them leverage.

Netflix may offer Stranger Things, Squid Games and Wednesday but with Canal+'s MultiChoice there's Paris Has Fallen, Spinners and iShaka iLembe.

DStv
For this part, I feel there's a lot of exaggeration as Netflix is not acquiring Discovery, TLC or the linear Cartoon Network as that is being spun off into a separate company. Of course, Netflix's bid to be frank sort of dilutes the value of Cartoon Network.

Cartoon Network under Discovery Global will be leaning more toward third party programming such as Lego Ninjago, Dragonball Super and Totally Spies!. While what made Cartoon Network, Nickelodeon and Disney "The Big 3" like Regular Show and Tiny Toons Looniversity goes to Netflix.

It's likely that they will be a licensing agreement for these shows but they'll most definitely be like DreamWorks Channel - reruns. Under a separate company, they're not going to prioritise on these Netflix originals.

If it is deemed expensive these shows could as well get phased out and again that just dilutes Cartoon Network who had been reliant on these IPs.

Turning over the torch to Discovery Global, this is the company that MultiChoice is involved in a carriage dispute with over the future of its 12 channels. These include Discovery Channel, HGTV, TLC and as mentioned the linear Cartoon Network.

Of course, the matter of concern here to me is that as mentioned with Cartoon Network while the Netflix deal makes the company more leaner. There's still another 20 billion worth of debt they need to clean out.

Expecting for content to be reduced, potential sales or closures to operations or channels and lastly massive layoffs particularly for international feeds.

All of this might as well unfold while these channels are no longer on DStv but then again it's likely that MultiChoice could opt to keep a few channels. My guess would be Discovery Channel, TLC, Cartoon Network, Real Time, Cartoonito, ID and CNN.

‘HBO, DC, Cartoon Network’: 10 Companies That Netflix Will Now Own After The Warner Bros Buyout

Following Netflix’s agreement to acquire Warner Bros Discovery’s TV and film studios and streaming division in a deal valued at roughly $72 billion, the streaming giant will take control of some of the most influential brands in global entertainment. Based on the assets included in the sale, here are 10 major companies and brands Netflix will now own.

1. HBO
The deal includes Warner Bros Discovery's streaming and premium-TV business, giving Netflix full ownership of HBO, one of the strongest content brands in the world, known for Game of Thrones, Succession, The Last of Us and more.

2. HBO Max / Max
Netflix will also acquire the HBO Max (rebranded as Max) streaming service, a direct competitor. This dramatically increases Netflix’s control over prestige television and reshapes the streaming landscape.

3. Warner Bros Television
The acquisition includes Warner Bros’ television production unit, one of the industry’s largest suppliers of scripted and unscripted programming, producing shows for networks globally.

4. Warner Bros Pictures
Netflix gains control of Warner Bros Pictures, the centerpiece film studio behind franchises such as Harry Potter, DC Films, Mad Max and Fantastic Beasts.

5. DC Entertainment / DC Studios
The DC superhero universe featuring Batman, Wonder Woman, Superman, Joker and more, falls under Netflix’s ownership as part of the studios division.

6. New Line Cinema
The iconic studio behind The Lord of the Rings, The Conjuring and IT will become part of Netflix’s content empire through the Warner Bros acquisition.

7. Cartoon Network Studios
The animation division producing global hits like Ben 10, Adventure Time and The Powerpuff Girls will be owned by Netflix, expanding its youth and animation catalogue.

8. Adult Swim
Known for Rick and Morty, Aqua Teen Hunger Force and cult animation, Adult Swim also moves under Netflix as part of the studios and TV assets it is buying.

9. Turner Classic Movies (TCM)
TCM’s extensive classic-films library and broadcast brand will fall under Netflix's control, giving it unmatched catalogue depth.

10. Vox Media Partnership Assets
Warner Bros Discovery maintains multiple joint ventures, including content partnerships with Vox Media (such as digital news/documentary collaborations). These partnership rights transfer to Netflix as part of the studio and streaming business purchase.

The article was originally published by Wionews

Netflix Wins the Warner Bros. Discovery Bidding War, Enters Exclusive Deal Talks

Warner Bros. Discovery is moving forward with exclusive deal talks with Netflix, TheWrap has learned.

WBD has selected Netflix after the streaming giant offered $30 a share for the studio and streaming assets, according to two people familiar with the deal talks. The deal also includes a $5 billion break-up fee to match the terms that Paramount added with its bid.

While its unclear what the makeup of the new bid looks like, the prior bid was a mix of mostly cash and stock.

Netflix securing a win over rival suitors Paramount and Comcast represents a stunning turnaround from just two months ago, when co-CEO Greg Peters shaded big media mergers as not having an “amazing track record,” and Paramount buying WBD seemed like a foregone conclusion. Fast forward to today, and Netflix has won a furious M&A bake-off after three rounds of bids.

Representatives for Netflix and WBD weren’t immediately available for comment.

These exclusive talks clear the road for Netflix to acquire the Warner Bros. studios, HBO Max and a treasure trove of IP assets like “Harry Potter” and the DC Universe. Netflix, which once aspired to be like HBO when first embarking on original content, is on a course to become its next owner. Obtaining such assets could dramatically reshape the entertainment landscape and give Netflix even more power over Hollywood — concerns the streamer will have to assuage.

Regulatory hurdles
The willingness to include the unusually large breakup fee was likely critical with questions arising on how Netflix will get a deal with Warner Bros. through regulatory approval. It would face stiff antitrust scrutiny and opposition from the U.S. Department of Justice, New York Post’s Charles Gasparino reported on Tuesday.

A representative for the Department Justice declined to comment on the report.

In a Nov. 13 letter to U.S. Attorney General Pam Bondi, Federal Trade Commission Chairman Andrew Ferguson and Department of Justice antitrust division assistant attorney general Gail Slater, Republican Rep. Darrell Issa warned that a Netflix bid would raise antitrust concerns that could harm consumers and Hollywood alike. He noted that consolidation between the two companies would “diminish incentives to produce new content and major theatrical releases,” which could “undermine opportunities for the full range of industry professionals both in front of and behind the camera.”

