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The Walt Disney Co restructures media & entertainment business globally

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MUMBAI: The last two weeks have seen a spate of departures at Disney Star India. It began with the announcement of chairman India and APAC president Uday Shankar exiting the company by end this year. Star Sports boss Gautam Thakar followed quickly, along with another three executives at senior levels. Uday said the entrepreneurial bug had bit him, and Gautam too might go the same way. Disney Star India CEO K. Madhavan quickly found in Sanjog Gupta a replacement for Gautam, but could the departures have something to do with the reorganisation that was announced yesterday by The Walt Disney Co CEO Bob Chapek is a question that needs to be asked.

Chapek said that Disney’s media and entertainment businesses are being restructured.

Under the new organisation, Disney’s world-class creative engines will focus on developing and producing original content for the company’s streaming services, as well as for legacy platforms, while distribution and commercialization activities will be centralized into a single, global media and entertainment distribution organisation.

The new media and entertainment distribution group will be responsible for all monetisation of content—both distribution and ad sales—and will oversee operations ofDisney’s streaming services. It will also have sole P&L accountability for Disney’s media and entertainment businesses.

The creation of content will be managed in three distinct groups—studios, general entertainment, and sports—headed by current leaders Alan F. Horn and Alan Bergman, Peter Rice, and James Pitaro.

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The media and entertainment distribution group will be headed by Kareem Daniel, formerly president, consumer products, games and publishing. All five leaders will report directly to CEO Bob Chapek. Disney parks, experiences and products will continue to operate under its existing structure, led by chairman Josh D’Amaro, who continues have Chapek as his immediate boss. 

The reshuffling has led to the direct to consumer business division no longer being managed on a combined basis. Rebecca Campbell, who chairs that as well as the international business, will report to Chapek for the latter piece, while having Daniel as her reporting superior for Hulu, Disney+ and ESPN+.

Creative structure of content groups

Under the new structure, Disney’s  three content groups will be responsible and accountable for producing and delivering content for theatrical, linear and streaming, with the primary focus being its  streaming services:

Studios: Horn and Bergman will serve as chairmen, studios content, which will focus on creating branded theatrical and episodic content based on Disney’s powerhouse franchises for theatrical exhibition, Disney+ and its  other streaming services. The group will include the content engines of The Walt Disney Studios, including Disney live action and Walt Disney Animation Studios, Pixar Animation Studios, Marvel Studios, Lucasfilm, 20th Century Studios and Searchlight Pictures.

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General Entertainment: Rice will serve as chairman, general entertainment content, which will focus on creating general entertainment episodic and original long-form content for Disney’s streaming platforms and its cable and broadcast networks. The group will include the content engines of 20th Television, ABC Signature and Touchstone Television; ABC News; Disney Channels; Freeform; FX; and National Geographic.

Sports: Pitaro will serve as chairman, ESPN and sports content, which will focus on ESPN’s live sports programming, as well as sports news and original and non-scripted sports-related content, for the cable channels, ESPN+, and ABC.

The Distribution group

The media and entertainment distribution group, led by Daniel, will be responsible for the P&L management and all distribution, operations, sales, advertising, data and technology functions worldwide for Disney’s content engines, and it will also manage its streaming services and domestic television networks’ operations The group will work in close collaboration with the content creation teams on programming and marketing.

The new structure is effective immediately, and Disney expects to transition to financial reporting under it in the first quarter of fiscal 2021.

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Its virtual investor day is scheduled for 10 December, where it will present further details of its direct-to-consumer strategies.

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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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