The new channel will provide 24/7, free-to-access entertainment with a curated lineup of timeless and contemporary animated favorites from the Warner Bros. Discovery vault. The channel will debut with the legendary Tom & Jerry, Gumball, Ben 10, Teen Titans Go, Scooby Doo  and will refresh its programming lineup quarterly to ensure a constantly engaging and dynamic viewing experience.

Viewers can look forward to a rotating slate of iconic, family-friendly titles, including:

• Tom & Jerry 
• Gumball
• Ben 10
• Teen Titans Go
• Scooby-Doo

Sean Gorman, VP of pay TV networks, Kids, EMEA commented: “This launch marks a major milestone in how we connect with our youngest fans in the MENA region. We’re incredibly proud to work with Etisalat on a pioneering FAST channel that not only brings some of our most iconic characters into homes but does so in a format that suits the modern viewing habits of kids and families alike. It’s an exciting step in ensuring that our content remains accessible, engaging, and inclusive for audiences of all ages.”

The partnership between Warner Bros. Discovery and Etisalat signals a new era of regional content delivery, leveraging the reach and innovation of the StarzOn platform to bring kids’ entertainment to millions of households. This aligns with Warner Bros. Discovery’s global mission to make world-class storytelling available to wider audiences and Etisalat’s commitment to innovation in digital media and customer experience.

You’re absolutely right—there’s a clear and growing recognition across the industry that MENA audiences are distinct and incredibly dynamic. For Warner Bros. Discovery, this region is no longer viewed through a one-size-fits-all lens. The appetite here spans everything from high-end drama and comedy to documentaries and regional reality formats—and what stands out is how deeply rooted that appetite is in cultural nuance, language, and storytelling authenticity.

We’ve seen that viewers in the region respond strongly to content that reflects their lives, values, and identities, but they’re also increasingly discerning—expecting world-class production quality and storytelling that can sit comfortably alongside global titles. That’s why we’re not just looking to localize content; we’re investing in original productions that are made for the region, in the region, and by regional talent. This is a long-term commitment for us, not a trend.

The region is of course united by colloquial Arabic, even if has an uncalculated number of dialects. Is there any intention of producing Arab-language films or television?

Absolutely. As Warner Bros. Discovery, we recognize the richness and diversity of the Arabic language and its many regional dialects. We are firmly committed to producing more Arabic-language content—both films and television—that reflects this part of the world’s stories, cultures, and voices. Our recent partnerships and investments, such as Asharq Discovery and our strategic stake in OSN Streaming, are a testament to that commitment. We see tremendous potential in original Arabic-language programming and are excited to continue working with regional talent to create content that truly resonates with local audiences.

Truth be told, telling stories to the MENA region audiences all while not being from the region might be very complicated. Is there any way Warner is circumventing this?

That’s a very fair point—and one we take seriously. At Warner Bros. Discovery, we understand that authentically connecting with MENA audiences requires more than just translating content. It demands local insight, cultural nuance, and collaboration with storytellers who live and breathe the region’s realities.

That’s why our approach is rooted in partnership. We work directly with local creators, producers, and talent to ensure the stories we tell are grounded in authenticity. Whether through co-productions, talent development initiatives, or commissioning original Arabic content, our aim is not to speak to the region but with it. We see immense value in empowering local voices to shape narratives that are true to the communities they reflect.

On a more personal note, do you speak any language from the region. Is so which? If not, how do you relate to content aimed at the MENA region without speaking the language?

I don’t speak any languages from the MENA region. My remit extends across Turkey and Central Eastern Europe, so it is hard to master one single language for all the places I need to work and travel to. It makes my job harder. You miss nuance, you miss things that are obvious to people’s shared cultural and linguistic experience. It’s why I am very careful when I use English to not bring in words or phrases that people, I work with won’t understand or ‘get’, it can be alienating to do so. My trick is to surround myself with people who are from the country – it’s why I have built teams in countries in all the major places I work, be that in UAE, Turkey, Romania or Hungary for example. Secondly, it’s all about being curious and asking questions – in my experience while there are of course very specific cultural elements to every place in the world, there are also more things that unite and are familiar, especially when it comes to storytelling – the human condition is the human condition!

The companies set out to merge and become a standalone media business in May 2021, with AT&T aiming to focus more on its wireless ambitions and Discovery looking to beef up its content library. Warner Bros Discovery’s portfolio includes Discovery Channel, Warner Bros. Entertainment, CNN, HBO, Cartoon Network; streaming services Discovery+ and HBO Max; and franchises like “Batman” and “Harry Potter”.

