The Simpson's History With The Gameboy With Game Included

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Acclaim Entertainment teamed with Imagineering to release Bart Simpson's Escapes From Camp Deadly in 1991. The summer camp horror story was notable released before the show's intake of this idea in the season 4 episode titled Camp Krusty.

Acclaim Entertainment then also rushed out the continuation of Bart's handheld conflict in 1992 with The Simpsons: Bart Vs. The Juggernauts. The game's designers pulled out the idea from the most sacred of institutions which was American Gladiators.

Later that year, the handled Krusty's Funhouse also by Acclaim Entertainment was shipped on Gameboy. It was an impressively huge puzzle game featuring as many brain twisting levels as the console and computer versions.

It took a short break when the Bart mark started a waver and came back in 1993 with Itchy & Scratchy In Miniature Golf Madness. Surely these kids were clambering to have these two violent characters to play in an orderly game.

Itchy And Scratchy In Miniature Golf doesn't end with a bang but a whimper as Acclaim Entertainment exits the Gameboy with Bart And The Beanstalk in 1993. The game merges the existing universe of The Simpsons television series with the fairy tale of Jack and the Beanstalk.

Uncovered by Bartmania, THQ and Software Developer released what is the most memorable games in the Simpsons franchise titled The Night Of The Living Treehouse Of Horror in 2001. In colour and featuring the entire family released too late to make much of a splash.

The Simpsons made a leap to the Gameboy Advance courtesy of the THQ and Voltron with The Simpson's Road Rage in 2003. Based on the fun and fully 3D, the console game developed by Radical Entertainment plays like the paper craft taxi racing game you never wanted.

In total, The Simpsons managed to immense amount of 7 handheld games which is impressive for any handheld series.

Credits: Noiselandco

What Happened To NickMusic Africa On Nicktoons?

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In 2021, Nickelodeon acquired NickMusic which is known as a linear channel in various feeds across the world and converted it into a TV show for sister brand Nicktoons. By the fall of 2023, NickMusic was quietly scrapped from the lineup leaving the window open for more SpongeBob.

In an enquiry to Paramount Africa over the sudden disappearance of NickMusic Africa had responded to say it will be back later in the year. Which is strange as Nicktoons would often just rehash previous episodes only for them to have scrapped it entirely.

Could it be that NickMusic will move to Nickelodeon with repeats on Nicktoons I mean the channel has lost touch of reality as it appears to have undergone a mini-merge with global feeds. They already offer Transformers: Earthspark, Monster High and Big Nate.

Nickelodeon did rollout a new on air look last year and had been spreading it across various platforms. Of course, the feeds in Africa and various international regions have yet to update their designs.

If anything, it's likely NickMusic Africa is playing a part in this maybe Nickelodeon wants to give the studio a new design. But questions amount to when Nick Jr. and Nicktoons would rebrand as Paramount promised end of the year for Nick Jr. but none of that came to pass.

Police Report Of Ms. Grant's Accusations Against Vince McMahon (PDF)

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The lawsuit, filed in U.S. District Court in Connecticut, alleges that Mr. McMahon, who was subject to an internal investigation in 2022 over allegations of misconduct, sexually exploited and trafficked the former employee, Janel Grant, from 2019 to 2022.

Click the link for the full police report: Download Now

WWE Boss Vince McMahon Accused Of Sexual Assault And Trafficking

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WWE boss Vince McMahon was accused Thursday of sexual assault, trafficking, and physical and emotional abuse in a graphic lawsuit by a woman who previously worked for the pro wrestling giant.

McMahon is executive chairman of the board of TKO Group Holdings, which was formed last year by a merger of his wrestling company and the mix-martial arts company UFC.

The suit by Janel Grant — which alleges McMahon directed her to have sex with a WWE “superstar” and other men — seeks to void a nondisclosure agreement that Grant said she reached with McMahon in 2022. She said he agreed to pay her $3 million as part of that deal.

The suit says McMahon paid her $1 million “but failed to make any further payments.” Grant was one of several women who received payouts from McMahon over the years.

In addition to the 78-year-old McMahon, the suit filed in U.S. District Court in Connecticut names WWE and John Laurinaitis, the former head of talent relations and general manager, as defendants.