California Attorney General Robert Bonta has previously voiced his opposition to any deals involving WBD. “Further consolidation in markets that are central to American economic life — whether in the financial, airline, grocery or broadcasting and entertainment markets — does not serve the American economy, consumers or competition well,” his office told TheWrap last month in response to Paramount’s initial offer.

“We are committed to protecting consumers and California’s economy from consolidation we find unlawful,” the spokesperson added.

The process of completing the deal could distract the company from executing its core business. There’s also the X factor of Netflix jumping into the deep end of the theatrical business, a part of the entertainment world it has kept its distance from. Netflix shares fell 5% on Wednesday when investors realized the prospect of a deal happening was very real.

Would Paramount Be A Good Suitor For Warner Bros. Discovery Global?

Paramount is planning to several linear channels across the world by the end of 2025. This includes Nickelodeon's channels in New Zealand and Brazil, BET in France and MTV's music channels across Europe.

Amidst this, Paramount is currently in pursuit of Warner Bros. Discovery which distributes brands like Discovery Channel, HGTV, Cartoon Network and CNN. Prior to this bid, Warner Bros. Discovery was exploring potential split with most of their cable networks forming part of Discovery Global.

If we analyze most of the channels Paramount is looking to shutter across the world such as BET in France and Nickelodeon in Brazil. You would discover that most of the hits target regional or localised brands which does lead us to wonder what is to become of Discovery Global.

Discovery Global offers a lot of cable networks compared to Paramount the ones which have seen success internationally include Cartoonito, Boing and DMAX. These would expand to include regional networks like Discovery Family, Real Time and TNT.

In the event where Paramount bid is probably deemed successful whose to guarantee that these networks won't walk out the door. Paramount is pivoting toward streaming and wanting to offer content with global appeal.

If you look at the state of Paramount's cable networks their operations would be reduced to just MTV, Comedy Central, Nickelodeon, Nick Jr. and Nicktoons by next year. As BET, MTV Base and various other channels get their affairs in order and bid farewell.

There's a chance Cartoon Network and Nickelodeon could be placed under the same umbrella although Paramount intends to keep certain aspects of Warner Bros. Discovery. Reductions is the one thing that usually comes out of a merger or acquisition.

Paramount intends to merge HBO Max with Paramount+ and that wouldn't necessarily equal more content. HBO Max in such a transaction could become what Hulu is on Disney+ globally as opposed to a juggernaut like Netflix.

Paramount very much like Warner can see the writing on the wall when it comes to dominance and the reality is that not everyone can be a shark under water. Some companies to resort to partnerships or even mergers to become a bigger fish in the ocean.

Usually in merger and acquisitions, the acquiring company puts their needs above all else. In the first round, it would be Nickelodeon, Nicktoons, Nick Jr., from Paramount going up against Cartoon Network and Cartoonito from Warner Bros. Discovery.

Warner Bros. Discovery had been reliant on third party content for these cable networks and Paramount may not like that strategy. Aside from that, Cartoon Network makes 15%-20% of its revenue from 2014 which has affected the channel's overall performance.

Teen Titans GO! is currently the only primetime show on the network while other productions like Tiny Toons Looniversity and We Baby Bears wrap productions. Then there's Batwheels on Cartoonito which has been on limbo following its third season renewal.

Paramount in its attempts at scaling back on costs could opt to merge Cartoon Network's operations with that of Nickelodeon or Nicktoons while Cartoonito is phased out in favour of Nick Jr.

The second round would comprise of Travel Channel, Discovery Family, Real Time and TNT.

As seen already, Paramount is scaling back on its international operations with the closures of CBS Reality, CBS Justice, MTV Base and BET. Whose to say that the same fate won't await these brands.

Discovery Channel and TLC have more reruns and part of their primetime shows are likely reruns from HGTV and Food Network. It kind of makes Discovery Family and Real Time obsolete if the company doesn't have much content for their core brands.

Travel Channel is very similar to BET and CBS Reality when it comes to scale with the channel that had also seen a slow decline in carriage. Under Paramount, this endeavours would be accelerated even further.

Baby Shark's Big Show Launches Soon On Play Room

Play Room, a South African based children's channel operated by Ngwato Nkosi Group offering a mixture animated and live action will be rolling out a new preschool series, Baby Shark's Big Show!. This comes after the channel acquired rights to Tyler Perry's Young Dylan from Nickelodeon.

Synopsis for Baby Shark's Big Show 

Co-produced by Nickelodeon Animation Studio and SmartStudy, the global entertainment company behind the beloved children’s brand Pinkfong, the series (26 half-hour episodes) follows Baby Shark and his best friend William as they journey on fun-filled comedic adventures in their community of Carnivore Cove, make new friends and sing original catchy tunes along the way.

In the series premiere, “Baby Tooth/Slobber Slug,” Baby Shark gets his first loose tooth and enlists William’s help to lose it so he can trade it in for a sand dollar. When their antics get the tooth lost for real, they must team up with the Toothfish Fairy to track it down. Then, while Baby Shark and his friends are playing Barnacle Ball, Hank’s pet rock, Rocky, is accidentally sent soaring into the lair of the vicious Slobber Slug and they must stage an elaborate rescue mission.

Baby Shark’s Big Show! is executive produced by Gary “Doodles” DiRaffaele (Breadwinners) and Tommy Sica (Breadwinners), with Whitney Ralls (My Little Pony: Equestria Girls) serving as co-executive producer. 

Baby Shark's Big Show will air daily on the channel at 07:37 from Monday 8 December with repeats at 11:15.

Comcast Looking To Spinoff And Merge It's NBCUniversal's Division With Warner Bros. Discovery

The future of Warner Bros. Discovery is hanging in the balance, with the entertainment company’s board of directors now weighing second round bids for the company from Comcast, Paramount and Netflix.

The offers were due Monday, and all three companies submitted their revised plans.

While the specific cash amounts were not immediately clear (also complicated by the fact that only Paramount is pursuing the whole company), the second round bids included some notable tweaks. Netflix, for example, is now a mostly cash bid, after initially leaning on its stock as a key part of the deal.

And Paramount is offering all-cash, having secured debt financing from the private equity giant Apollo, as well as unknown Middle East sovereign wealth funds. The nature of the debt financing means that Ellison and Redbird will retain total control of Paramount if they are successful in their bid.

