The planned layoffs, which will affect less than 1% of the company’s workforce, had already been set in motion before Josh D’Amaro stepped in as chief executive in March.

As of the end of the 2025 financial year, The Walt Disney Company employed about 231,000 people.

Inside the company, the changes are tied to an internal restructuring known as Project Imagine. Asad Ayaz, who took on a bigger role earlier this year, is leading the initiative to bring Disney’s marketing teams under a single structure.

The aim is to reduce expenses and simplify how campaigns are run across its film, television, streaming and parks businesses.

This is one of the first major operational steps under D’Amaro’s leadership. He has told staff he wants the business to function as “one Disney”, with closer links between its divisions.

The cuts come at a time when the film and television industry is facing some challenges. Box office earnings have not fully recovered, traditional TV audiences are still falling, and streaming platforms are yet to deliver the level of profit many expected.

Other studios, including Sony Pictures Entertainment which recently said it would reduce its workforce as part of its own restructuring plans, are making similar moves.

Disney has been here before, in the years following Bob Iger’s return, the company cut thousands of jobs as it scaled back spending and reviewed its content strategy.

At the time, Iger said Disney had been producing too many shows and films in its bid to keep pace with streaming competition.

Its theme parks business still brings in strong revenue, but the company has warned of pressure on international travel to its US locations.

As it stands, Disney has not publicly commented on the latest round of expected layoffs.

The development comes weeks after Warner Bros. Discovery agreed to sell its film studio and HBO Max streaming service to Netflix for $27.75 per share. 

That deal, signed in December 2025, values the company at about $83 billion.

Soon after, Paramount Skydance, which owns CBS and MTV, launched a hostile all-cash bid of $30 per share. The offer values Warner Bros. at $108.4 billion, including debt.

Last week, Paramount revised its proposal but did not increase the $30 per share price. Instead, it introduced new financial incentives. 

The company said it would pay shareholders a 25-cent-per-share quarterly “ticking fee” starting in 2027 for every quarter the deal is still pending after 31 December 2026. That payment would amount to roughly $650 million in cash per quarter.

Paramount also agreed to cover the $2.8 billion termination fee Warner Bros. would owe Netflix if it walks away from their agreement. In addition, it pledged to eliminate $1.5 billion in potential refinancing costs.

According to Bloomberg, members of the Warner Bros. board are discussing whether Paramount’s latest proposal could lead to a stronger result for shareholders. The board has not reached a decision and may still proceed with the Netflix deal.

Paramount, Warner Bros. Discovery and Netflix did not respond to requests for comment.

Both bidders are pursuing Warner Bros. for its film and television studios, vast content library and major franchises. These include Game of Thrones, Harry Potter and DC Comics superheroes such as Batman and Superman. The company’s streaming platform, HBO Max, is also a key asset.

Shareholders, including Ancora Holdings, which holds a stake of nearly $200 million, has said it plans to oppose the Netflix transaction. The firm argues that the board did not engage sufficiently with Paramount over what it considers a superior offer.

Both Netflix and Paramount have indicated they are willing to improve their terms to secure the deal, Bloomberg reported. The board is currently reviewing its options.

The initiative, which takes place from November 18 to 23, 2025, at the Livespot Entertarium, Lagos, offers selected founders a chance to access ₦25 million in funding, mentorship, and investor partnerships that could boost their business growth.

Why It Matters

Africa’s creative economy is valued at over $20 billion and continues to expand with tech-led solutions transforming music, film, fashion, and design. 

The EWA Deal Room acts as a bridge between visionary founders and the capital they need to scale. 

Over the years, the programme has supported startups such as Esosa, a travel-tech platform connecting the African diaspora; Taghub, an AI-powered influencer marketing network; and Synewave, a revenue-sharing platform for artists. 

Together, these ventures have attracted more than $1 million in cumulative investment through EWA’s ecosystem.

Participants will undergo a three-day accelerator, receiving guidance from leading investors, industry experts, and creative leaders before showcasing their businesses at a Demo Day in front of global stakeholders. 

The platform also promotes meaningful networking, deal flow, and visibility that many founders struggle to secure independently.

