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On December 5, the entertainment world was rocked when Netflix and Warner Bros. announced a massive deal that set Netflix up to purchase the legendary Hollywood studio, creating one of the largest media entities of all time. Today, Paramount Skydancewhich has been vying for Warner Bros. for monthsappears to be saying, Not so fast. Paramount Skydance, the David Ellison-led company fresh off of its own merger earlier this year, has been circling around a potential buyout of Warner Bros. Discovery (Warner Bros. parent company) since at least September. Last week, it appeared that Netflix was swooping in to snatch a large part of the deal. And now, Paramount Skydance has countered with a hostile takeover bid to secure Warner Bros. Discovery once and for all. Heres everything you need to know about the saga and whats at stake. Whats the backstory? Back in early September, initial reports emerged that Paramount Skydance was preparing a bid to buy Warner Bros. Discovery, one of its rivals. The following month, Warner Bros. Discovery confirmed that it was open to a potential sale in a press release, sharing that it had received unsolicited interest from multiple parties for the entire company. Paramount Skydance and Netflix were two of the top contenders identified for the deal. In late October, Reuters reported that Ellisons initial $60 billion approach offer was rejected by Warner Bros. Discovery, though analysts still pegged Paramount Skydance as the most likely victor in the bidding wars. Then, on December 5, Netflix and Warner Bros. came forward to announce a deal in which Netflix would purchase the legendary Hollywood studio, along with its HBO Max and HBO divisions, for a total enterprise value of approximately $82.7 billion (which Netflix says has an equity value of $72 billion). The agreement came after Warner Bros. Discovery announced this summer that it would split the current company into two, with the newly created companies owning its Streaming & Studios assets and Global Networks divisions, respectively. Through the proposed acquisition, Netflix would be buying the Streaming & Studios company that will spin off from Warner Bros. Discovery next year. Paramount Skydance, on the other hand, had expressed interest in buying all of Warner Bros. Discoverys assets. How did people react to the Netflix deal? Experts say that the colossal Netflix-Warner Bros. deal would give the worlds largest streaming service access to a giant library of valuable IP, including the Harry Potter film franchise, the DC Universe, Barbie, and more. The proposed deal sparked immediate concerns that Netflix might gain too much of a monopoly within the entertainment industry, potentially allowing the company to bump up its subscription prices. Democratic Sen. Elizabeth Warren called the deal an anti-monopoly nightmare in a statement. It would create one massive media giant with control of nearly half of the streaming marketgiving Americans fewer choices over what and how they watch, and putting American workers at risk, she wrote on X. Another notable commentator was President Trump, who said on December 7 that the deal could be a problem because of the size of the combined market share. What’s happening now? Now, it seems that the Netflix deal could be on shaky ground. On December 8, Paramount Skydance announced that it would go straight to Warner Bros. Discovery shareholders with an all-cash, $30-per-share offer that equates to an enterprise value of about $108.4 billion. Warner Bros. Discovery reportedly rejected the deal last week, but now its investors will get a chance to weigh in. This tactic is called a hostile takeover bid, and its intended to put pressure on a target company by recruiting its shareholders on the side of the deal. Were really here to finish what we started, Ellison told CNBC this morning. He added: Were sitting on Wall Street, where cash is still king. We are offering shareholders $17.6 billion more cash than the deal they currently have signed up with Netflix, and we believe when they see what it is currently in our offer, thats what theyll vote for. At this point, the deal is in limbo as shareholders react to Ellisons new offer. And, no matter which company comes out victorious, the acquisition is likely to face regulatory fights to determine whether the megamerger truly represents a media monopoly.