Comcast, meanwhile, is said to have proposed a deal that would see it spin out NBCUniversal into WBD in what would likely be a stock-heavy transaction.

Barring any surprise late bidders or a call by the WBD board to continue with their split, one of the three media giants is likely to emerge as the buyer of assets that include the venerable Warner Bros. film and TV studios, HBO and HBO Max, and IP that includes DC Comics, Friends, and Harry Potter.

So what happens next? WBD’s board will need to weigh the new offers, and either request a third round of bids if they feel they can extract more compelling offers, or pick a winner and start working on a binding agreement.

To split or not to split: This is in many ways the fundamental question about the future of WBD. The company was planning to split itself in two: A streaming and studio business, and a linear TV business. Paramount wants the whole thing, while Comcast and Netflix want to stay away from linear. Does the company sell itself whole (likely to Paramount) or split itself, either in a sale or a continuation of its previous process?

Regulatory hell: The Trump administration has made it clear that David Ellison and his father Larry Ellison would have an easier regulatory path, fresh off their deal for Paramount. At the same time, anonymous administration sources have made it clear to friendly voices like Fox Business Network and the New York Post’s Charlie Gasparino that Netflix and Comcast would face scrutiny. How tough will the government be? And will it dissuade the WBD board from cutting a deal with anyone that doesn’t have the last name Ellison?

Film’s future: Netflix is not in the theatrical film business, really. NBCUniversal and Paramount are. But if the WBD studios are sold, what happens to its film studio, which has had a breakout year under the leadership of Michael De Luca and Pamela Abdy? Netflix has reportedly promised continues theatrical releases, but does that mean the same sort of wide release WB has done? Or a Netflix-ified version? Would NBCU or Paramount really just double their film output? Or is the future of WB more like 20th Century Fox, as a niche with a few releases under the larger umbrella?

Sports superpower: WBD may have lost its NBA rights, but its portfolio still includes prime MLB and NHL deals, one half of the March Madness college basketball tourney (Paramount has the rest) and other rights that include the French Open and college football. When added to the portfolios of Paramount or NBCU, it could make for a compelling sports proposition, a sports media giant that would rival only ESPN in scale. But with those rights set to travel with the linear TV business, their future remains uncertain.

What about Zas? WBD CEO David Zaslav has made no secret of his love of the game. He hosts star-studded dinners at his Beverly Hills mansion (once known as Woodland, the estate of mogul Robert Evans), he has sought out meetings and held court at his U.S. Open suite with A-listers and tycoons. Would he really hang up his power suit (or power vest?) that easily? Paramount has reportedly offered him a major role, so it stands to reason that others may make similar offers as further enticement for a deal.

Mystery bidder: We know that Paramount, Comcast and Netflix have submitted bids, but that doesn’t preclude a surprise bidder entering the fray. Perhaps, say, a private equity firm backed by Middle Eastern money? Or a Japanese entertainment conglomerate with an American partner? Don’t count out any surprises.

'Max & The Midknights' Renewed For Season Three; To Premiere On Nickelodeon Global On December 3

Based on the best-selling children's books by acclaimed author and cartoonist Lincoln Peirce (Big Nate), the medieval action-adventure comedy series follows Max, a determined 10-year-old girl with big dreams of becoming a knight, as she leads her friends on epic adventures filled with excitement, bravery, and lots of fun. In season three, Max and the Midknights embark on a quest to help a neighboring kingdom of gnomes and discover that their own kingdom could be in danger.

Max & the Midknights will premiere on the Nickelodeon Global pan-regional feed on Wednesday 3rd December 2025.

A Restless Knight, Part One: After a raucous season one, Max & the Midknights are back and ready for action! There's just one problem-Byjovia is quiet! Too quiet... (#301; season three premiere)*

*Season one of Max & the Midknights was split into two seasons, so "season one" in the episode's synopsis means both seasons one and two.

After defeating Fendra and Gastley, Max & The Midknights are living their best lives in Byjovia. Max is in training in knight school, Kevyn runs the royal library, Simon helps animals in need, Millie is in training with Mumblin, and Uncle Budrick is the royal troubadour. Although things seem perfect, Max is itching to go on another quest. When a wild beast known as a Clatterback shows up in Byjovia and threatens to do major damage, Max saves the day, making it even more apparent that she really wants to be out on the road helping people. Her desire for a new adventure is answered when Queen Nerelia of Tresk shows up begging for help.

A Restless Knight, Part Two: When the Gnomes of Tresk are kidnapped by a mysterious evil, Max & the Midknights volunteer to save them, but Max's plans for her second quest go awry when she learns not all the Midknights are as eager as she is to go on the mission. (#302)

When the Gnomes of Tresk are kidnapped by a mysterious evil, Max & the Midknights volunteer to save them. Max is thrilled to go on a new quest, but her plans go awry when she learns that Simon doesn't want to go. Having just settled into Byjovia with his new family, Simon would rather stay home. Despite feeling sad, the Midknights tell him that they understand how he feels. Sadly, Mumblin must also sit out the journey after an accidental tumble down the library steps leaves him in a full body cast. The Midknights set sail down two members. The morning they leave though, Simon has a change of heart. With the help of his animal patients, Simon rushes to the docks to try and catch the Midknights before they sail away from Byjovia. As Simon nears the ship, he and the Midknights are confronted by the angry Clatterback. In the nick of time, Simon convinces the animal to let them go. Simon tells the Midknights that he has changed his mind. They are his family and he's going on this quest with them. 

The Spirit of the Sea: As Max and the Midknights sail across the sea on their quest, they get spooked when Uncle Budrick claims there's a ghost on board their ship! Meanwhile, Mumblin fears someone is out to get him. (#303)

As the Midknights sail across the sea on their latest quest, Max realizes the gang might be a little rusty. Kevyn and Millie aren't seeing eye to eye, Simon is preoccupied helping his animal clients from long distance, and Uncle Budrick is terribly seasick! However, Max is certain she can get them working as a team. But when Uncle Budrick is spooked by something sinister in the shadows below deck, he is convinced he saw a ghost! Determined to get back on mission, Max leads the charge to search the ship and find whatever mysterious presence might be haunting them. They soon find there's no ghost at all-they've been spooked by a stowaway, the former King of Byjovia, Gastley! But as the Midknights are distracted, the ship veers off course and into a powerful storm! They quickly realize they must act as a team in order to steady the ship before it capsizes! Meanwhile, back in Byjovia, Mumblin fears someone might be behind his recent spate of accidents, and takes matters into his own hands...

