Ratings Flop??? Could Uzozisola Regrets Move To Late Nights On e.tv Signal A Dark Fate?

A few months ago, eMedia Investments decided to rival with Zee Africa's Zee Zonke channel by launching Uzozisola: Regrets. This was accompanied by a repeat broadcast of IThemba Alibulali from Star Khanya.

TAMS got the axe from last year meaning consumers and other media outlets wouldn't really get the gist on which program would be a major gainer or a flop to the channel.

e.tv used the 20:30 timeslot for soon to be shuttered BET Africa's Redemption and Isono even uBettina Wethu from SABC 1. These were all local dramas and when news that Zulu dubbed Bollywood drama was launching it likely scared away these viewers.

It happened with e.tv's Sunday night movie block at 20:00 when the channel decided to air Is'phindiselo and have movies come an hour later. Although, it wasn't necessarily a flop having local dramas in it did however lead movies to dip in ratings.

From January 16, Isitha: The Enemy would be taking up Uzozisola Regrets timeslot at 20:30.

Uzozisola: Regrets being distant from all the other primetime shows does kind of raise red flags it could as well be the signal that very much like Nikiwe maybe they're letting it die.

Another scenario would them perhaps licensing some of these shows from Star Khanya and Zee Zonke as seen with IThemba Alibulali. Maybe this is what could become of Uzozisola: Regrets once it ends on the 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

Major Shake-Up. e.tv Moves House Of Zwide, Kelders Van Geheime And More Shows To New Timeslots

For weeks, eMedia Investments had been teasing viewers with some breaking news and now the cat is out of the bag. The broadcaster will be making changes to e.tv's local portfolio in 2026 with some shows like e.tv news airing almost two hours early at 18:30.

This is the timeslot currently occupied by Amalanga Awafani on SABC 1 and by moving news here means they'll be minimal division amongst viewers. 

The most shocking for some viewers will be Kelders Van Geheime as e.tv built up some Afrikaans block which paired up with Yosef and rebroadcast of eExtra's Viola. Now Kelders Van Geheime will be airing 30 minutes later at 19:00.

House Of Zwide and Scandal! will be airing 30 minutes later at 19:30 and 20:00 respectively. Isitha: The Enemy will be airing an hour earlier at 20:30 with Smokes & Mirrors remaining at 21:00.

eMedia Investments hasn't stated why they're adjusting their schedule once again but several scenarios could come into play. Kelders Van Geheime's move was probably their way of trying to group all their local content together.

Isitha: The Enemy's move to an earlier timeslot could stem from the Zulu dubbed drama Uzozisola: Regrets. With TAMS dead, we can only assume this Indian drama had become a flop in its current timeslot so e.tv is burning it off at 21:30.

Current schedule 
18:30 Kelders Van Geheime 
19:00 House of Zwide
19:30 Scandal!
20:00 e.tv News
20:30 Uzozisola: Regrets 
21:00 Smoke & Mirrors
21:30 Isitha: The Enemy

Upcoming schedule from January 19th, 2026
18:30 e.tv News
19:00 Kelders Van Geheime 
19:30 House of Zwide
20:00 Scandal!
20:30 Isitha: The Enemy
21:00 Smoke & Mirrors
21:30 Uzozisola: Regrets (rumour)

From Kartoon Channel To DocuBox: Could MultiChoice Be Eyeing These As Potential Suitors For Cartoon Network And Discovery Channel?

As some consumers have heard, MultiChoice might be removing TNT alongside Warner Bros. Discovery's other TV channels on DStv. It does appear like a probable scenario as the DStv Upsize promotion had been extended until 31 January 2026.

It's likely we'll start the new year with 16 less channels and DStv Upsize promotion is expected to serve as a distraction. But consumers on the high end packages to family won't handle the potential losses without a fight.

Warner Bros. Discovery had stated that 49% of kids viewing on DStv comes from Cartoon Network and Cartoonito. They also operate the #1 movie channel and #1 lifestyle channel making MultiChoice's situation complicated.

Now under French hands, MultiChoice had stated that they are more than willing to fill the entertainment gap. But the media is kind of skeptical about how they'd replace Cartoon Network and TLC.

As mentioned, MultiChoice is under the management of French giant Canal+. They operate their own production company StudioCanal, Dailymotion their video sharing app and have pay-tv services in Europe and Asia.

You can only assume some of these alternatives MultiChoice seemed to be hinting at must come from corporate's operations within these markets.

For Cartoon Network, only two options would come to mind the first would an anglophone version of Canal+ Kids. In most markets in which Canal+ operate in they do have a dedicated children's network and in some way this would mark M-Net's re-entry in the kids space.

Second option would be the Kartoon Channel which houses classic shows like Dennis The Menace, Inspector Gadget and Dino Squad alongside other animated shows like Superhero Kindergarten and Rainbow Rangers.

For Cartoonito, MultiChoice might as well reintroduce ZooMoo to the lineup after launching it as a pop-up channel in 2020. It was described as a wildlife channel offering a mixture of educational and entertaining programming.

