On the eve of Christmas, President Donald Trump has unleashed a fresh blast of vitriol at late-night comedy talk shows, saying comedian Stephen Colbert is a “pathetic train wreck” who should be “put to sleep.”
Colbert’s “The Late Show” is scheduled to end in May 2026, a decision his fans say smacks of censorship.
In a late night Truth Social post, Trump wrote that Colbert “has actually gotten worse” since being “terminated by CBS, but left out to dry.”
“Stephen is running on hatred and fumes ~ A dead man walking! CBS should, ‘put him to sleep,’ NOW,” Trump wrote.
Colbert has hosted the “The Late Show” since 2015 and it has been the highest-rated late night talk show on U.S. television. His opening monologues often take aim at the Republican president.
There was no immediate public response from Colbert or CBS to Trump’s post.
CBS announced the sunsetting of Colbert’s show after one more season in July, the same month its parent company reached a $16 million settlement with Trump. CBS called the cancellation “a purely financial decision.”
Trump had sued Paramount, alleging that CBS News’ “60 Minutes” program deceptively edited an interview with his 2024 election rival, Kamala Harris, in her favor.
In another overnight post, Trump repeated threats to yank the broadcast licenses of networks whose content he deemed overly critical.
“If Network NEWSCASTS, and their Late Night Shows, are almost 100% Negative to President Donald J. Trump, MAGA, and the Republican Party, shouldn’t their very valuable Broadcast Licenses be terminated? I say, YES!”
On Sunday, CBS’s new editor-in-chief, Bari Weiss, pulled a “60 Minutes” segment on alleged torture at El Salvador’s CECOT prison — where Trump sent hundreds of deported Venezuelans — saying it needed more reporting.
In August, Disney-owned ABC briefly suspended its late-night star, Jimmy Kimmel, before bringing him back on a one-year contract.
Kimmel had annoyed conservatives with comments in the wake of the murder of right-wing activist Charlie Kirk.
Trump appears to be aiming to reshape the U.S. media landscape, which he says is biased against conservatives.
His appointee to head the Federal Communications Commission, Brendan Carr, turned heads when he told a Congressional hearing that “the FCC is not formally an independent agency,” implying that his actions could justifiably be aligned with the political priorities of the White House. (JapanToday)
Afrobeats superstar David Adeleke, better known as Davido, has reportedly gained profit after correctly predicting the outcome of Nigeria’s opening match at the 2025 Africa Cup of Nations.
The DMW Records boss staked a wager on the Super Eagles’ Group C encounter against Tanzania in Fes, Morocco, predicting that both teams would score in the fixture.
His forecast proved spot-on as Nigeria secured a 2-1 victory over the Taifa Stars in an entertaining contest on Tuesday.
A late strike from Ademola Lookman ensured all three points for the Super Eagles and handed Davido a hefty return on his investment.
Reports indicate that he earned a payout of $96,564 (approximately N150 million) from the successful wager.
Nigeria dominated possession for large periods of the match and sealed the win with Lookman’s decisive goal after Tanzania equalised through Mombwa seven minutes into the second half.
The win puts Nigeria in a strong position in Group C as they chase a fourth AFCON title.
Nigeria will face their next Group C opponents as they look to build on their opening day victory and advance to the knockout stages of the competition. (Punch)
The African American Film Critics Association (AAFCA) announced the recipients of their special achievement honors – “Sinners” star Delroy Lindo (Beacon Award), DeVon Franklin (Ashley Boone Award), Erick Peyton (Game Changer Award), Jason Aidoo (Vanguard Award), Lawrence Lamont (Breakthrough Director) and Sony Pictures Motion Picture Group (Impact Award).
Sony Pictures Motion Group will be awarded the Impact Award. Led by Chairman and CEO Tom Rothman, SPMPG has delivered major franchises including “Spider-Man,” “Venom” and “Jumanji” while championing diverse and culturally resonant stories that reach global audiences.
The 2026 Special Achievement Awards luncheon honorees include: Nikkole Denson-Randolph (Spotlight Award), Lorrie Bartlet (Salute to Excellence), Michelle Satter (Film Advocate Award) and Sony Pictures Classics (Stanley and Karen Kramer Award).