The complaint comes six months after federal law enforcement agents executed a search warrant on McMahon and served him with a grand jury subpoena as part of an investigation into McMahon’s payment of millions of dollars to multiple women after allegations of sexual misconduct.

McMahon last March paid WWE $17.4 million to cover costs related to a probe of the payouts by a law firm retained by the company.

TKO Group on Tuesday announced that Netflix would pay $5 billion over 10 years to stream the WWE’s flagship program “Raw,” and carry all other WWE shows and specials outside the United States.

Grant’s lawyer, Ann Callis, in a statement, said, “Today’s complaint seeks to hold accountable two WWE executives who sexually assaulted and trafficked Plaintiff Janel Grant, as well as the organization that facilitated or turned a blind eye to the abuse and then swept it under the rug.”

“She is an incredibly private and courageous person who has suffered deeply at the hands of Mr. McMahon and Mr. Laurinaitis,” Callis said. “Ms. Grant hopes that her lawsuit will prevent other women from being victimized. The organization is well aware of Mr. McMahon’s history of depraved behavior, and it’s time that they take responsibility for the misconduct of its leadership.”

In a statement to CNBC, TKO Group said, “Mr. McMahon does not control TKO nor does he oversee the day-to-day operations of WWE.”

“While this matter pre-dates our TKO executive team’s tenure at the company, we take Ms. Grant’s horrific allegations very seriously and are addressing this matter internally,” the company said.

A spokesman for WWE did not immediately respond to requests for comment.

Netflix To Become The Exclusive Home Of WWE Network Beginning In 2025

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WWE, part of TKO Group Holdings, Inc., and Netflix today announced a long-term partnership that will bring WWE’s flagship weekly program – Raw – to the world’s leading entertainment service. This marks a major programming shift as Raw leaves linear television for the first time since its inception 31 years ago. 

Beginning in January 2025, Netflix will be the exclusive new home of Raw in the U.S., Canada, U.K. and Latin America, among other territories, with additional countries and regions to be added over time. Likewise, as part of the agreement, Netflix will also become the home for all WWE shows and specials outside the U.S. as available, inclusive of Raw and WWE’s other weekly shows – SmackDown and NXT – as well as the company’s Premium Live Events, including WrestleMania, SummerSlam and Royal Rumble. WWE’s award-winning documentaries, original series and forthcoming projects will also be available on Netflix internationally beginning in 2025. 

“This deal is transformative,” said Mark Shapiro, TKO President and COO. “It marries the can’t-miss WWE product with Netflix’s extraordinary global reach and locks in significant and predictable economics for many years. Our partnership fundamentally alters and strengthens the media landscape, dramatically expands the reach of WWE, and brings weekly live appointment viewing to Netflix.”

“We are excited to have WWE Raw, with its huge and passionate multigenerational fan base, on Netflix,” said Netflix Chief Content Officer, Bela Bajaria. “By combining our reach, recommendations, and fandom with WWE, we’ll be able to deliver more joy and value for their audiences and our members. Raw is the best of sports entertainment, blending great characters and storytelling with live action 52 weeks a year and we’re thrilled to be in this long-term partnership with WWE.”

“In its relatively short history, Netflix has engineered a phenomenal track record for storytelling,” said Nick Khan, WWE President. “We believe Netflix, as one of the world’s leading entertainment brands, is the ideal long-term home for Raw’s live, loyal, and ever-growing fan base." 

With 1,600 episodes to date, Raw is the most iconic show in sports entertainment. Since its debut in 1993, Raw has delivered action, compelling drama and unmatched athleticism – 52 weeks a year. Blending the best of scripted content with unpredictable live entertainment, the three-hour show has helped launch the careers of Dwayne “The Rock” Johnson, “Stone Cold” Steve Austin, Triple  H, John Cena, Roman Reigns, Bianca Belair and Charlotte Flair. 

The show is currently the No. 1 show on USA Network, where it brings in 17.5 million unique viewers over the course of the year. One of television’s best performing shows in the 18-49 advertising demographic, Raw trends on X 52 weeks a year while each new episode is airing. On social media, WWE has more than one billion followers across its platforms. 

Kartoon Studios Announces Significant Increase in Content Production Planned for 2024

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Kartoon Studios announces a significant increase in content production and development planned for 2024 for the Company’s Kartoon Channel!, Frederator Networks, Mainframe Studios, as well as major broadcasters and streamers, including Netflix, Disney Channel, and others. The Company has also appointed Gregg Goldin, former creative executive at DreamWorks Animation, Cartoon Network and MTV, to the newly created position of Senior Vice President, Development & Production.