Category:
E-Commerce
For global companies, Africas promise has long been tempered by a persistent operational myth: that the continent is not ready for complex business. The reality is different, however. The barrier isn’t a lack of demand, but the inability of traditional global systems to handle Africas unique financial landscape. Nearly 400 million African adults remain on the fringes of the formal financial system, yet digital adoption is exploding. The conversation has decisively shifted from basic financial access to a more critical question: How can multinationals efficiently manage their core operations like paying suppliers, collecting revenue, and moving money across borders, in such a complex environment? WHY AFRICAN FINTECH IS THE SOLUTION Global payment giants are built for standardized, mature markets. African fintech companies have grown from basic payment services into essential partners. Their key strength is building the specialized digital backbone that businesses need to operate. The most important work of African fintech isn’t consumer-facing. Today, it’s happening behind the scenes, where it solves two fundamental problems at once: domestic fragmentation and global isolation. Internally, their platforms help large companies easily pay hundreds of suppliers across different African countries at once, in local currencies. Externally, they are building the rails for African businesses to trade with the world. For instance, they provide a secure infrastructure for African merchants to pay or receive payments from a partner in East Asia. This dual capability avoids the delays, high fees, and headaches of old systems, keeping supply chains running smooth. African fintech systems are crucial for global money transfer companies, allowing them to send payments directly to people anywhere, even remote areas, not just major cities. This same technology is also built into key industries like agriculture and logistics. It provides instant payments to farmers and handles complex freight payments, solving critical cash flow problems for businesses. This is not e-commerce, this is the essential financial plumbing for Africa’s real economy. The role of regulators has also evolved. Its no longer just about enabling data sharing. Progressive regulators are now collaborating with fintechs to design cross-border payment frameworks and digital identity systems that secure high-value B2B transactions. This proactive engagement is creating a more stable and predictable environment for large-scale investment. Similarly, deep integration with telcos goes beyond consumer mobile money. It’s about leveraging vast agent networks and mobile penetration to create secure, corporate-grade channels for business operations, from distributing payroll to settling invoices with small-scale retailers. The data underscores this shift. According to the GSMA’s 2025 report, Africa processed $1.1 trillion in mobile money value in 2024, accounting for 66% of the global total. Digital payments in Africa are growing rapidly, with transaction values expected to continue their strong upward trajectory. But the real story is in the nature of these transactions: Increasingly, they are sophisticated, high-value B2B flows. Multinationals must now strategically partner with African fintechs to succeed. This is crucial for their proven pan-African networks and deep understanding of local rules and markets. The future of business on the continent will be built on this connected infrastructure. By working with these fintechs, global companies aren’t just overcoming a barrier; they are plugging into Africa’s most powerful driver for growth. Olugbenga GB Agboola is founder and CEO of Flutterwave.
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E-Commerce
Miami Art Week usually exists behind invisible velvet ropes. It is a place where private dinners, celebrity walkthroughs, and invitation-only installations dominate the social landscape. But this past week, Capital One tried something unusual. It opened one of Art Weeks most insular cultural moments to people who are not part of the traditional art world by giving its cardholders access to the kind of programming that normally requires a personal invitation, using Art Week not simply as a cultural stage but as a strategic laboratory for understanding what premium consumers now expect from financial brands. The brand’s presence featured a collaboration with artist Alex Prager and global arts agency The Cultivist, centered on Mirage Factory, a cinematic installation that functioned as both an artwork and an access vehicle. The activation also included a performance by Diana Ross, a signal of the caliber of entertainment Capital One was willing to attach to its premium ecosystem. Taken together, these elements demonstrated how the brand is positioning itself inside a broader evolution of the credit card rewards market. Once defined primarily by points, cashback, and lounge access, the premium category has shifted toward cultural relevance and emotional differentiation, especially among younger affluent customers. Capital One presented the activation as an example of what premium now means in a market where loyalty is shaped not only by earn rates, but by identity, affiliation, and what a customer feels their card allows them to experience. Turning a cultural moment into a loyalty engine Prager describes Mirage Factory as an immersive reflection of Los Angeles mythology and the machinery of Hollywood dreams. “The Mirage Factory allows visitors to escape into the dreamlike world of Los Angeles, to experience a heightened, fabricated vision that celebrates the artifice of the city and the dreams that built it” Prager explains. “It evokes the spirit of Golden Age Hollywood, a cinematic fantasy of nostalgia, glamour, and illusion.” The installation was open to the public for a limited time, but the most valuable components were reserved for Capital One cardholders. Those included a multi course dinner staged inside the installation and a second evening of bespoke programming. For select attendees, the activation also included access to the Diana Ross performance, a tier of cultural exclusivity that has become increasingly common as credit card issuers compete through experiential differentiation. [Photo: Daniel Seung Lee, courtesy Capital One] From a business perspective, the shift reflects competitive dynamics that now extend far beyond traditional rewards. The premium card category has evolved into an arms race of cultural touchpoints. American Express, Chase, and Capital One are all investing in curated events, access-driven partnerships, and