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Disney restructures general entertainment division

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MUMBAI: Disney has unveiled the next leg of its company-wide restructuring, as general entertainment content chairman Peter Rice outlined key changes to the division under his charge.

The move comes a month after Walt Disney Company CEO Bob Chapek announced a strategic reorganization of its media and entertainment businesses.

Rice is ditching the company's long-time legacy structure in order to create centralized groups that will be purely focused on content. It means that departments including marketing, publicity, scheduling and media planning are being consolidated into three distinct groups overseen by Shannon Ryan (Hulu and linear networks), former Twitter head of global creative Jayanta Jenkins (Disney+) and Stephanie Gibbons (FX/FX on Hulu).

Rice has also vastly expanded Disney Channel president Gary Marsh's responsibilities. He will now serve as Disney Branded Television president and chief creative officer. Marsh will now look after all non-theatrical Disney-branded TV content made for tweens, teens and families, live-action, animation and even specials. He will also oversee the Disney+ unscripted content and production teams. Marsh will continue to report to Rice.

National Geographic Content president Courteney Monroe has similarly been given an expanded role. She will add oversight of NatGeo content on Disney+ as well as linear networks. (NatGeo is a one of the centralized channels on Disney+.) Monroe will join Rice's senior leadership team and continue to report to NatGeo partners chairman Gary Knell (who also reports to Rice).

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Dana Walden has also been given a new role, she will serve as Walt Disney TV entertainment chairman. Her responsibilities remain largely the same, after the TV stations unit moved over to the Disney Media and Entertainment Distribution Group overseen by the recently promoted Kareem Daniel. It is believed that Walden is expected to announce her own restructuring in the coming weeks. Walden looks after Hulu, ABC, Freeform and Disney Television Studios. The latter division includes 20th Television, ABC Signature and Touchstone Television (formerly Fox 21).

"This is a big change to our legacy television structure which was built around linear networks," Rice said in a memo to staff on Tuesday. "But as we look to the future and how consumers choose to watch their programming, this reorganization is an opportunity for us to fully focus on what we do best, making great programming for viewers wherever they choose to watch their favourite shows,” he added.

The restructuring also includes the consolidation of marketing, publicity and media planning. One agency, led by Hulu and general entertainment content marketing president Shannon Ryan will market DGE content distributed to Hulu and the linear networks, which covers content produced by Disney Television Studios, Hulu Originals, ABC Entertainment, Freeform and ABC News.

Jayanta Jenkins, who last worked with Samsung, is joining as Disney+ and general entertainment content marketing head and will oversee a second internal agency that covers marketing, publicity and media planning for DGE-created content for Disney+ and linear networks including Disney Channel, Disney Junior, Disney XD and National Geographic.

Ryan will answer to Walden, while Jenkins will report to Marsh and Monroe.

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FX’s marketing and publicity team, led by Stephanie Gibbons, will continue to market all FX programming for Hulu and linear.

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Om Nom bites into India as Warner Bros. Discovery picks up the series

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MUMBAI: The little green hero is making a big leap east. Zeptolab has struck a major distribution deal with Warner Bros. Discovery, bringing its hit animated series Om Nom Stories to audiences across the Indian subcontinent.

Under the agreement, Warner Bros. Discovery has acquired the series for exclusive Pay TV broadcast and non-exclusive digital streaming in India, Pakistan, Bangladesh, Bhutan, Nepal and Sri Lanka. The move marks a significant expansion for Zeptolab as it pushes one of its most successful original IPs into one of the world’s fastest-growing entertainment markets.

As part of the deal, all 26 seasons of Om Nom Stories will be rolled out across Cartoon Network, Pogo, Discovery Kids and Discovery+, offering both linear and digital access to the franchise’s slapstick humour and expressive, dialogue-free storytelling.

“We’re incredibly excited to partner with Warner Bros. Discovery to bring Om Nom Stories to the Indian subcontinent,” said Zeptolab executive producer Manaf Hassan, noting that the broadcaster’s reach and legacy make it a strong fit for the series’ growing global fanbase. 

Warner Bros. Discovery, meanwhile, sees the acquisition as a natural addition to its children’s portfolio. Warner Bros. Discovery head of factual entertainment, lifestyle and kids for South Asia Sai Abishek, said the series aligns with the network’s focus on cheerful, imaginative and universally appealing content for families across the region.