Kartoon Studios kicks off 2024 with a roster of properties in production and/or development, including Stan Lee’s Cosmic Crusaders and three series for Frederator Networks: Land of Boggs; Chikn’ Nuggit, in partnership with BuzzFeed Animation Lab; and an adult animated comedy series in partnership with Wheelhouse DNA, starring internet sensation Adam W, who was named one of “The 20 Most Influential Creators” by Rolling Stone Magazine with over 50 million followers across his channels.

Goldin joins Kartoon Studios with over twenty years of experience in animation and live-action content development and production, overseeing highly successful movies and series across multiple genres, including DreamWorks Animation’s blockbuster franchises How to Train Your Dragon, Kung Fu Panda, and Fast & Furious. In this new role, Goldin will be responsible for heading up development and production for both new and original IP to deliver to the marketplace. Goldin will report jointly to Kartoon Studios’ Chairman & CEO Andy Heyward and COO Michael Jaffa.

Brian Parisi, Chief Financial Officer, commented, “We have significantly streamlined our operations and have built a highly scalable infrastructure. With the increase in content production and other initiatives to be announced in early 2024 to drive revenue, we are well on our way to achieving our goal of sustained profitability. It should be noted that our streaming service Kartoon Channel! achieved break even in 2023, only three years after launch, and is expected to move to profitability in 2024, alongside Netflix. Kartoon Channel! continues to dominate the User Rankings in the Apple app store among all services delivering kids’ content.”

Andy Heyward noted, “As we enter a significant phase of growth in our development and production pipeline this year, with productions in the works for our Kartoon Channel! and Frederator Networks, we are thrilled to welcome a creative executive with Gregg’s pedigree to drive our content business. He has managed the development of some of the industry’s most successful franchises while at DreamWorks and Cartoon Network, and he will be an invaluable asset as we continue to build our IP catalog for global distribution. As Kartoon Channel achieved breakeven this last year, and drives to enhance profitability in 2024, Gregg will be pivotal in fueling the service with top tier content, as he did so successfully for DreamWorks Animation at Netflix.”

“Andy has made enormous contributions to the animation industry over the years, and I’m thrilled to work with him and the team at Kartoon Studios as we significantly ramp up over the next couple of years with new IP coming to market,” stated Goldin.

Goldin joins Kartoon Studios following a ten-year tenure at DreamWorks Animation where he served as Vice President of Current Series, overseeing multiple series in production. In this capacity, he also generated and pitched show presentations to marketing, franchise partners, publishers, retail buyers and network/streamers, facilitating new series launches and providing opportunities for consumer product programs.

Prior to DreamWorks Animation, Goldin guided the development and production of live-action and animated series and pilots at Cartoon Network, as well as a slate of original made-for-TV movies for seven years as Director of Development, Current & Original Series. Projects included two Ben 10 live-action features and Scooby-Doo prequel movies, among others. Previously, he served as Director of Development at MTV Films, contributing to the development and production of a robust slate of feature films, including Crossroads (Britney Spears), Jackass: The Movie, Save the Last Dance (Julia Stiles), Aeon Flux (Charlize Theron) and Fighting Temptations (Beyoncé).

Apollo Global Management Is Looking To Set It's Bid For A Possible Acquisition Of Paramount Global

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National Amusements, Inc., the Shari Redstone-led company that owns the majority of voting shares in Paramount Global, is reportedly fielding interest from another entity mulling an acquisition offer. Apollo Global Management is among the wealthy individuals and companies that have contacted the investment bank advising NAI, BDT & MSD Partners, according to Bloomberg.

NAI owns a portfolio of movie theaters as well as nearly 80% of voting shares. As with recently discussed scenarios involving Skydance Media and RedBird Capital, the Apollo deal would be a route to gain control of Paramount, though the voting shares owned by NAI do not represent a majority of the economic value of the company, only most of its voting class of shares.

