Tag: Blue Ant Media

Blue Ant Readies London Screenings Slate With First-Ever Move Into Scripted Programming

Blue Ant Rights, the distribution arm of Blue Ant Studios, on Feb. 19 unveiled an expanded slate of 40 new and returning premium titles that it will debut next week at the London TV Screenings, an annual, independent and invitation-only event for international content buyers to view new scripted, unscripted, and format content.

The line-up introduces scripted programming to Blue Ant’s regular offering of factual entertainment, true crime and documentaries.

The company’s global catalog now surpasses 9,000 hours following Blue Ant Media’s acquisition of Thunderbird Entertainment.

As part of its move into primetime scripted, Blue Ant Rights is introducing three new titles, “In the Pines,” “Elkhorn” and “Suspect.”  The distributor is working with industry veteran Leona Connell, who has joined the team as senior scripted consultant.

Inspired by real events, the six-part scripted series “In the Pines” is a character-driven crime drama set inside a dangerous criminal enterprise built on deception. Sara, a down-on-her-luck outsider, is drawn into a high-stakes world by Dan, a regular guy who’s just trying to support himself and his daughter. Their friendship feels real, and their paths intertwine more and more — until a shocking event turns the tables on everything they know about each other. What begins as a way to get by quickly becomes something much harder to escape. As their paths intertwine, and the deeper they go, every connection raises the question of who is telling the truth and who may be playing another game.

“Elkhorn” is an action-packed Western that presents the coming-of-age story of a young man, Theodore Roosevelt, who must overcome an unimaginable personal tragedy when his mother and wife die on the same day.

And “Suspect” is a factual drama series that revolves around police interrogations of prime suspects in high-profile true crime cases. The scripted format format follows the minute-by-minute story of those critical hours in the interview room. The shows intercut the realtime interrogation with flashbacks to the crime scene, and documentary-style interviews with key characters in the story.

The slate also features returning shows “The Jury: Skeleton in the Garden” (Australia), the investigative series “World’s Most Secret Places,” and a slate of true-crime titles including “Fatal First Dates” and “Murder USA,” as well as contemporary documentaries “Deepfaking Sam Altman” and “Beyond the Silk Road.”

“This year’s London Screenings slate reflects the continued evolution of our business,” said Mark Bishop, co-president of Blue Ant Studios. “We’re expanding into primetime scripted while continuing to strengthen our offering across documentary, factual entertainment and formats. With a growing catalogue and an increased ability to leverage our collective strength across our distribution, expanded studios production and channels businesses, we’re able to offer partners flexible deal structures, tailored content packages and exclusive windowing opportunities.”

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Blue Ant Media Repositions Studios Arm

Blue Ant Media has announced a strategic repositioning of Blue Ant Studios, introducing a genre-based operating model; streamlined studio branding; and a strengthened senior leadership team designed to accelerate growth across development, production and global content monetization.

The changes follow Blue Ant’s recently completed acquisition of Thunderbird Entertainment and Boat Rocker Studios, which significantly expanded the company’s size and scope, adding new capabilities, talent and IP.

Blue Ant Studios will continue to be led by co-presidents Mark Bishop and Matt Hornburg, with Hornburg overseeing content strategy, development and production, and Bishop leading content monetization, rights and commercial strategy. This structure aligns creative leadership and commercial execution more closely across the studio ecosystem, according to the company.

Under the new structure, Blue Ant Studios will be organized around genre-based centers of expertise, reflecting how content is developed, financed and produced in the global market, according to the company.

Kids, Family & YA will be led by Jennifer Twiner McCarron, president, reporting to Hornburg. McCarron’s portfolio will encompass scripted, animation, and youth-focused content. Atomic Cartoons and Jam Filled Entertainment will continue to operate under their established brands within this pillar. McCarron’s direct reports will include Joel Bradley, president of Atomic; Lori McIndoe, president of Jam Filled; Tori Coulthart, EVP of production for Jam Filled; and Lindsay MacAdam, who will continue to lead and grow the scripted business on behalf of Blue Ant.

Blue Ant Studios’ Unscripted division will combine the company’s factual and lifestyle expertise into a single, unified group, creating a larger and more formidable unscripted center of expertise, according to the company. The consolidated division is designed to provide a more streamlined approach to engaging with buyers, financing content, and supporting long-running and returning series across factual, lifestyle and documentary programming. The Unscripted team will be led by Cathie James, who has taken on an expanded role as EVP of content, alongside Lesia Capone, who is growing her remit as EVP of production. Both will report to Hornburg. As part of these changes, the Great Pacific Media brand and ProperTV brand will sunset. Additionally, Great Pacific CEO David Way will be leaving the organization to take on advisory and consulting work.

Blue Ant Studios’ third stream will be anchored by Insight Productions, with John Brunton continuing on at the helm as CEO, and reporting to Hornburg. Insight will continue to be focused on the premium entertainment work they are known for, including large scale franchises and reality competition series, according to the company.

“This new structure sets Blue Ant Studios up for the next phase of growth,” Hornburg said in a statement. “Organizing around genre-based creative leadership allows us to develop and produce more ambitious slates, move more efficiently, and better support creators and partners as we build shows and franchises designed to travel globally.”

The company also announced an expansion of Blue Ant Rights, the company’s distribution arm, adding to its capabilities in kids and family sales, licensing and consumer products across all genres. Joining the Rights team are Richard Goldsmith, EVP of kids and family sales and brands, and Vienna Downes, director of consumer products and licensing. Both will report to Bishop.