Satter, the founding senior director of artist programs at the Sundance Institute, will be honored with the film advocate award. Through the Sundance Directors and Screenwriters Labs, she has mentored generations of filmmakers, providing creative support that has shaped the careers of many of today’s most influential directors and writers. Her commitment to artistic freedom and creative risk-taking has left an indelible mark on global independent cinema.
Sony Pictures Classics will receive AAFCA’s Stanley & Karen Kramer Award. As one of the most influential distributors of independent and international film in the world, the company has championed bold, socially conscious storytelling and brought acclaimed films to global audiences. Its dedication to filmmaker driven narratives and cultural relevance exemplifies the spirit of the Karen and Stanley Kramer Award.
The first group will be honored at the 17th Annual AAFCA Awards on Feb. 8, 2026, at The Maybourne Beverly Hills, while additional recipients will be celebrated at AAFCA’s Annual Special Achievement Awards Luncheon on March 1, 2026, at the Los Angeles Athletic Club.
The two signature events will honor industry leaders, innovators, and institutions whose work continues to shape film, culture, and opportunity across the global entertainment landscape.
Gil Robertson, president and co-founder of AAFCA said, “Our Special Achievement honorees represent leadership, vision, and courage at every level of the industry.” He added, “From creative executives and advocates behind the scenes to institutions that have amplified bold and socially relevant storytelling, these honorees embody the values AAFCA was founded to celebrate.”
As previously announced, “Sinners” star Michael B. Jordan was named best actor. “Hedda” star Tessa Thompson was named best actress, and Ryan Coogler earned best director and best writing for “Sinners. “KPop Demon Hunters” was named AAFCA’s best animated feature.
The winners will be also be celebrated at the AAFCA Awards ceremony on Feb. 8, 2026 at The Maybourne in Beverly Hills, Calif. (Variety)
Nigerian singer Ahmed Ololade, popularly known as Asake, has expressed deep sorrow following a tragic incident at his concert in Nairobi, Kenya, where a stampede reportedly claimed the life of a fan.
The incident occurred on Friday, December 20, during Asake’s performance in the Kenyan capital.
Reports from local media and eyewitnesses indicated that overcrowding and movement around the venue led to panic, resulting in a stampede that left several people injured and at least one person dead.
In a statement shared on his Instagram story, Asake said he was devastated by the development and confirmed the identity of the deceased as Karen Lojore.
“I am devastated by the tragic incident that took place at the festival on Dec 20th in Nairobi,” the singer wrote. “My heart goes out to the family, friends, and loved ones of Karen Lojore, and I pledge to support and do my best to understand what happened. Those responsible should be held accountable.”
Asake added that music has always been his way of spreading love and joy, noting that the loss of life at a show meant to bring happiness was deeply painful to him.
“Music has always been my way of sharing love and joy, and it breaks my heart that anyone had to experience such loss,” he said. “My thoughts are with everyone grieving, and I pray that Karen rests in peace. God bless Kenya.”
The tragedy at Asake’s concert has renewed concerns about crowd control and event safety, particularly at concerts headlined by A-list performers with large followings.
Some attendees at the Nairobi show reportedly complained of congestion and difficulty accessing certain parts of the venue, while others described moments of panic as the crowd surged.
Similar crowd-control concerns have surfaced at several concerts in Nigeria this December, drawing attention to a growing pattern during the festive season, when shows attract unusually large crowds.
At Fola’s What a Feeling concert in Lagos, fans complained of overcrowding and poor organisation, with some attendees struggling to gain access to the venue.
The situation prompted the fast-rising singer to apologise publicly to fans via X (formerly twitter) acknowledging the lapses and expressing regret over their experience.
A similar situation happened at BNXN’s BNXN Live in Concert, where issues around access, crowd management, and fan dissatisfaction trended online after the event. BNXN later apologised to fans and refunded a fan ₦250,000.
These incidents have intensified calls for stricter safety measures at concerts across Nigeria and beyond.
Asake concluded his message by offering prayers for the deceased and support for those affected, as the music community reflects on the importance of safety at live events. (Guardian)
Legendary Nigerian musician and Afrobeat pioneer, Fela Anikulapo-Kuti, will be posthumously honoured with a Special Merit Lifetime Achievement Award at the 2026 Grammy Awards.
The Recording Academy recognised Fela as the “architect of Afrobeat,” highlighting his transformative influence on the genre and his enduring impact on generations of artists.