The Trial of Mumblin the Magician: After being blown off course, the Midknights navigate a set of treacherous waterfalls as they try to reach the Gnomes of Tresk. Meanwhile, Mumblin pleads for his freedom in Wizard Court where the odds are stacked against him. (#304)

When the Midknights' ship is set off course, the team must survive treacherous new waters. Before Max can enact her plan, she is summoned to Wizard Court where Mumblin is on trial for his life. Max must help Mumblin prove that he is a good wizard and that he escaped the afterlife to help the Midknights defeat Fendra. If Max can't, Mumblin will be sent away for good. Max calls on the Midknights to testify on Mumblin's behalf. When those attempts fail, Max takes the stand. At first, Max's emotional testimony seems to win over the court, but her pleas for Mumblin's freedom backfire and Mumblin is ultimately found guilty. Luckily, Kevyn discovers a way to save Mumblin. Max must battle the Worms of Justice and if she wins, then Mumblin will be set free. Transported to a desert, Max battles giant worms. In the end, Max defeats the worms and Mumblin wins his trial. Unfortunately, the Midknights are sent back to their boat, which is headed straight for a massive waterfall!

The voice cast behind the Midknights, a group of misfits each with their own unique talent, include: Blu del Barrio (Star Trek: Discovery) as Max, a brave and determined girl ready to take on any challenge headed her way; Melissa Villaseñor (Saturday Night Live) as Millie, a wacky yet super positive girl who brings the power of magic to the Midknights; Zeno Robinson (Transformers: EarthSpark) as Simon, Millie’s street-savvy and sometimes sarcastic companion; and Caleb Yen (Beyblade X) as Kevyn, the bookish genius with a photographic memory. Together, the group accomplishes nearly everything that they set their mind to achieve.

Alongside the Midknights, Jeremy Rowley (iCarly) lends his voice as Uncle Budrick, Max’s lovably silly parental figure and professional troubadour, Gary Anthony Williams (Central Park) voices Mumblin, a famous retired magician who helps guide the Midknights on their quests, Brian Stepanek (The Loud House) voices King Gastley, the nefarious ruler of Byjovia, willing to do whatever it takes to maintain his throne, and India de Beaufort (It’s Pony) voices Fendra, a dark sorceress working for King Gastley.

Produced by Nickelodeon Animation in Burbank, Max & the Midknights is executive produced by Lincoln Peirce (Big Nate) and Jane Startz (Ella Enchanted). Sharon Flynn (All Hail King Julien) and David Skelly (Toy Story 2) serve as co-executive producers and showrunners. Development and production is overseen by Claudia Spinelli, Senior Vice President, TV Series Animation, Nickelodeon, Nathan Schram, Vice President, Development, Nickelodeon Animation, and Stephanie Alpert, Vice President, Production, Nickelodeon Animation. The series is distributed by Paramount Global Content Distribution.

The article was originally published by NickAlive!

Disney's Linear TV Channels Return To Sky Italia

Disney's linear TV channels are coming back to Sky. In a few days, as ItaliaOggi can exclusively reveal, the partnership agreement between the Burbank giant and Comcast’s broadcaster will be officially announced. The deal will bring some of Disney’s rich content catalogue — including Disney, FX, Hulu, etc. — back to good old traditional linear television channels, which, contrary to what many analysts have claimed for years, never actually go out of fashion.

Soon, therefore, Sky Italia subscribers will enjoy a new Disney-branded channel, with potential future developments in the areas of animation, TV series, movies, and documentaries.

Sky’s strategy

All of this fits into a broader strategic redesign in which Sky is reshaping its partnership perimeter based on the value perceived by its subscribers. This same logic explains the recent acquisitions of TV rights for basketball and rugby, the renewal of the UEFA agreement for Champions League rights from 2027–2031, and the ongoing negotiations with Liberty Media-Dorna for the renewal of MotoGP rights (whose current deal expires at the end of 2025). MotoGP currently finds itself with TV ratings halved, a championship of little interest, and no standout personalities apart from Marc MĂ¡rquez — yet it is unlikely to give up its relationship with Sky (the platform that still guarantees the greatest visibility for the two-wheeled circus) and may simply accept a lower fee for the rights.

The end of the partnership with Warner Bros. Discovery

The agreement with Disney comes just as Sky Italia’s long relationship with Warner Bros. Discovery is officially coming to an end. As is already known, from 1 July 2025 all Eurosport, Discovery, and even the free-to-air channels of the WBD group disappeared from Sky. On 31 December 2025, Cartoon Network, Boomerang, all Warner films, and new HBO series will definitively leave the platform. HBO, controlled by WBD, was the home of flagship titles such as House of the Dragon, Game of Thrones, The Sopranos, Succession, The Last of Us, The White Lotus, and The Pitt.

The future of HBO and Warner content on Sky
From 2026 onwards, Sky will still be able to broadcast new seasons of most of those existing franchises (with the exception of The Pitt), but no longer on an exclusive basis. However, it will no longer have direct access to new Warner or HBO films and brand-new series.

At least not directly. Because, thanks to the many new partnerships Sky is signing, Warner content that has “left through the door” may very well come back in “through the window” — possibly via Peacock, Netflix, or other platforms.

BBC Studios Africa Reveals New Format For BBC Lifestyle, Hidden Gems: South Africa

BBC Lifestyle is set to unveil Hidden Gems: South Africa, a fresh and immersive travel series that takes viewers off the beaten path to discover South Africa’s most luxurious and lesser-known escapes. Launching in 2026, the six-part series blends influencer-led storytelling with audience participation to celebrate the country’s rich natural beauty.

Hidden Gems: South Africa follows five South African travel influencers as they explore and showcase two of South Africa’s greatest hidden gems per episode, each accompanied by a guest. In each episode, the influencer receives an envelope revealing the surprise gems which they must visit, review, and showcase. BBC Lifestyle viewers will vote for their favourite hidden gem from the series and be in with the chance of winning exciting prizes. The most compelling review and favourite gem, voted for by the audience, will be revealed in the final episode (Episode Six) with the winning influencer receiving a special prize.