high-touch hospitality in an attempt to cultivate deeper emotional loyalty. In this context, a single moment like Mirage Factory becomes a test case for understanding what customers are willing to pay for and which experiences actually change brand perception. Lauren Liss, Capital One’s Senior Vice President of Premium Products and Experiences, noted that the companys premium portfolio is now its fastest growing segment, driven in part by demand for experiences that feel both elevated and low friction. She explained that Capital One evolved from a really small company that issued credit to customers overlooked by traditional banks to a firm that identified a gap in the market. There were premium credit cards that were out there, but a lot of folks were saying they weren’t for them. They wanted something that was simple, straightforward, easy to use, had the rewards, but also had things that were tailored to great experiences, she said. Both that value and the access. [Photo: Daniel Seung Lee, courtesy Capital One] The company now runs more than 300 branded experiences per year. Liss said the measure of success is straightforward. I’d say the best measurement is that our customers love it. The sellout rate is well over 90 percent, she said. Even if I’m not going now, it’s really cool that I have these types of options or offerings for the future. Why a financial brand is investing in art world authenticity For Capital One, credibility in cultural spaces depends on its partners. The Cultivist plays a central role in ensuring these activations feel artist-led rather than brand-driven. Cultivist cofounder Marlies Verhoeven Reijtenbagh said the firm began as a non-commercial art membership club and expanded into a consultancy that connects artists, institutions, and brands in ways that protect artistic integrity. We realized that a lot of brands wanted to work in the art world, and that we could help them do it in a way that felt very authentic, because we saw a lot of brand activations that maybe were a bit more pasted on, she said. Working with Capital One, she added, is structurally different from working with other financial firms because the company brings a unified internal strategy to the table. When I work with big brands, especially big corporate financials, it often feels like little fiefdoms that have their own individual goals, she said. This is very different. Authenticity is especially important because the credit card industry has entered a phase where premium customers judge brands as much by cultural fluency as financial benefits. Integrations that appear superficial can erode trust faster than a weak earn rate. But Capital Ones approach reflects an understanding that cultural participation must feel native, not opportunistic. The economics f premium dining inside a branded art experience Capital One also expanded its culinary strategy at Art Week. The exclusive dinner inside Mirage Factory was led by chef Dave Beran, whose Michelin-starred restaurants are known for narrative-driven menus. [Photo: Daniel Seung Lee, courtesy Capital One] High-touch experiences like this operate at the top of what Capital One executives describe as an access pyramid. Some events serve thousands of cardholders through presales or reserved ticket inventory. Others, like the Mirage Factory dinner, serve a few dozen. Both are strategically important, but they generate value in different ways. Monica Weaver, Head of Branded Card Partnerships and Experiences, said the system is designed to give customers multiple pathways into the cultural sphere. We think about it in this pyramid where there are certain events that are bucket list, and those are fewer. Then there are exclusive experiences, and then there is a broader tier which is reserved access to certain things, she said. Capital One has built out these layers through Capital One Entertainment, which blends proprietary events with the full Vivid Seats inventory. Customers redeem rewards for both bucket list and everyday experiences. This reflects a broader shift in rewards behavior. Points are no longer perceived as a savings mechanism. They function as a form of stored access, a currency customers convert into identity-defining moments. Expanding influence beyond the gallery walls This year, the company also extended its Art Week presence into The Shelborne By Proper, a historic Art Deco hotel that became a branded retreat for Venture X and Venture X Business cardholders. Through the Premier Collection, stays included breakfast credits, upgrades when available, and property-wide programming tied to the Mirage Factory concept. There were daily Golden Hour gatherings, wellness events, and nightly sound sessions. The programming allowed Capital One to shape not just a single event but the full customer journey across the Art Week environment. In premium banking, this kind of journey-mapping is becoming a central competitive tool. Every moment becomes a data point in understanding what customers value. Weaver framed the partnership as a broader strategic move. Our partnership with The Cultivist and debut of Alex Pragers Mirage Factory redefines what immersive premium access means at Art Week in Miami, she said. Ami Vedak, who leads Small Business Acquisitions for Business Cards and Payments, added that the events resonated strongly with small business owners, many of whom view premium card perks as tools for client entertainment and business growth. You hear about Art Week in Miami a lot. It is in the press a lot. Even me as a regular person, I did not necessarily know how to access it, she said. Small business owners are people too. They want opportunities to immerse themselves in art and culture. A financial company positioning itself as a culture brand Capital Ones activation fits a broader industry trend, in which financial institutions compete for high-value customers by offering cultural access that cannot be replicated by earn rates alone. In that landscape, a Diana Ross performance, an immersive art environment, and a curated hotel program are not aesthetic add-ons. They are strategic assets in a loyalty economy where emotional differentiation drives retention. For a brief moment, the boundaries around one of the most exclusive weeks in American culture shifted. Access depended not on a relationship with a gallery, but on whether a visitor carried a specific card. For Capital One, that shift was less about a single week, and more about building a long-term competitive strategy rooted in cultural relevance rather than commodity rewards.
Category:
E-Commerce
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