“An architect of Afrobeat, honoured for a lifetime of influence. Fela Kuti was a Nigerian musician, producer, arranger, political radical, activist, and the father of Afrobeat. In the 1960s, he created the genre by combining funk, jazz, salsa, calypso, and a blend of traditional Nigerian rhythms,” the statement said.
Fela will join an illustrious list of past recipients, including Whitney Houston, Cher, and Paul Simon.
His innovative fusion of musical styles in the 1960s laid the foundation for modern Afrobeat, and his influence reaches global stars such as Beyoncé, Paul McCartney, and Thom Yorke.
Fela’s legacy continues through his family, the Kalakuta Museum, and the New Afrika Shrine.
“His influence spans generations, shaping modern Nigerian Afrobeats and inspiring global artists such as Beyoncé, Paul McCartney, and Thom Yorke. His legacy continues to live on not only through music, but through his family and through the Kalakuta Museum and the New Afrika Shrine,” the Academy added.
The Special Merit Awards ceremony will be held on January 31, 2026, during Grammy Week, ahead of the main Grammy Awards event. (TVCNews)
South African singer Tyla has become the African artist with the highest number of monthly listeners on Spotify, overtaking Nigerian stars Burna Boy and Tems.
The achievement makes the 22-year-old singer the most-followed African artiste on the streaming platform, showing how quickly she has risen and gained international attention.
Born Tyla Laura Seethal, the Johannesburg-born singer broke into the global spotlight in 2023 with her hit single Water. The song became a viral success across social media platforms, especially TikTok, and helped introduce Tyla to a worldwide audience.
Water went on to chart in several countries and earned Tyla worldwide recognition.
The success of the track marked a turning point in her career, positioning her as one of Africa’s most visible music exports.
Since then, Tyla has released other songs such as Kick to Start, Truth or Dare, and Channel which have helped sustain her momentum and attract new listeners across different markets.
In 2024, Tyla won the Grammy Award for Best African Music Performance with Water, making her one of the youngest African artistes to receive the honour.
Beyond the Grammys, Tyla has also won several international awards. She has won the MTV Video Music Awards, the BET Awards and the MTV Europe Music Awards, recognising both her music and her impact as a rising pop figure.
Her growing list of accolades has helped position her as one of the most influential young artistes from Africa.
By surpassing Burna Boy and Tems in monthly listeners, Tyla joins a small group of African artistes whose music consistently attracts a massive global audience.
Burna Boy is known for his dominance and Grammy-winning career, while Tems has also enjoyed international success and also won several music awards, including the Grammys through collaborations and solo releases.
As Tyla’s fan base continues to grow, fans are glued to see more releases, tours and collaborations from her as we approach 2026. (Guardian)
Sony is paying more than a few peanuts to get majority ownership of Charles M. Schulz’s beloved Peanuts franchise featuring Snoopy, Charlie Brown and more.
Sony Pictures Entertainment and Sony Music Entertainment (Japan) announced that they entered into a definitive agreement with Canadian media company WildBrain to indirectly acquire all of the 41% stake held by WildBrain in Peanuts Holdings LLC.
Sony will pay CAN $630 million to WildBrain for the 41% stake, or roughly $457 million. The closing of the transaction is subject to certain closing conditions, including regulatory approvals.
As a result of the transaction, SMEJ and Sony Pictures Entertainment, together with SMEJ’s existing approximately 39% stake, will indirectly own 80% of Peanuts Holdings LLC, while the members of the family of Charles M. Schulz will continue to own the remaining 20%. The ownership of rights to “Peanuts” and the management of its business continue to be handled by Peanuts Worldwide, a wholly owned subsidiary of Peanuts Holdings LLC.
With Sony taking an 80% stake, Peanuts Holdings LLC (including Peanuts Worldwide), will become a consolidated subsidiary of the Sony Group. SMEJ will take the lead in managing Peanuts Holdings LLC in partnership with SPE.
“Since 2018, SMEJ has been proud to be part of the partnership behind ‘Peanuts,’ an iconic global entertainment brand with a 75-year legacy of delighting audiences worldwide,” Shunsuke Muramatsu, president and group CEO, Sony Music Entertainment (Japan), said in a statement. “With this additional ownership stake, we are thrilled to be able to further elevate the value of the ‘Peanuts’ brand by drawing on the Sony Group’s extensive global network and collective expertise.