Redstone, who spent years gaining control of Viacom and CBS, withstanding legal challenges and objections from critics including her own father, the late Sumner Redstone, has been more willing than ever to entertain offers. Paramount, which was formed when Viacom and CBS reunited in 2019, has struggled due to pay-TV cord-cutting, a soft ad market, a loss-producing streaming operation and volatility in the movie business. While its namesake film studio has had its share of hits, including last weekend’s Mean Girls, the broader company does not have the scale of many media rivals. With its stock worth less than half of what it was when the merger closed, Redstone reportedly is open to turning the page if the right offer comes along.

Paramount shares perked up late in the trading day Friday on the report of Apollo’s interest, rising 2% to close at $13.40.

Apollo is one of the more active private equity players in media, with stakes in companies like Dune producer Legendary Entertainment, Peter Chernin’s North Road, Cox Media Group and Yahoo. It has also been a player in the TV station sector, taking part in the proposed takeover of Tegna by Standard General, which was ultimately quashed by regulators.

What If The M-Net Series Trademark Were Revived Perhaps In Place Of M-Net 101?

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With MultiChoice and M-Net set to axe secondary networks M-Net Essentials (Me) and 1Magic in the coming weeks. It kind of leads one to wonder if the main M-Net channel which had been exclusive to premium consumers since it's inception will get purged.

Unlike Me and 1Magic, M-Net hadn't undergone any rebranding, name change or drastic reshuffling to programming if anything it has seen a decline in audiences. Similar to the United States were brands like HBO and NBC had lost at least 10% of their audience yearly.

M-Net has hit rough patch so much so that neither them or MultiChoice are ever public about the viewing numbers of their programs. When 1Magic debuted, their lowest rated show V-Entertainment had at least 10,000 viewers so M-Net would need to have something around that range.

Not that the channel has become irrelevant, but it's basically how SABC would view SABC 3 - niche. It's still dominant in the field it caters for or at least on linear platforms offering latest seasons to shows alongside films.

But with the downfall of the secondary networks and decline in viewership on M-Net, MultiChoice should consider unifying these brands under one name. I get that Me still had that M-Net trademark but by styling it's more like SABC 3 (S3) making it more alienated.

A brand that comes to mind would be M-Net Series, one of M-Net's most iconic trademarks was basically M-Net Movies but for drama series and reality shows. M-Net has been causing conflict with its premium movie channels airing select content before them.

M-Net Series would help reduce the rift between M-Net and M-Net Movies and if anything could help M-Net lure in viewers. M-Net (better yet M-Net Series 1) could add just add series like RuPaul's Drag Race and Power Book 4 Force in the timeslots allocated to movies.

The other two channels would serve as secondary brands rehashing content viewed on M-Net Series 1 and similar to 1Magic recieve first run programs. The second channel would tailor toward reality and lifestyle and the last would revive the M-Net City/Edge concept.

From my understanding, this concept was used several years back as M-Net Series Showcase, Reality and Zone. Only one out of the three garnered relevance but was partially due to the other two being folded under premium alongside the downsizing of content.

Again, I don't think the M-Net Series concept failed but how MultiChoice executed it was what led to its downfall. If anything, VUZU was more like how one would interpret M-Net Series Reality while Showcase was more like a rival brand to M-Net with content sharing between channels.

Scooby-Doo! Mystery Incorporated Almost Got A Third Season

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Scooby-Doo Mystery Incorporated is often regarded as the best iteration of Scooby-Doo and we all assumed based on how the show ended that it ended on the writer's terms but it turns out that wasn't exactly true.

According to an interview on ScoobyAddicts.Com, Mitch Watson who was the head developers of the season mentioned that they were working on a third season of Scooby-Doo Mystery Incorporated at one point. They did want to produce a third season seeing as it was a hit overseas before getting cancelled.

The third season would have revolved around the gang driving off to the Harland Alison College and solving other mysteries along the way. Various monsters from previous iterations of franchise would make a comeback and there was also going to be a new mystery surrounding the college.

Unfortunately, two seasons was it and they were going to do a third season at one point. Honestly speaking, it was probably for the best as they had this one plot that consumed over two seasons and wanted to prolong the show with the third season which might have not been well recieved.

There comes a point where network executives want to prolong the franchise that it ends up seeing a drop in quality. It would come to a point where fans would want it to end and that's where Scooby-Doo Mystery Incorporated would have probably ended up if a third season existed.

If anything, it would have probably been better to make the third season a separate show from Scooby-Doo Mystery Incorporated.