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The timing adds an extra layer of significance. The expansion coincides with Om Nom’s 15th anniversary, underlining the franchise’s staying power and its evolution from a mobile game character into a global animation brand. With this latest bite at the Indian subcontinent, Om Nom’s adventures look set to find a whole new generation of fans.

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Colour outside the lines Chhota Bheem sketches a new play with Faber Castell

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MUMBAI: If childhood memories had a colour palette, Chhota Bheem would likely be right in the middle of it and now, quite literally, in children’s pencil boxes too. Green Gold Animation has announced a landmark licensing partnership with Faber-Castell India, marking the global stationery major’s first-ever licensed character collaboration. The association brings Chhota Bheem to a specially curated range of student art and creative products, blending everyday learning tools with one of India’s most recognisable homegrown characters.

The move is a notable expansion of Chhota Bheem’s footprint beyond screens, reinforcing the character’s status as a multi-generational IP that has steadily grown from a television favourite into a cultural constant. For Green Gold Animation, the partnership signals a sharpened focus on extending its intellectual property into daily touchpoints, where entertainment meets education and habit.

In its first phase, the collaboration will roll out Chhota Bheem-themed products across key student art categories, including watercolour cakes, wax crayons, poster colours, sketch pens, oil pastels and creative bundling kits. The range is aimed squarely at school-going children, tapping into Bheem’s strong emotional connect while encouraging imagination, creativity and hands-on expression.

Green Gold Animation founder and CEO Rajiv Chilaka noted that Chhota Bheem’s journey has long moved beyond episodic storytelling. He said the partnership reflects a deliberate attempt to embed the character into moments of learning and creativity, while building a more purpose-led licensing ecosystem around Indian IP through collaboration with a globally established brand.

From Faber-Castell India’s perspective, the tie-up marks a strategic first. Faber-Castell India director marketing Sonali Shah said the collaboration opens a new chapter by pairing the brand’s long-standing reputation for quality and safety with a character that already commands trust and affection among Indian children. The aim, she added, is to make creativity more engaging and relatable without diluting product standards.

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The launch will be backed by a 360-degree promotional push, spanning digital campaigns, social media storytelling, creative usage content and on-ground retail activations across select markets. Both companies have confirmed that this is only the starting point, with additional Chhota Bheem-themed products across new categories planned in the months ahead.

Headquartered in Hyderabad, Green Gold Animation continues to scale its ambition of building globally competitive Indian IPs, with Chhota Bheem leading the charge. This latest collaboration suggests that the brand’s next phase of growth may be less about what children watch and more about what they create.

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Sony tightens grip on Peanuts with $457 million stake buy

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JAPAN: Sony has doubled down on the power of legacy brands, snapping up a majority stake in the Peanuts intellectual property in a late-year deal valued at about $457 million.

Sony Pictures Entertainment and Sony Music Entertainment Japan have acquired the roughly 41 per cent holding in Peanuts Holdings LLC previously owned by Canadian children’s entertainment company WildBrain. The move lifts Sony’s ownership to 80 per cent, with the Schulz family retaining the remaining 20 per cent.

The deal brings one of pop culture’s most durable franchises, home to Charlie Brown, Snoopy and the rest of the Peanuts gang, firmly under the Sony umbrella. The characters were created by Charles M Schulz, whose daily comic strip ran for half a century before ending in 2000.

Sony had already been a long-time partner in the business. The latest transaction consolidates control and sharpens the group’s hand as it looks to keep the characters front and centre across film, television, music and consumer products.

President and group ceo of Sony Music Entertainment Japan, Shunsuke Muramatsu, said the additional stake would allow Sony to further elevate the Peanuts brand by drawing on the group’s global reach and creative expertise, while preserving the legacy of Schulz and his family.

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President and ceo of Sony Pictures, Ravi Ahuja, said the combined ownership gives Sony the ability to protect and shape the future of the characters for new generations, expanding their relevance without diluting their charm.

Peanuts long ago escaped the confines of the comic strip, cementing its place in popular culture through perennial television specials such as A Charlie Brown Christmas and It’s the Great Pumpkin, Charlie Brown. More recently, WildBrain kept the franchise active with animated series including Snoopy in Space and The Snoopy Show.

Now, with Sony firmly in control, the message is unmistakable. In an industry obsessed with the next big thing, nostalgia still sells and Sony is betting big on a doghouse that refuses to age.

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