He continued, “We are deeply committed to carrying forward the legacy of Charles Schulz and the Schulz family. Together with SPE, and backed by WildBrain’s continued partnership, we will continue to embrace new opportunities to ensure that ‘Peanuts’ remains a relevant and beloved presence across generations—reaching new audiences and sharing the timeless charm of the ‘Peanuts’ gang for years ahead.”
Since acquiring an interest in Peanuts Holdings in 2018, SMEJ said, it has focused on expanding the “Peanuts” IP business while maintaining and further building a positive relationship with the Schulz family. The company said it aims to continue to use its expertise in the character business — and the extensive network of the Sony Group — to “drive further growth of the Peanuts IP business and enhance the brand’s value.”
Ravi Ahuja, president and CEO of Sony Pictures Entertainment, said, “‘Peanuts’ is enduring and iconic. We value the deep collaboration we have with our SMEJ colleagues and look forward to building on their meaningful partnership with WildBrain and the Schulz family. With our combined strengths, we have the unique capability and extraordinary opportunity to protect and shape the future of these beloved characters for generations to come.”
Josh Scherba, president and CEO of WildBrain, commented, “Sony has been an excellent partner on the ‘Peanuts’ brand for many years, and we’re confident that Charlie Brown, Snoopy and the gang are in good hands with them. We’d like to thank the Peanuts Worldwide team, as well as the Schulz family, for their incredible collaboration, and we look forward to working with them and Sony going forward to continue driving global success for ‘Peanuts’”
Charlie Brown, Snoopy and the rest of the “Peanuts” crew were first introduced to the world by Charles M. Schulz on Oct. 2, 1950, when the comic strip debuted in seven newspapers. The franchise has since become a global hit. In addition to the “Peanuts” shows and specials on Apple TV, the brand encompasses thousands of consumer products, as well as amusement park attractions, cultural events, social events, social media, and comic strips in all formats.
For WildBrain, the deal will eliminate 100% of its debt “and gives us financial flexibility to accelerate the growth of our iconic franchises Strawberry Shortcake and Teletubbies, while also investing in our premium digital content network across YouTube, FAST and AVOD, and in new technologies to drive innovation,” the company said.
Under the agreement, WildBrain also remains a multiyear partner to Peanuts for key services, including acting as distributor for WildBrain-produced Peanuts content and continued management of the Snoopy YouTube channel. In addition, the company will serve as exclusive licensing agent through its agency WildBrain CPLG for consumer products in all current territories across Europe, the Middle East, China, and Asia Pacific (excluding Japan, Australia and New Zealand).
WildBrain also will operate an exclusive production studio for new Peanuts content — including the previously announced animated feature film — under a partnership with Apple TV, recently renewed through 2030. (Variety)
Music streaming service Spotify said Monday it had disabled accounts from a piracy activist hacker group that claimed to have “backed up” millions of Spotify’s music files and metadata.
The group Anna’s Archives said in a blog post it had backed up 86 million Spotify tracks and the metadata for 256 million tracks — a process known as “scraping” — in order to start an open “preservation archive” for music.
Anna’s Archives said the 86 million music files represented more than 99.6 percent of Spotify “listens”, while the metadata copies represented 99.9 percent of all tracks on Spotify.
The breach, which has no impact on Spotify users, means that in theory anyone could use the information to build their own free music archive, though in practice they would be swiftly pursued by rights holders.
“Spotify has identified and disabled the nefarious user accounts that engaged in unlawful scraping,” the company said in a statement sent to AFP.
“We’ve implemented new safeguards for these types of anti-copyright attacks and are actively monitoring for suspicious behaviour,” it said.
“Since day one, we have stood with the artist community against piracy, and we are actively working with our industry partners to protect creators and defend their rights.” (Guardian)
Warner Bros Discovery has told its shareholders to reject Paramount Skydance’s $108.4bn (£80.75bn) takeover bid.
Paramount had said its offer was”superior” to a $72bn deal that Warner Bros struck with Netflix for its film and streaming businesses.
But in a dramatic plot twist in the story of who will take control of one of Hollywood’s oldest and most famous movie studios, Warner Brother’s board “unanimously” recommended rejecting the offer and agreed the deal with Netflix was in the firm’s best interests.
The media giant put itself up for sale in October after receiving “multiple” expressions of interest from potential buyers, including approaches from Paramount Skydance.