Who Can Apply

The EWA Deal Room is open to:

• Founders and co-founders of tech-driven ventures in the creative and entertainment industries, including music, film, fashion, publishing, and design.
• Builders of platforms or tools enhancing distribution, monetisation, analytics, fan engagement, or funding within the creative sector.
• Independent artists, producers, and directors with strong market traction or projects in pre-production or development.
• Emerging entrepreneurs in lifestyle and skincare seeking to scale innovative ideas.
• Managers, rights holders, and distributors looking for funding or strategic partnerships.
• Investors, ecosystem enablers, and industry leaders shaping Africa’s creative and tech sector.

Benefits

• Access to ₦25 million in potential funding and partnership opportunities.
• Exclusive mentorship from top-tier investors and creative industry professionals.
• Investor-ready business model refinement and pitch training.
• Direct exposure to global networks shaping the future of Africa’s entertainment and digital ecosystem.
• Opportunity to pitch live at EWA Demo Day before an audience of global stakeholders and media partners.

How to Apply

Applications are now open via the website. Interested participants should submit details about their business, vision, and traction before the closing date. Shortlisted candidates will be contacted for the next stage of selection.

The tax charge, linked to cross-border payments made between 2022 and 2025, led to a net income of $2.5 billion and diluted earnings per share of $5.87, below analysts’ expectations of $3 billion and $6.97. 

The company reported an operating margin of 28%, noting it would have exceeded its 31.5% guidance without the unexpected charge.

Chief Financial Officer Spence Neumann explained that the tax issue is not unique to Netflix, saying it affects “other global streaming and technology companies operating in Brazil.” The company added that the development does not mean a long-term threat to its financial outlook.

Despite the setback, Netflix forecast fourth-quarter revenue of $11.96 billion, slightly above Wall Street’s $11.90 billion projection, and projected earnings per share of $5.45, just ahead of analysts’ estimates. “We’re finishing the year with good momentum and have an exciting Q4 slate,” Netflix said in its letter to shareholders.

The company’s shares, which had risen 39% this year before the report, fell 5.6% to $1,171.24 in after-hours trading on Tuesday. Paolo Pescatore, an analyst at PP Foresight, said, “All things considered, this was another robust quarter, despite a blip due to an unforeseen expense.”

Netflix continues to diversify beyond streaming, investing heavily in advertising, gaming, and new technologies. The company said it recorded its best ad sales quarter in history, driven by its ad-supported plan launched in late 2022. 

Although it withheld figures, analysts believe advertising could become a growth driver by 2026 as subscriber growth steadies.

Netflix’s gaming vision is also in focus. With over 80 titles in development or live, including tie-ins to popular series like Stranger Things and The Queen’s Gambit, the company is testing cloud gaming in select regions to allow users to play directly on TVs and PCs without downloads. Analysts, however, caution that gaming will take time to deliver meaningful revenue.

Co-CEOs Ted Sarandos and Greg Peters addressed industry consolidation and acquisition speculation during an analyst call. Sarandos said the company remains selective: “Nothing is a must-have for us to meet our goals that we have for the business.” 

Peters added that ongoing mergers in the media sector don’t necessarily alter Netflix’s competitive position, stating, “Watching some of our competitors potentially get bigger via (mergers and acquisitions) does not change in and of itself, at least our view, the competitive landscape.”

Netflix plans to close the year with several major releases, including the final season of Stranger Things, new international hits like Berlin (a Money Heist spinoff), and two live NFL games on Christmas Day.

Although its path this quarter was impacted by a financial stumble, Netflix appears to be leaning into its strengths such as content, technology, and advertising, to maintain growth in the streaming market.

The change was subtly mentioned in a press release announcing the December 12 streaming debut of F1: The Movie, which stated: “Apple TV+ is now simply Apple TV, with a vibrant new identity.”

The company gave no further explanation on the rebrand, and as of Monday, Apple’s website and press portal still displayed the old Apple TV+ branding. 

However, early beta versions of iOS and tvOS reportedly show small design adjustments that point at the new identity.

While the Apple TV rebrand appears straightforward, it has already led to confusion among users and observers in the space. Apple now operates three distinct products under the same name, the Apple TV streaming service, the Apple TV app for content aggregation and rentals, and the Apple TV hardware such as the Apple TV 4K device. 

Even Apple’s own press release added to the muddle, stating that “Apple TV is available on the Apple TV app… on Apple TV.”

The decision also separates Apple from the crowded group of streaming platforms that embraced the “plus” naming trend, including Disney+, Paramount+, and ESPN+. 