Today, the company announces its leadership team for Europe, the Middle East, and Africa. Priya Dogra, President, and Managing Director, EMEA commented on the announcement,  “My focus has been to build a senior team that harnesses and balances the experience, perspective, and talent from across the Discovery and  WarnerMedia businesses. Each leader will be responsible for continuing the necessary transitions into new  means of distribution and new forms of growth, as well as integrating our two organizations into one team,  with one clear strategy and a common, respectful culture.”

The following executives will be responsible for Warner Bros. Discovery’s combined businesses in their respective territories working in close coordination with the company’s global functions across Streaming,  Sport, US Programming, and the Studio, and for each line of business, developing territory-specific strategies to drive growth and efficiencies. These include pay and FTA networks, leading significant efforts in marketing and monetizing US content across lines of business including theatrical, licensing, consumer products, games, and home entertainment, and shared responsibility for the streaming services.

Alessandro Araimo becomes General Manager, in Italy, Spain, and Portugal. He was previously EVP and General  Manager for Discovery in Italy.

Pierre Branco becomes General Manager, France, Benelux, and Africa. He was previously Country Manager for WarnerMedia in France, Benelux, Middle East, and Africa and Head of Affiliates and Ad Sales for EMEA.

Jamie Cooke becomes General Manager, CEE, Baltics, Middle East, Mediterranean, and Turkey. He was previously Country Manager for Discovery across CEE and Middle East & Africa.

Jamie Cooke becomes General Manager, CEE, Baltics, Middle East, Mediterranean, and Turkey.

Hannes Heyelmann becomes General Manager, in Germany, Austria, and Switzerland. He was previously EVP  Programming for WarnerMedia across EMEA.

Antonio Ruiz becomes General Manager, UK, and Ireland. He was previously General Manager for Discovery in Spain, France, and Portugal.

Christina Sulebakk becomes General Manager, Nordics. She was previously General Manager of HBO Max across Europe.

Other executives that will be part of Priya Dogra’s leadership team and supporting the General Managers across the region are:

Vanessa Brookman continues as SVP Kids and Family, EMEA, and takes on responsibility for Adult Swim across  EMEA with a dual reporting line to Michael Ouweleen, who leads Cartoon Network, Adult Swim, and  Boomerang.

Antony Root continues his responsibilities for original production for HBO Max across EMEA as well as original production for the WM general entertainment channels in Germany, France, and Spain.

Ragnhild Thorbech continues her responsibilities for programming and acquisitions for HBO Max EMEA.

Myriam Lopez-Otazu continues her responsibilities for guiding investment, planning, and prioritization for the Discovery linear channels and discovery+ working closely with the territory GMs and coordinating with the US programming team. 

Qaisar Rafique becomes lead for Commercial Strategy expanding the role he played at Discovery to the broader portfolio.

As previously announced, Leah Hooper is the regional lead for Streaming for EMEA, sitting on JB Perrette’s leadership team and being an integral part of Priya Dogra’s senior team. 

The following executives have decided to step down:

Sylvia Rothblum, Country Manager, Germany, Austria, and Switzerland for WarnerMedia. Susanne Aigner, GSVP & General Manager, Germany, Switzerland, Austria & Benelux for Discovery. Thomas Ciampa, Country Manager for Italy, Spain, and Portugal for WarnerMedia.  Lydia Fairfax, SVP Commercial Partnerships, EMEA for Discovery. 

David Fisher, VP Advance Advertising for Discovery.

Priya Dogra, President, and Managing Director, EMEA, further added, “Sylvia, Susanne, Thomas, Lydia, and  David have created enormous value for our company and each has shaped the careers of so many along the way. I am grateful for their many contributions and their assistance in ensuring a smooth transition and  I wish them the very best.”

Over the course of the COVID-19 pandemic, we’ve witnessed radical changes in consumer behavior globally – with a rippling effect in the Middle Eastern market.

Our reality became virtual; everyone gravitated towards producing and consuming content digitally. The creation of the Metaverse and its skyrocketing growth to becoming a buzzword evinces this. The region’s fast-paced and tech-savvy consumers certainly didn’t fall behind on this trend. In fact, they were ahead of the curve. A 2021 report published by PwC highlighted that more than 40% of consumers in UAE and KSA shop using their mobile devices (compared to 33% globally), and that an estimated 70 billion dollars will be invested by MENA countries to enhance mobile infrastructure between 2019 and 2025.

Two years into the pandemic, the digital citizenry seems to be growing at an accelerated pace, so what does this mean for the media and entertainment industry?

Socio-economic landscapes are evolving and, in parallel, consumers and their preferences are changing too. It’s critical – now more than ever – that broadcasters constantly have their finger on their audience’s pulse.