Another comes from Disney and has been viewed as an afterthought to the brand following its acquisition of 20th Century Fox, Baby TV.

For TNT, there's FilmBox Africa from Netherlands's SPI International in which Canal+ had acquired. It is described as a complementary movie channel with genres ranging from adventure, action, drama and romance, it also offers international series.
 
For Discovery's cable networks, several brands do enter the equation for this one.

There's the Amsterdam based entertainment group Insight TV that specializes in real-life, story-driven content, focusing on genres such as action sports, lifestyle, adventure, and science & technology. It comprises of several linear channels like Infast, Inwonder, Inwild and Intravel.

Viasat World, a Swedish based entertainment company creating, curating, and distributing content around the world. It brings history to life and tell nature’s greatest stories with brands like Viasat History, Viasat Explore and Viasat Nature.

Expanding from SPI International, DocuBox offers an unforgettable collection of fascinating, award-winning documentary features and TV programming exploring the mysteries and beauty of the planet.

Love Nature is a Canadian specialty television channel owned by Blue Ant Media. The channel broadcasts documentaries and television series related to wildlife and nature.

Travelxp is the world's leading travel channel, OTT platform which is based in India and the leading influencer for travel enthusiasts. It offers series focused on adventure, culture, heritage, cuisine, and global destinations.

For CNN, it would be the French based news channel France 24 that MultiChoice had been distributing in some African markets. It's headquarters may be in France but it also has news coverage from Africa particularly french speaking Africa.

Catch Me A Killer, Showmax Original Series, Launches On Canal+'s Polar+ In France Starting January 5th

“Catch Me A Killer is the true story of the first serial killer profiler in South Africa,” says lead actress Charlotte Hope, who played Myranda in Game of Thrones and headlined Starz’s The Spanish Princess as Catherine of Aragon. “She is called Micki Pistorius and, frankly, she’s amazing.” 

South African Film and Television Award (SAFTA) winner Rene van Rooyen (Oscar entry Toorbos, Alles Malan, Summertide) agrees. “Living in South Africa amid a wave of violence, we have all been asking for a superhero, and here we have the true story of a superhero in the 1990s,” says Rene, who alternates directing duties with SAFTA winner Brett Michael-Innes (Fiela Se Kind) and Tracey Larcombe (Silent Witness). 

Adapted from Pistorius’ memoir of the same name, the 10-part series follows Pistorius, a newly qualified forensic psychologist, as she tracks down South Africa’s most feared killers. Each episode looks at another of her cases, from the Cleveland Killer to Stewart ‘Boetie Boer’ Wilken, taking viewers across the country. 

“Catch Me A Killer is about Micki’s experience of trying to understand the psychology of serial killers, but it’s also more than that,” says Charlotte. “On one hand it’s a true crime: every week we have a different episode, a different serial killer and a different case to solve. But it’s also a character study. This is a woman who goes through a huge emotional journey; in understanding the psychology of the killers, she's also aware of what’s happening psychologically to herself.”

As her character says in the series, “Whoever fights monsters should see that in the process he does not become a monster too.”  

A co-production between Showmax and Germany’s Night Train Media, Catch Me A Killer is also a classic underdog story: Micki is the only female profiler in a predominantly male police force, many of whom are deeply suspicious of the whole concept of psychology and think trying to understand the killers is a waste of time and resources. 

The series is also a time-capsule for 1990s South Africa: when the optimism of the country’s new democracy was undermined by a string of serial killers. 

SAFTA winner Amy Jephta (Oscar entry Barakat, Devil’s Peak, Showmax Original Skemerdans) is the lead writer, alongside the likes of Sarah Hooper (Shameless), Jessica Ruston (Harlots) and Oliver Frampton (Sister Boniface Mysteries). Among other episodes, Amy scripts the two-part pilot, which tells the story of the Station Strangler. 

“The series opens in the place that I come from, Mitchell’s Plain,” says Amy. “I was in grade 1 at the time of the Station Stranger killer and my mother was a police officer at the same station that Micki was assigned to in 1994. I was in and out of that police station. So I remember the fear in that community and what it felt like to be a kid at a time where there were these boys being abducted. So I could draw a lot on my first-hand feeling.” 

“It’s not a whodunnit; it’s a whydunnit,” adds Amy. “You’re inside the perspective of these killers and the victim’s families as much as you are inside Micki’s perspective. Can she get to the heart of understanding the mind of the killer she’s tracking? Why did these people commit these acts? It’s a fascinating cat and mouse story.”

Apart from Steven Ward (One Piece) and newcomer Donna Cormack-Thomson as series regulars, the supporting cast changes each episode. Look out for the likes of Lemogang Tsipa (Shaka iLembe), Waldemar Schultz (Die Byl), Ivan Zimmermann (Alles Malan), Frank Rautenbach (Lioness, Summertide), Silwerskerm winner Carel Nel (Gaia), and SAFTA winner Louw Venter (Swartwater), not to mention SAFTA nominees Albert Pretorius (Spinners) and Sean Cameron Michael (Fried Barry) as Stewart ‘Boetie Boer’ Wilken and FBI profiler Robert Ressler respectively.