Interestingly, Apple continues to use the symbol for other subscription-based products like Apple News+, Apple Fitness+, and iCloud+, making the rebrand somewhat inconsistent across its ecosystem.

Apple TV+, launched in November 2019, was Apple’s entry into the global streaming competition against Netflix, Amazon, and HBO. The service gained early recognition through The Morning Show and later secured major acclaim with CODA, which became the first film from a streaming platform to win the Academy Award for Best Picture. 

Other successes, such as Ted Lasso, helped establish Apple’s reputation for high-quality original content.

Still, this branding decision invites comparisons to a similar misstep by Warner Bros. Discovery, which rebranded HBO Max to Max in 2023. Confusion among subscribers and the entertainment industry grew, prompting the company to restore the original name months later.

Apple has yet to clarify whether the rebranding will extend to visual elements such as a new logo or app design. The company also declined to comment on whether its Apple TV hardware or app experience will be updated to align with the change.

For now, the “vibrant new identity” is more of a statement than a visible transformation, and users may have to wait to see exactly what Apple’s simplified streaming identity really looks like.

This comes after Canal+ secured a 94.39% stake in MultiChoice, completing one of the largest transactions in Africa’s media industry. Its buyout offer of R125 per share was accepted by more than 90% of MultiChoice shareholders, giving the French company legal grounds to execute a “squeeze-out” of the remaining investors in accordance with section 124(1) of South Africa’s Companies Act.

“Upon the exercise of the squeeze-out, MultiChoice Group will become a wholly-owned subsidiary of Canal+, and an application will be made for the termination of the listing of MultiChoice Shares on the JSE,” the companies said in a joint statement.

Once the delisting process is completed and approved by the South African Reserve Bank, Canal+ will initiate a secondary inward listing on the JSE. 

The group, which was listed on the London Stock Exchange in 2024 under parent company Vivendi SE, said the new listing will enable South African investors to retain access to its expanded global operations.

“A secondary inward listing will preserve South African investor access and market liquidity, allowing local investors to hold shares in a leading global media and entertainment company on the JSE,” the company stated. 

“It will broaden the investor base of Canal+, reinforce the company’s long-term commitment to South Africa and Africa’s creative economy, and support continued institutional exposure to the media sector.”

The $3 billion acquisition is the largest in Canal+’s history, establishing a combined entity that serves more than 40 million subscribers across nearly 70 countries in Africa, Europe, and Asia. 

The integration of MultiChoice’s regional dominance with Canal+’s global reach marks a major consolidation in the continent’s pay-TV and streaming industry.

“We are pleased with the overwhelming success of the offer,” said Canal+ Chief Executive Officer Maxime Saada. “Following this outcome, we will be moving ahead with a squeeze-out of MultiChoice shareholders and a subsequent secondary inward listing of CANAL+ in Johannesburg.”

Saada reaffirmed that the company’s expansion into Africa was driven by a strategic and cultural commitment. “Given the important role Canal+ will now play in South Africa and across the African continent, I believe it to be critically important that domestic investors have the ability to have exposure to it,” he said.

The acquisition is expected to boost investment in Africa’s creative industries, with Canal+ positioning itself as a long-term player in the region’s fast-evolving entertainment sector. 

As integration begins, both firms plan to announce changes to their executive structures to reflect the merger of operations and leadership across markets.

With this move, Canal+ strengthens its presence in Africa and also cross-continental media collaboration, uniting European capital with African creativity in a rapidly globalising entertainment industry.

This projection comes from PwC’s newly released Global Entertainment & Media Outlook 2025–2029, which shows a seismic transition in how the industry earns and evolves, powered heavily by artificial intelligence and changing consumer habits.

At the core of this growth is a gap between consumer spending and advertising revenue. While consumer expenditure across E&M is projected to grow at a modest compound annual growth rate (CAGR) of 2%, advertising is surging at 6.1% CAGR, three times faster. 

This shows that the commercial logic of the industry is changing, people may be spending less, but advertisers are spending more to reach them.

AI is driving this growth from several angles. From hyper-personalised targeting across platforms to real-time analytics and automated video editing, artificial intelligence is trimming production costs and enabling producers to deliver content tailored to specific markets in ways that weren’t possible five years ago.