Understanding where your audiences are dwelling

This region’s netizens are up to speed with every digital trend and don’t miss a beat. They’re constantly on the lookout for streaming platforms with new and unique content. Demands for Video on Demand (VOD) content have spiked since 2020, and this demand for VOD persisted in streaming platforms like YouTube. Viewers are actively seeking new videos to stream as a form of escapism. In 2021, the UAE alone had seen 87.40% of its population flock to YouTube for content – this is also attributed to the country’s access to faster connectivity with 5G, which was launched as part of UAE’s Vision 2021, and sought to enhance the Emirates’ business and cultural landscape.

Podcasts, too, saw an accelerated growth during the pandemic, especially with the region’s ‘always on the go’ consumers. The audio platform’s greatest strength is that its listeners can juggle multiple tasks throughout their day while being entertained. Moreover, the story-telling nature of podcast content is also more intimate and organic, allowing consumers to truly connect with the host.

Despite the digital world offering great opportunities to brands to tap into the region’s netizens, it doesn’t come without challenges. Cutting through the noise is arduous, and jumping on a key trend at the right time can be an uphill struggle. The most effective way to navigate is by listening to your consumers directly. To help with our 2022 strategy, at Discovery, we conducted primary customer research to stay up to date on the needs of our consumers. We found a greater demand for digital content with increased accessibility and flexibility through different platforms. Considering YouTube and podcast’s regional appeal, we decided to launch two of our most popular TV channels via these platforms. We are currently working on a dedicated TLC YouTube channel this year, which will feature regional favorites including Arabic subtitled VOD content. We also partnered with one of the region’s fast-growing audio streaming platforms, Deezer, to launch the first-ever Fatafeat podcast channel.

User-generated content is king

User-generated content (UGC) is foundational to creating a loyal consumer base and retaining their interest. UGC builds brand credibility, it fosters a sense of community by offering content that target audiences can not only enjoy but also contribute towards its creation.

UGC works especially well in the Middle East market, as it caters to consumers who are keen to share and express their culture through the content exchange. TikTok, for example, is rife with talented creators from all over the region who proudly weave their culture into the content they create. I believe in the importance of empowering consumers and providing them with a platform where they can authentically engage with brands. In fact, one of the key findings from our Discovery consumer research is that our consumers are keen to consume quality content and partake in creating it, specifically for Fatafeat, the pioneering food network for the Arab region. This inspired us to work on revamping our Fatafeat website this year and give our fans a platform where they can create their own content, share them, and engage with a like-minded community.

Hunger for home-grown content

For many years, the Middle East market has been at the receiving end of international content which, over the years, has bridged cultures and enabled Arab audiences to venture into the world through their screens. However, the current entertainment consumption trends highlight the importance of resonance and connection, now more than ever. Many have underestimated the power of cultural representation of Arabs. And the disparity between the Arab population and Arabic content is a testament to this.

A recent report by Kearney shows a third of Saudi’s population prefers to consume local content, and 63% of the Saudi population is willing to pay for high-quality Arabic content. These figures are expected to grow, in alignment with the Saudi Vision 2030, which aims to make the country one of the largest content hubs, producing home-grown content. In keeping with this, we recently partnered with regional streaming giant STARZPLAY, to locally produce the first Arabian edition of our iconic Say Yes to The Dress franchise. The show was filmed in Dubai, featuring Arab talents hailing from MENA countries. Yet another step in this direction was our decision to partner with a new media representative, Rotana Media Services (RMS) for Fatafeat. Partnering with a strong-growing local brand like RMS gives us the opportunity to develop more bespoke offerings and deliver enhanced brand experiences for our audiences.

The rising appetite for localized digital content poses limitless opportunities to tap into the Arab market, and brands who overlook this will be missing out on building strong brand communities in the region. To sustain continued success, find where your consumers are and are headed towards. Conduct research and strive to understand what brews their interest as netizens, and tailor your content to reflect what inspires them. The returns will certainly surprise you in the best way possible.

What do you like the most about Snapchat?

Henry Windridge – The best part of Snapchat is the ability to experiment. As a Discover partner; the Snap team has been a great partner for Fatafeat and has really helped us hone in on what works best for our audience, with the inherent flexibility of being a social platform allowing us to experiment with content and adapt and develop a content series based on what works well. I also like the full-screen ownership of Snapchat’s 9:16 format. A person’s smartphone screen is the most valuable real estate in media and taking advantage of that is key.

Rowan Ashraf– The diversity of people that are using Snapchat, that allows us to explore different topics and in different ways.

Why did you start creating for Snapchat? 

H – Fatafeat is the biggest media brand in the world focused on Arab cuisine, and in late 2018 we took the collective decision to broaden our existing linear and online fan-base to reach audiences across more platforms. We knew that Snapchat had high penetration across our markets and that it offered dynamic options for creating content, so it felt like a natural home for our chefs and cooks to create content that our engaged MENA audience would love.

R – Snapchat is the most used platform in KSA. As UTURN, we wanted to create entertaining and fun content that reflects Saudi culture and is a point of connection between Saudi youth and the world. And Snapchat was the best tool to accommodate that.