The series sees the influencers traveling across South Africa, offering a curated look at destinations that combine luxury with authenticity. Each episode is shaped by a distinct theme, celebrating the diverse beauty and character of South Africa’s landscapes.

The new series is produced by PD Production, the producers behind BBC Lifestyle’s popular shows – Listing Jozi, Listing Cape Town, Listing Mauritius and Listing Coastal South Africa which is currently airing on BBC Lifestyle (DStv channel 174) every Wednesday at 8pm with repeats Thursdays at 5pm.

Pierre Cloete, Vice President for Africa at BBC Studios, commented: “We’re thrilled to bring Hidden Gems: South Africa to BBC Lifestyle in 2026. This new format celebrates the diversity and richness of South Africa’s hidden destinations and showcases authentic local stories and personalities that will resonate with audiences across the continent. For the first time, BBC Lifestyle viewers will be invited to vote for their favourite gem, adding an exciting interactive element to the series.” 

Nico Nel and Trevor Kaplan producers from PD Production said: “With Hidden Gems: South Africa, we wanted to go beyond the usual travel show format. By empowering local influencers to spotlight South Africa’s hidden gems, we’re creating a series for BBC Lifestyle that’s both visually stunning and unique. We have just started filming and can’t wait for viewers to see the magic that’s been captured”

Hidden Gems: South Africa is proudly sponsored by LekkeSlaap, South Africa’s leading accommodation app.

Gerriline FouchĂ©, LekkeSlaap's Chief Marketing Officer said “Hidden Gems: South Africa beautifully captures what we love most about local travel: discovering special places and the passionate people behind them. It’s a privilege for LekkeSlaap to help shine a light on these unique stays across the country.”

Paramount Looking To Increase Its Bid For Warner Bros. Discovery To $71 Billion

David Ellison’s Paramount Skydance is said to be turning to new partners in the Middle East to help back his offer to acquire Warner Bros. Discovery in its entirety.

Paramount Skydance has formed an investment consortium with the sovereign wealth funds of Saudi Arabia, Qatar and Abu Dhabi to submit a bid for Warner Bros. Discovery, sources told Variety. The bid is being largely backed by the Ellison family (which owns 100% voting control in Paramount Skydance) with involvement from three Arab countries: Saudi Arabia’s Public Investment Fund (PIF), the Qatar Investment Authority (QIA) and the Abu Dhabi Investment Authority (ADIA), the sources said. In addition, Gerry Cardinale’s RedBird Capital is backing the bid.

Each of the funds would put up $7 billion (for a total of $21 billion); Paramount Skydance would front $50 billion for a proposed WBD acquisition for a total of $71 billion. (It’s not clear if that price tag would be inclusive of debt.) The board of Warner Bros. Discovery had previously rejected a $23.50/share offer from David Ellison.

The board of Warner Bros. Discovery has set a Nov. 20 deadline for initial bids from interested acquirers, which also include Comcast and Netflix.

Separately Tuesday, Saudi Crown Prince Mohammed bin Salman was meeting at the White House with President Trump.

Meanwhile, Comcast co-CEO Brian Roberts traveled to Saudi Arabia in late October to attend a conference in Riyadh hosted by the PIF, Variety has confirmed. He also visited Qiddiya, where the country is building a theme park destination, to scope out the area for a possible Universal park in the area. But it’s not known whether Roberts solicited investment backing from the Saudis for a Warner Bros. bid by Comcast.

Reps for Paramount Skydance, Warner Bros. Discovery and Comcast declined to comment.

Under the scenario in the WBD bid led by Paramount Skydance, the Saudi, Qatar and Abu Dhabi funds would hold small minority stakes in Warner Bros. Discovery. Each of the three would get “an IP, a movie premiere, a movie shoot,” a knowledgeable source told Variety. “All they care about is reputation and soft power,” the source added.

The Saudis do not have “any incentive” to join a prospective Comcast bid for Warner Bros. (excluding WBD’s linear TV networks) because their understanding is that “the Trump administration doesn’t like Comcast CEO Brian Roberts at all,” the source said.

Trump, who has regularly been upset about the coverage of Comcast-owned MSNBC (which is now called MS NOW), earlier this year called Roberts the “chairman of ‘Concast’” and a “lowlife.” Trump has equated the cable news outlet to “an illegal arm of the Democrat Party,” and claimed that Comcast “should be forced to pay vast sums of money for the damage they’ve done to our Country.”

Saudis Reportedly Eyeing Warner Bros. Discovery With Comcast

The Public Investment Fund (PIF) of Saudi Arabia – reportedly worth upwards of a trillion dollars – may be entering the fray for a potential takeover of Warner Bros. Discovery (WBD), and it may be teaming up with Comcast Corporation.

Comcast CEO Brian Roberts recently traveled to Saudi Arabia, where he held meetings with PIF officials while exploring a WBD bid.

According to The New York Post and Puck News, Roberts also visited Qiddiya, the site of Saudi Arabia’s upcoming “megacity of play” where a Universal‑branded theme park is expected in partnership with Comcast’s theme‑park business.

Why the Saudis Are Interested: Studios, Streaming & Theme Parks
The Saudi connection makes strategic sense. The PIF may want the Warner Bros./DC brand as the anchor for a Universal Studios park in Qiddiya, pairing with Comcast’s existing theme‑park infrastructure.

A Saudi–Comcast alliance would thus bring global content, streaming/IP rights, and a real‑world destination into one package.

Meanwhile, WBD is already positioned for sale: the company plans to split into two public entities — one focused exclusively on studios and streaming (Warner Bros.), and the other on linear networks (Discovery Global) — by mid‑2026.

Fewer Regulatory Hurdles Thanks to Spinoffs
Regulatory concerns that typically plague big media mergers may be reduced in this case.

Comcast is spinning off its U.S. cable networks and related news assets into a new publicly traded company called Versant Media Group Inc., which will leave Comcast primarily with its theme‑park, streaming, and studio assets.

At the same time, WBD’s planned split isolates the studio/streaming business from its legacy cable networks, making the part that potential buyers want cleaner and more streamlined.