Digital advertising, which made up 72% of the total ad revenue in 2024, is expected to reach 80% by 2029. That growth is being driven by retail media, mobile and social video, and notably, connected TV (CTV) advertising, which is changing traditional broadcast models. 

PwC forecasts that CTV ad revenue will climb to $51 billion by 2029, up from a minor share in 2020, thanks largely to AI-powered personalisation that enables precision targeting across streaming services.

Meanwhile, the video gaming sector is proving to be a revenue juggernaut of its own. By 2029, it is projected to pull in nearly $300 billion, surpassing the combined earnings of the global film and music industries. Much of that growth will be fuelled by in-game advertising, branded content, and the meteoric rise of mobile and e-sports markets.

Some of the most explosive growth is happening outside traditional Western strongholds. Emerging markets like India, Indonesia, and Nigeria are overtaking global averages with CAGRs above 7.5%. In India, internet advertising alone is growing at nearly 16% per year, driven by increasing access to 5G and surging demand for short-form video.

Beyond revenue numbers, AI is becoming integral to the creative process. Scriptwriting, localisation, audience analytics, and video editing are all being automated and optimised, reducing turnaround time and enabling production teams to serve highly segmented audiences without ballooning costs.

Bart Spiegel, Global Entertainment and Media Leader at PwC U.S., said: “There’s certain general macroeconomic pressures on individuals, families and advertising starts to subsidize a lot of that.” 

He added, “[The industry] has always been at the forefront of technological innovation, but companies will need to remain nimble and proactive to embrace the future and satisfy consumers in an ecosystem that rewards creativity and tailored content.”

Let’s take a journey through the history of innovation in the entertainment industry. We’ll explore breakthrough technologies that have shaped the way we consume and produce entertainment, focusing on streaming platforms, recording cameras, studios, and the art of cinematography.

The Past

1. Early Entertainment: In the past, entertainment was limited to live performances, theaters, and hand-drawn animations. People gathered in communal spaces to enjoy plays, musicals, and vaudeville acts.
2. The Birth of Recording Cameras: The invention of recording cameras in the late 19th century revolutionized the way stories were captured. The Lumière Brothers’ Cinématographe and Thomas Edison’s Kinetoscope marked the beginning of recorded visual entertainment.
3. Studio Productions: With the establishment of film studios in the early 20th century, movies became a mass entertainment medium. Studios like Warner Bros., Paramount Pictures, and MGM set the stage for iconic films and timeless classics.

Google’s Silver Jubilee: 25 Pioneering Innovations That Shaped Our World

Technological Advancements

1. Streaming Platforms: The digital age ushered in the era of streaming platforms. In the late 1990s and early 2000s, services like NetflixNetflix, Hulu, and Amazon Prime Video started offering on-demand streaming, transforming how we access movies, TV shows, and documentaries.
2. Digital Recording and Editing: Analog film was replaced by digital cameras, allowing filmmakers to capture high-quality images and edit them with precision. Digital editing software like Adobe Premiere Pro and Final Cut Pro streamlined the post-production process.
3. Special Effects and CGI: Advancements in computer-generated imagery (CGI) opened new creative possibilities in the entertainment industry. Movies like Jurassic Park (1993) and Avatar (2009) showcased the power of CGI in bringing fantastical worlds and creatures to life.

Present and Future

1. On-Demand Entertainment: Today, streaming platforms have become the go-to source for entertainment, offering a vast library of content accessible on various devices. The rise of platforms like Disney+, HBO Max, and Apple TV+ has intensified competition, leading to innovative storytelling and diverse content.
2. Virtual Reality (VR) and Augmented Reality (AR): VR and AR technologies have enabled immersive entertainment experiences. Virtual reality headsets and augmented reality applications have been used in gaming, interactive films, and virtual concerts, enhancing user engagement.
3. AI and Machine Learning: Artificial intelligence and machine learning algorithms are used in content recommendation systems. Streaming platforms analyze viewing habits to suggest personalized content, enhancing user satisfaction and retention.

The evolution of entertainment technology reflects our relentless pursuit of immersive and engaging experiences. From the early days of cinema to the digital age of streaming and virtual reality, innovation continues to redefine how we connect with stories and performances.

As we embrace future technologies, the entertainment industry looks to create even more awe-inspiring moments, blurring the lines between reality and imagination.