On 5 December, Warner Bros Discovery said it had agreed to sell its film and streaming businesses to Netflix.
In a lengthy legal filing, Warner Bros Discovery’s board said the offer from Paramount poses numerous and significant risks, and strongly rejects the idea that the Ellison family – one of America’s richest – is financially supporting the bid.
Paramount is backed by the billionaire Ellison family, which has close ties to the president.
In a reflection of where power now lies in the entertainment industry, the Warner Bros board says the offer from streaming giant Netflix is well financed and offers better long term value to shareholders.
Netflix welcomed the recommendation from Warner Bros. Ted Sarandos, Netflix’s co-chief executive, called the company’s merger agreement “superior” and “in the best interest of stockholders”.
In a letter to Warner Bros shareholders, Netflix reiterated its stance that its bid for Warner Bros involves a clearer funding structure and less regulatory risk.
Paramount could still come back with another offer, meaning the take-over saga gripping Hollywood isn’t over yet.
The are considerable differences between the Netflix and Paramount offers.
Netflix wants to buy Warner Bros. movie studio and its HBO streaming service, which would also give it access to Warner Bros’ rich library of content and secure access to those movies and shows for its subscribers.
But it doesn’t want the media giant’s pay-TV channels. If Warner Bros. goes with the Netflix deal it would leave Warner Bros to sell off its television networks, such as CNN and TNT, into a separate company before the takeover is completed.
Paramount, on the other hand, wants to buy Warner Bros in its entirety, which would mean acquiring competitors to its own TV channels such as CBS, MTV and Showtime.
Regulators might raise questions about an erosion of consumer choice, as the entertainment industry continues to consolidate ownership. (BBC)
The Oscars will be shown only on YouTube from 2029, the Academy said Wednesday, in a radical gambit for a movie industry that remains wary of streaming platforms even as viewing habits shift online.
The new five-year deal means Hollywood’s most prestigious awards ceremony will be viewable exclusively online for the first time, ending a decades-long relationship with US broadcaster ABC.
The decision will allow the Academy Awards to reach “the largest worldwide audience possible — which will be beneficial for our Academy members and the film community,” said Academy of Motion Picture Arts and Sciences CEO Bill Kramer and President Lynette Howell Taylor in a statement.
The annual Oscars, which celebrate the year’s top achievements in film and draw the world’s biggest A-list stars, are regularly watched by around 20 million Americans, and millions more globally.
ABC’s latest contract to broadcast the show had been due to end in 2028, with the 100th Academy Awards. The Disney-owned channel will continue to air the Oscars up until then.
But the new deal with Google-owned YouTube represents a bold new direction for the show at a time when audiences increasingly watch all types of content online.
Streamers owned by Silicon Valley firms have lured top talent away from traditional Hollywood studios with massive contracts — despite filmmakers’ concerns that they rarely show movies on the big screen in theaters for extended runs.
Streamers have also gradually gained wider acceptance at the Academy Awards, where Apple won best picture for “CODA” in 2022.
The SAG Awards, another important Hollywood awards gala which recently rebranded as The Actors Awards, have already moved to Netflix.
YouTube accounts for the biggest share of television viewing time in the United States of any streaming platform, dwarfing even Netflix.
“This collaboration will leverage YouTube’s vast reach and infuse the Oscars and other Academy programming with innovative opportunities for engagement while honoring our legacy,” said the Academy statement.
Financial terms of the new Oscars deal were not disclosed.
Industry website Deadline said “the amount that YouTube was willing to pay didn’t make sense for Disney,” citing anonymous insiders.
An ABC Entertainment spokesperson told AFP: “ABC has been the proud home to The Oscars for more than half a century.
“We look forward to the next three telecasts, including the show’s centennial celebration in 2028, and wish the Academy of Motion Picture Arts and Sciences continued success.”
Like Hollywood more broadly, the Oscars have endured a challenging time in recent years, as younger generations’ viewing habits shift.
During the Covid-19 pandemic, Oscars ratings sank as low as 10.4 million.
The most recent Oscars were viewed by 19.69 million people — the highest in five years — as the ceremony was shown live simultaneously on Disney’s streamer Hulu along with ABC.
But the Hulu stream suffered technical glitches that left some viewers unable to see the final prizes.
The Academy Awards telecast regularly topped 40 million just over a decade ago. (Vanguard)
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