What It Means for the WBD Sale Race
If a Saudi–Comcast bid materializes, it could throw a new wrinkle into the running, which already includes Paramount Global/Skydance (led by David Ellison) and streaming players like Netflix.

The presence of Saudi backing adds serious firepower and global ambition. With WBD stock already rising past $20 and Zaslav aiming for far more, a new bidder like this could accelerate or reshape the bidding war.

The article was originally published by Cosmic Book News

Paramount Cancels DORA And 2D-Animated Teenage Mutant Ninja Turtles On Nickelodeon

The upcoming seasons of Nickelodeon's CG-animated DORA and 2D-animated Tales of the Teenage Mutant Ninja Turtles will be their last.

Season two of Tales of the Teenage Mutant Ninja Turtles premieres on Paramount+ in December and will run on Nicktoons next year. Produced by Nickelodeon Animation and Point Grey Pictures, the series bridges the gap between Nickelodeon Movies and Paramount Pictures' blockbuster TMNT movie, Mutant Mayhem, and it's upcoming sequel, currently slated for release in 2027. The franchise is expected to continue with IDW's TMNT comics.

The debut of Dora‘s fourth season on the streamer was originally slated for the fourth quarter of this year, but is now TBD. It too will be followed by a linear window on Nick Jr. A fifth and final season of Dora also has been produced; its fate is unclear. A reimagining of Nickelodeon's iconic Latina heroine, the series is produced by Nickelodeon Animation, with the show's cancellation coming as the franchise is celebrating its 25th anniversary.

Paramount is actively exploring third-party licensing opportunities for both series, something the company has been doing consistently for a number of years, with a number of Nickelodeon titles available on Netflix, for example.

The cancellation decisions come on the heels of the post Paramount-Skydance merger restructuring. In it, all Paramount linear networks, including Nickelodeon, as well as the Nickelodeon Animation Studios, which produces the majority of the Nick animated shows, including Dora and Ninja Turtles, were consolidated into a TV Media division overseen by Chair George Cheeks.

In a memo last week announcing TV Media’s executive structure, Cheeks hinted at a slimming down the current roster of cable series.

“Our cable brands will focus on a more curated slate, optimizing programming and marketing resources to amplify what resonates most,” he said. “That means leaning into franchises like SpongeBob, PAW Patrol, RuPaul’s Drag Race, South Park, Ms. Pat and The Daily Show, while continuing to develop new IP across our studios and seeking new ways to amplify and connect with audiences.”

Not surprisingly, Nick’s flagship franchises, SpongeBob SquarePants and PAW Patrol, made the list of priority linear brands. Neither Dora nor Ninja Turtles did but both have a long history at the network and may be revisited in the future with new iterations.

The Tales of the Teenage Mutant Ninja Turtles cancellation was first reported by The InSneider.

Sky New Zealand Launches Two New Channels To Replace Paramount's Offering And Cartoon Network

Sky New Zealand is launching two new self-branded channels to replace Paramount’s Nickelodeon, Nick Jr, Comedy Central and Cartoon Network, which are ceasing transmission from early December.

The new offerings, Sky Comedy and Sky Kids, will carry programming from the expiring channels in addition to new shows from a range of studios and locally commissioned content.

“Kids and comedy programming are at the heart of Sky’s entertainment offering. By bringing these important channels ‘in-house’ we can choose and curate the content that we know our customers enjoy and engage with, combining Paramount fan favourites with content from other studios,” said Fiona Murray, Sky NZ’s head of entertainment.

Sky Comedy will feature Comedy Central content including the final season of The Late Show with Stephen Colbert, South Park, The Daily Show and Beavis & Butt-Head, in addition to retro classics including Cheers, Reno 911!, Nathan For You and Key & Peele.

Sky Kids is being pitched as offering educational programming for preschoolers through to primary school-age children. Former Nickelodeon and Nick Jr content will be included alongside “a strong slate of local programming.”

The new outlet will complement the existing CBeebies channel, providing local content including Katie’s Kuri and The Last Moa, as well as multiple seasons of home-grown hits such as Kiri & Lou, The Drawing Show, Extreme Cake Sports and Secrets at Red Rocks.

Sky NZ said some content from the axed channels will continue to be available via on-demand on the new Sky Experience service across the Sky Box and Sky Pod platforms. Cartoon Network content will continue to be available on-demand through the HBO Max hub via the Sky Entertainment package.

The broadcaster has also partnered with Mood TV to bring two new local music channels to its channel line-up, Juice TV and J2, which effectively replace MTV Hits and MTV 80s. In line with the global shutdown of the MTV brand, the music channels will no longer be available via linear in New Zealand.

In October, it was announced that MTV linear channels would progressively shut down in the UK, Poland, France and Brazil. In Australia, the MTV brand has suffered a similar fate, with its channels having been shut down weeks ago by OTT provider Fetch TV. Paramount owned Australian channels MTV 80s, MTV 90s, MTV 00s, MTV Club and MTV Hits which were previously carried by Foxtel in a deal that was not renewed.

All changes to Sky NZ programming take effect from December 2.

Nickelodeon International Will Be Premiering Two Brand New Transformers: EarthSpark Season Four Specials In December 2025

In Part One, "Hometown Heroes", every victory has a cost, and now the Maltos must face those consequences. Robby's caught abusing his powers, but Mo and "Detective" Thrash team up to prove their brother's innocence. Meanwhile, Twitch becomes her own worst enemy...(S4 993)

Full synopsis: Over the years, the Maltos and the Autobots have vanquished foes and protected Earth from destruction, but some victories have come at a tragic cost... Now, some are painting the heroes as villains and the Maltos must face those consequences. Even though Robby's powers give him status amongst his peers and purpose in his community, when he's caught abusing his power, he's unwittingly proving his detractors right. Sensing something isn't right, Mo and "Detective" Thrash team up to prove their brother was set up. Meanwhile, Twitch obsesses over mistakes she's made in the past and she becomes her own worst enemy. Still, the Maltos and the Autobots rally to battle enemies who will stop at nothing to destroy them - and other worlds. Twitch fails her team when they need her the most, and Robby can't be there for his sister to lean on. Luckily, an old ally arrives in in time to help. In the end, the heroes unite and end the fight, but the Maltos may never be the same again. TO BE CONTINUED...

