Pakistan urges Afghan Taliban to act on militant threats as regional security fears grow
Pakistan has called on Afghanistan’s Taliban authorities to crack down on militants operating from Afghan territory, warning that cross-borde...
Netflix’s plan to buy Warner Bros marks a rare moment in Hollywood where scale, risk and ambition collide. The agreement, announced on 5 December, puts a price of roughly 82.7 billion dollars on one of the film industry's most influential studios.
It is a mix of cash and Netflix stock, with Warner Bros Discovery shareholders set to receive 23.25 dollars in cash and 4.50 dollars in shares for each of their holdings, landing at 27.75 dollars a share.
It is a large number on paper, but the motivation behind it is simple: Netflix wants control of the stories that have shaped generations.
What Netflix is buying goes far beyond a single studio. It includes HBO and HBO Max, a catalogue that stretches from DC superheroes and Game of Thrones to Harry Potter and long running animation such as Looney Tunes.
These properties have defined audience expectations for decades and still command global pull. Netflix is also taking over Warner’s physical production infrastructure, licensing networks and consumer products division, threading almost every part of the studio’s ecosystem into its own.
Not every piece is changing hands. The traditional cable networks, including CNN, TNT and TBS, will be separated into a standalone company called Discovery Global. Warner Bros Discovery plans to spin off that unit and list it publicly by mid 2026.
Only once that break up is complete can the Netflix transaction formally close. Both sides expect the process to take between a year and a year and a half, depending on regulatory decisions.
For Netflix, absorbing Warner Bros signals a shift from simply commissioning content to owning the foundations of Hollywood’s most recognisable IP.
Co-chief executive Greg Peters described the move as a long term investment that will reinforce the company’s global offer.
His counterpart on the other side of the table, Warner Bros Discovery chief David Zaslav, framed it as a moment where two major storytelling cultures will be brought together under one roof. The sentiment reflects the industry’s mood: cautious about the pace of consolidation, yet aware that streaming continues to reward scale.
There is also a defensive logic beneath the optimism. Warner Bros Discovery has faced financial pressures since its earlier mergers, weighed down by significant debt and volatile advertising markets.
Several potential buyers circled the company in recent months, but Netflix had the strongest strategic rationale. The purchase gives it a major theatrical studio, hundreds of established franchises and a promised pathway to reshape how new films reach audiences.
Regulators are preparing for a close look. Concerns have already emerged from cinema operators and independent producers who fear that packing so much content power into a single platform could influence what gets made and how it is released.
Questions around theatrical windows, licensing access and long term market dominance are likely to sit at the centre of any review.
For viewers, the immediate experience will change slowly. Contractual obligations mean Warner titles will not vanish overnight from other services.
Cinema releases are expected to continue as planned. Over time, though, the balance will shift as rights expire and distribution strategies align more closely with Netflix’s priorities.
What emerges could be a streaming platform with a gravity it has never possessed before, built not only on its own originals but on the weight of a century of Warner Bros filmmaking.
One person was killed and nearly a dozen hurt in a fresh attack on Riyadh's international airport on Sunday, Saudi authorities reported, a day after a strike claimed by Yemen's Houthis killed 13 people and wounded more than 300.
The Saudi-led coalition in Yemen said late Monday that it intercepted and destroyed two ballistic missiles launched by the Houthi group toward Khamis Mushait in southwestern Saudi Arabia.
The Houthi movement has escalated their attacks on Saudi Arabia, targeting the airport in Riyadh and other cities, killing more than a dozen people.
The Kremlin on Monday rejected a 60-day ceasefire idea proposed by Ukrainian President Volodymyr Zelenskyy to allow his country to hold presidential elections, saying it wanted an overall peace deal instead.
Ukrainian President Volodymyr Zelenskyy says Russia hit at least six energy targets in deadly strikes across Ukraine, showing Moscow is unwilling to accept the energy ceasefire announced by U.S. President Donald Trump.
Two paintings by French Impressionist Pierre-Auguste Renoir worth millions of dollars have been recovered a month after they were stolen from a French Riviera museum. Four men have been charged in connection with the theft, while two other suspects have been released without charge.
Iran has unveiled the restored mausoleum of 13th-century mystic Shams Tabrizi in the northwestern city of Khoy, with plans for a cultural tourism route linking the site to the shrine of renowned Persian poet Rumi in Konya, Türkiye.
AnewZ has premiered its new documentary film Kontrapunkt in Berlin, exploring more than two centuries of shared German-Azerbaijani history and the legacy of German communities in Azerbaijan.
Kazakhstan has hosted its first Astana AI Film Festival on attracting more than 8,000 entries from 125 countries and emerging as the world’s largest international competition dedicated to AI-generated films.
Exiled Russian filmmaker Andrey Zvyagintsev confronts conscription and moral compromise in wartime Russia in Minotaur, a drama released nearly five years after Moscow launched its full-scale invasion of Ukraine.
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