How is the content created on Snapchat different from other platforms?

H– I’ve always said to my team that there is no point trying to make one piece of content, [and] stretch [it] across multiple platforms. No one turns on the TV hoping to see a Snapchat show, and vice versa, so it’s important for us to create bespoke content to suit each of the individual uses. For example, on TV we’re quite instructional and educational about food and cooking, whereas, on Snapchat, we like to bring more pop and color as we see Snapchat as being Fatafeat’s most playful partner platform.

R– We think in 10 seconds. The speed and the pace of the platform have affected the way we produce our content. So we try to engage our users [by] telling a story in 10sec. We catch their attention with the first three seconds, unlike the slow build-ups other platforms use, where the story can be told at its own pace.

How do users behave differently on Snapchat when it comes to interacting with your content?

H – It’s estimated that over one-third of Snapchat users aren’t active on either Facebook or Instagram- making the Discover feature an important option for reaching a certain segment of engaged social users, and presenting an amazing opportunity for visual-led brands such as Fatafeat, to give audiences the content they love.

 Discover users have made a conscious choice to invest their time in consuming entertaining brand-led content, and it’s our responsibility as a brand to ensure we’re delivering what consumers want. I consider Snapchat to be a ‘lean-in’ platform, where every element of the content is equally important – it’s not just still images that people scroll past. Given this, we adapt our filming and editing style for Fatafeat’s Discover content, to ensure content is filmed fit-for-purpose to be watched on phones, and that the backgrounds, lighting, audio and visual are captivating for our audiences.

R– Snapchat is used daily by Saudis which allows us to have access to deeper insights into their interests and behaviors, through Snapchat’s analytics tool. This makes it easier for us to curate tailored content, that we know the audience will love to share and engage with.

In the context of Ramadan, what do you notice in terms of change in user behavior? How do people interact with your content differently?

H– Fatafeat is all about food. We live and breathe food all year round, but in the weeks leading up to Ramadan and throughout the Holy Month this increases significantly, our audiences demand even more content and variety than we already provide throughout the rest of the year.

We see a significant increase in viewership, with TV-consumption habits changing to be more prominent during the day than other times throughout the year, as well as a higher tendency to binge-watch and consume multiple-hours of content at a time. Alongside this, we notice a hike in user engagement across our social platforms, with views, interactions, and shares peaking during this period.

There is also a shift in consumer demands for recipe styles and cuisines during Ramadan, with a focus on traditional Arab dishes, and tips for Iftar and Suhoor. We see people looking for advice on preparation and participation, as much as for inspiration.

R–  Keeping in mind that Ramadan is a month known for its content. Producers produce more and people watch more. Alongside with that, is the short working hours and freer audience. We notice that people are more active on the platform and are curious to absorb content. Therefore, we create content that is relevant and relatable to Ramadan and its traditions.

Because we base the content on Saudi culture and tradition, which Ramadan plays a very important role in, our audience relates more on a larger scale.

What content did you produce last year for Ramadan?

H– For our 2019 Ramadan campaign, we produced specialty series with a range of our top chefs, including Chef Manal AlAlem. Using Manal’s show as an example, we created a brand-new series – Matbakh Manal AlAlem – with content developed specifically for Ramadan and supplemented this with additional yet complementary content for Snapchat. This social content included bright, informative, engaging videos and imagery, and was done for our portfolio of specially made Ramadan shows across Fatafeat’s linear and social channels.

R– Purely Ramadan-related content which includes Ramadan habits, things that only happen during Ramadan, things to ease the fasting process, and so on.

What are your plans for Ramadan this year?

H– For Ramadan 2020, we’re working on an exclusive 30-part series for Snapchat using one of our most popular Saudi chefs, Afnan Al Jaadi. The series will be incredibly fun and colorful, taking an informative approach to preparing and hosting Iftar and Suhoor for followers. We think Snapchat users will eat this up. The best part is that users can subscribe and be instantly notified when Fatafeat’s new episodes are uploaded on Snapchat, so they’re always up to date once the show launches on the first day of Ramadan.

R– We are planning to produce Ramadan tailored shows along with keeping our topics on the publisher with Ramadan content and collaborating with brands that fit people’s interests and needs during that month.

What advice can you give to brands who want to create impactful communication during Ramadan?

H– For Fatafeat, we have found it essential to calibrate our offering during Ramadan. Food is meant to be about family, fun and shared experiences, but we also want to respect the traditions and mores of the holy month. Balance your audience across different platforms without changing your positioning – if Snapchat is the vibrant and brighter platform for your brand, continue to treat it in that way during Ramadan, but alter your tone to reflect the period.

R– Base the content on what Ramadan stands for.