Then, in Part Two, "Legacy of Hope," the Maltos and the Autobots search Cybertron for their missing allies. Failure is not an option, so Thrash steps up to help his struggling sister lead this important mission. Meanwhile, Robby and Mo find a new friend, and Optimus finds an old enemy. (S4 992)

Long synopsis: Robby and Mo are alone and vulnerable on Cybertron. After they venture into the unknown to find what they've lost, the rest of the Maltos and the Autobots arrive to search for their missing family and friends. Failure is not an option, so Thrash steps up to help his struggling sister lead this important mission. Tension builds between the troubled Twitch and the ultra-confident Thrash - dividing the team when they need to be united. Meanwhile, Robby and Mo find a new friend, and Optimus finds an old enemy. A confrontation leaves the Maltos and the Autobots severely weakened and scattered all over Cybertron while their enemy gains incredible strength and power. Twitch loses herself, Robby hits rock bottom, and Optimus Prime believes his worst fears have come true. Each must face their greatest challenges alone, and each needs to succeed if they're to stand a chance at defeating the rising evil on Cybertron threatening to cast its shadow across the entire universe. Luckily, it is in darkness that hope shines brightest.

Nickelodeon International will premiere the all-new Transformers: EarthSpark season four specials in December 2025, including on:

Nickelodeon Central and Eastern Europe (including Africa):

Saturday 6th December 2025 at 15:45 CET: Hometown Heroes
Sunday 7th December 2025 at 15:45 CET: Legacy of Hope

Nickelodeon Germany:

Friday 15th December 2025: Hometown Heroes
Friday 15th December 2025: Legacy of Hope

TRANSFORMERS: EARTHSPARK stars Sydney Mikayla (Kipo and the Age of Wonderbeasts) as Robby Malto, Zion Broadnax (Day Shift) as Mo Malto, Benni Latham (Cornerstones: Founding Voices of the Black Church) as Dot Malto, Jon Jon Briones (Ratched) as Alex Malto, Kathreen Khavari (Dead End: Paranormal Park) as Twitch, Zeno Robinson (Big City Greens) as Thrash, Danny Pudi (Community) as Bumblebee, Alan Tudyk (Resident Alien) as Optimus Prime, Rory McCann (Game of Thrones) as Megatron, Cissy Jones (The Owl House) as Elita-1, Diedrich Bader (Better Things) as Mandroid, Cyrus Arnold (Diary of a Wimpy Kid) as Jawbreaker, Z Infante (Dead End: Paranormal Park) as Nightshade and Stephanie Lemelin (Dawn of the Croods) as Hashtag.

TRANSFORMERS: EARTHSPARK is created and co-executive produced by Dale Malinowski (Rise of the Teenage Mutant Ninja Turtles) and executive produced by Ant Ward (Rise of the Teenage Mutant Ninja Turtles). The series is developed for television by Claudia Spinelli, Senior Vice President, TV Animation for Nickelodeon. Production is overseen for Hasbro Entertainment by Kari Rosenberg and by Leslie Wishnevski for Nickelodeon.

Source: NickAlive!

Disney Junior Relaunching In The UK By November 13th

Remember when Disney shut down all its UK children’s channels back in 2020, telling us Disney+ would be the “exclusive home” for everything? Well, plot twist – Disney Jr is coming back to Sky next week.

The preschool channel launches on Thursday, November 13, joining the Sky Kids pack alongside Nick Jr., Cartoon Network, and Sky’s own ad-free kids channel.

It’s a move that would have seemed utterly bizarre five years ago, when Disney was adamant that streaming was the future and linear TV was dead.

Clearly, things have changed.

How We Got Here
Disney Jr has had quite the journey in British television. It started life way back in 1997 as “Disney Channel Underfives” – a programming block for preschoolers on the main Disney Channel.

By 1999, it became Playhouse Disney, and a year later in September 2000, it launched as its own standalone channel on Sky Digital.

If you’re of a certain age, you might remember the live presenters – Dave Benson Phillips and Alex Lovell, known as Big Dave and Little Alex – hosting shows from “the Playhouse”, a colourful set that looked like something out of a Fisher-Price catalogue.

In 2006, Playhouse Disney moved from being a premium add-on to basic Sky packages, and viewing figures shot up. Families clearly loved it.

The channel was rebranded as Disney Jr in May 2011 as part of a worldwide rebrand, and it kept going strong – adding HD in 2013 and even going 24/7 in 2017.

Then Everything Changed
In June 2020, Disney dropped the bombshell. All three of its UK children’s channels – Disney Channel, Disney XD, and Disney Jr – would shut down on 1st October 2020.

The official line was that Disney and Sky couldn’t agree on a new carriage deal. But really, Disney was going all-in on Disney+, which had launched in the UK just six months earlier.

The Disney Channel on Disney Plus

“From October 1st, Disney+ will become the exclusive home for content from Disney Channel, DisneyXD and Disney Jr in the UK,” Disney announced.

And that was that. On September 30, 2020, Disney Jr’s final programme was Gigantosaurus.

After a few promos and a Vampirina music video, the channel cut to a still image of Mickey Mouse, Animal from Muppet Babies, and Vampirina, before vanishing from channel 605 and 606 on Sky.

Virgin Media had already pulled the plug a day earlier. CBBC and CBeebies moved into Disney’s old channel slots, and it genuinely felt like the end of an era.

We all thought that was it – Disney was done with traditional TV in the UK.

What Changed?
Fast forward to 2025 – and it seems Disney’s “streaming-only” strategy hasn’t quite worked out as planned.

Disney+ has seen its growth slow down. Prices have more than doubled since launch – from £5.99 to £14.99 for the premium tier. And the streaming wars have become a bloodbath, with every company scrambling for subscribers.

Earlier this year, Disney did something that would have been unthinkable in 2020 – they struck a deal with ITVX to put premium Disney+ shows like The Bear and Andor on ITV’s free streaming service.

ITVX Disney library

That was the first sign that Disney was willing to play ball with other platforms again.

Now, with Disney Jr returning to Sky, it’s clear Disney has realised that keeping everything locked behind a subscription paywall might not be the smartest move.

Traditional TV still has value – especially for parents of young kids, who often prefer the simplicity of just turning on a channel rather than navigating through yet another streaming app.

And – it gives viewers a taste of what they can find on Disney+.

The Kids TV Apocalypse
The timing of Disney Jr’s return is fascinating, because UK children’s television is currently in crisis.

Just yesterday, we reported that the Pop family of channels – Pop, Tiny Pop, and the rest – are shutting down on Sky and Virgin Media this December. Pop on Freeview is becoming streaming-only.

POP Player

Why? According to Pop’s owner, “commercial value across the UK kids’ TV market is now just 4% of what it was ten years ago.”

CITV shut down in September 2023. With Pop now leaving traditional platforms, the BBC’s CBBC and CBeebies were set to become the only free-to-air linear children’s channels left in the UK.

So Disney Jr coming back to Sky – while everyone else is running away from kids’ TV – is somewhat surprising.

But then again, Disney isn’t relying on advertising revenue like Pop was. Disney Jr will be part of the paid Sky Kids pack, and it’s effectively a shop window for Disney+ subscriptions.

What You Need To Know
Disney Jr HD launches on Sky Satellite, Sky Glass and Sky Stream on November 13. Sky hasn’t confirmed the channel number yet.

The channel will be part of the Sky Kids pack, which now includes 10 live channels – including the ad-free Sky Kids channel, Nick Jr., Cartoon Network, and now Disney Jr, plus on-demand content.

You’ll be able to watch Disney Jr via the TV guide or on demand on all Sky devices, as well as the Sky Go app.


And before you ask – yes, Disney Jr content will still be on Disney+ as well. This isn’t replacing the streaming option, it’s just giving families another way to watch.

We’ve reached out to Virgin Media to ask whether Disney Jr will also return to their Kids pack, but we haven’t heard back yet. We’ll update this article when they respond.

So What’s Next?
Does this mean Disney Channel and Disney XD could come back too? Who knows. For now, Disney seems to be testing the waters with Disney Jr – which makes sense, given that preschoolers and their parents are probably the demographic most likely to appreciate traditional linear TV.

Originally posted by Cordbusters

Canal+ And SuperSport To Broadcast AFCON In More Than 40 Countries Across Africa

CANAL+ is proud to announce that its MultiChoice subsidiary, SuperSport, has secured broadcast rights for the TotalEnergies CAF Africa Cup of Nations Morocco 2025™ (TotalEnergies CAF AFCON 2025™) for English and Portuguese-speaking African countries.



When the 35th edition of the tournament kicks off in Morocco on 21 December 2025, CANAL+ will become the first global broadcaster to bring viewers the TotalEnergies CAF Africa Cup of Nations Morocco 2025™, the massive African football showpiece, in French, English, Portuguese and local indigenous languages.

It means the broadcaster will offer CANAL+ and SuperSport viewers the most comprehensive football viewing experience that any sports broadcaster has ever managed to accomplish for Africa’s greatest football competition.



The group made the announcement on 06 November 2025 that SuperSport has concluded a broadcast rights deal with the Confederation of African Football (CAF) for the right to broadcast the tournament in English and Portuguese-speaking Sub-Saharan African territories.

CANAL+ Africa CEO, David Mignot, said: “CANAL+ Africa CEO, David Mignot, said: “Our newly-formed merger with the MultiChoice Group has already unlocked opportunities and benefits for our customers. And this year’s TotalEnergies Africa Cup of Nations Morocco 2025 is a great demonstration of the power and potential of this common ambition: bringing together our expertise to offer unprecedented coverage.

"Moreover, broadcasting this competition in different languages is a strong way to build closeness with our viewers. For all these reasons, our subscribers will be part of the most spectacular celebration of African football."



CAF President, Dr Patrice Motsepe, said: “This is an exciting day for CAF and for African football. When the TotalEnergies CAF Africa Cup of Nations takes place in Morocco in December, Africans everywhere — on the continent and across the diaspora — will be watching with pride. Millions will follow the games on television, celebrating the best that African football has to offer.

“In Ivory Coast, the last AFCON attracted approximately 1.5 billion viewers globally. We anticipate that this edition will be an even greater success, reaching new audiences and inspiring the world once again. When 180 nations express interest in broadcasting AFCON, it is proof that the world is excited about African football.”

CAF President, Dr Patrice Motsepe, said: “[CAF to insert quote]”[SM1]

Rendani Ramovha, Director of Sport Content English and Portuguese-speaking Africa for MultiChoice, (a CANAL+ company), said: “We are especially proud to be able to bring the story of the TotalEnergies CAF Africa Cup of Nations Morocco 2025™, live to all our viewers in English and Portuguese-speaking Sub-Saharan African territories.

"SuperSport has been the preferred choice for millions of passionate fans across the continent, and this tournament won’t be different, as we will have a dedicated SuperSport AFCON channel.

“As part of the CANAL+ Group, we can take that viewing experience to another level, which means people can expect more compelling viewing, brought to them in a language of their choice. It is truly poised to be a celebration of African glory.”



Viewers will be able to view SuperSport’s coverage of Morocco 25 on DStv and GOtv, while CANAL+ subscribers will enjoy the action on CANAL+ Sport and on demand using the CANAL+ app.

In Nigeria and surrounding regions, fans can enjoy the matches in English or Pidgin, while Swahili is available in East African countries such as Tanzania, Kenya, and Uganda. In Angola, South Africa and Mozambique, fans have become accustomed to enjoying the beautiful game in Portuguese on SuperSport, which will be available during the TotalEnergies CAF Africa Cup of Nations Morocco 2025™.

South Africans, meanwhile, will also enjoy games in isiZulu and Setswana on top of the standard English and Portuguese commentary.

CANAL+ and SuperSport’s coverage of the tournament will include stellar line-ups of star analysts, commentators, presenters and African football legends, who will bring their unique takes on the TotalEnergies CAF Africa Cup of Nations Morocco 2025™.

Hundreds of millions of viewers can see their favourite African heroes in action, including the likes of Victor Osimhen (Nigeria), Mohamed Salah (Egypt), Sadio Mané (Senegal), Ronwen Williams (South Africa), Riyad Mahrez (Algeria) and Achraf Hakimi (Morocco).