With the acquisition of Thunderbird, the company reports it has added an additional 1,100 owned hours to its catalog, bringing it to a total of more than 9,000 hours of premium content.

“As the scale and diversity of our portfolio continues to grow, so does the opportunity to expand how we monetize our IP,” Bishop said in a statement. “Expanding our rights, licensing, and consumer products capabilities allows us to capture more value from our IP and accelerate commercial growth internationally.”

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Blue Ant Media Plots Ambitious Growth Strategy After Going Public, Buying MagellanTV

Carlyn Staudt, president of global channels and streaming for Blue Ant Media, wants to capitalize on the Toronto-based media company’s momentum in the aftermath of its acquisition of unscripted streamer MagellanTV and reverse takeover of Boat Rocker Media last spring.

She’s headed to NATPE Global in Miami early next month to talk up the company’s ambitious growth strategy and maybe cut a few deals in the process.

Carlyn Staudt

“My primary agenda for NAPTE is focused on fostering our industry partnerships and supporting our global channels sales team in expanding our global footprint, in particular the global reach of MagellanTV,” Staudt said. “Additionally, our global channels team is at the conference in tandem with our production and rights teams under Blue Ant Studios.

“Together, we are in the marketplace looking for opportunities to co-invest and partner with other studios on IP. I want to leverage our combined commissioning power to find new creative financing models that allow us to greenlight and monetize high-quality content across our entire global network.”

Staudt will also be on a panel discussion Feb. 4 for a “Streaming Breakfast” with fellow executives from Roku, Tubi and BBC Studios.

Blue Ant Media is an international producer, rights business and operator of FAST and linear pay TV media brands. Through its Blue Ant Studios division, the company creates, distributes and broadcasts factual entertainment, lifestyle series, animation, documentaries and 4K natural history shows. Founded in 2011, Blue Ant Media’s diverse portfolio of global brands and IP is distributed in more than 100 countries and across 300 platforms globally, with a library consisting of more than 7,000 hours of content. Last spring, the company went public in a reverse takeover, a move Staudt says “was a major catalyst for our current ambitious growth strategy.”

MagellanTV, which Blue Ant acquired last October for $12 million, is an ad-free subscription streaming service dedicated exclusively to documentaries and factual content, with a library of more than 3,000 titles in such genres as history, science, space, nature and true crime. It offers 4K content, supports offline downloads, and is accessible on multiple devices, including smart TVs, for roughly $4.99/month on annual plans. MagellanTV was founded in 2018 by Greg Diefenbach and Thomas Lucas, who previously worked at National Geographic, PBS and Discovery.

“Our recent activity, including the MagellanTV deal, is the direct execution of the M&A priorities we established when we went public,” Staudt said. “We’re scaling our global streaming business, strengthening our studios, and expanding into media-adjacent opportunities. We are deliberately building an interconnected business that spans production, distribution, and owned media platforms to maximize the value of our IP and maintain end-to-end control over the content lifecycle.”

The coming year, Staudt said, “is about global scaling, genre expansion, and cultivating audiences. While we’ve established a strong position as a factual leader, especially following the acquisition of MagellanTV, we are now looking to expand into other categories and genres where we can super-serve passionate audiences. We are also focused on taking MagellanTV’s successful U.S.-based model and scaling it globally through our international sales and distribution teams.”

Ultimately, Staudt notes, “our goal is to evolve Blue Ant into a diversified, global media business where our studios, channels, and platforms work in real synergy. By aligning our global channels and streaming platforms with our production capabilities, we increase our commissioning power and take a more strategic, end-to-end approach to content and IP. We want to meet audiences wherever they are — across SVOD, FAST, AVOD, Pay TV and an expanding mix of digital platforms — tailoring our offerings by territory to maximize both reach and monetization.”

Streaming isn’t the only endpoint, Staudt maintains. “Increasingly, value is created through how IP travels across platforms and how audiences engage with it over time,” she said. “Ultimately, our ambition is to focus on a set of core, well-defined genres where we have real expertise and can build strong audience communities and long-term fandoms. That means thinking beyond a single platform or window, and growing brands that live across digital, podcasting, social, experiential, and other extensions — creating deeper audience relationships and more sustainable value over the long term.”

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Canada’s Blue Ant Media Ups Quarterly Revenue, Posts Loss Due to Non-Recurring Items

Blue Ant Media Corp., a Toronto-based international streamer, production studio and rights business, posted a 65% increase in revenue but a loss of $6.8 million for its first quarter of fiscal 2026, which ended Nov. 30, 2025.

The company generated revenue of $80.5 million, compared with $48.7 million in the prior-year period, when it also posted net income of $1.2 million. Blue Ant attributes the loss to non-recurring items including a planned non-cash accounting loss related to the monetization of the vendor take-back promissory note issued to the company in connection with its RTO, and transaction and restructuring costs associated with acquisition activity. Q1 2026 adjusted EBITDA was $5 million, versus $6.4 million in the prior-year period.

During the quarter, Blue Ant acquired MagellanTV LLC, a U.S.-based, global factual streaming service, for $12 million. The company says integration of Magellan, as well as newly acquired production companies Insight Productions, Jam Filled Entertainment and Proper Television, is progressing as planned.

“Our Q1 results were in line with expectations and reflected the scale we have been building through disciplined execution of our growth strategy,” said Michael MacMillan, Blue Ant Media’s CEO.

He said the revenue growth came from “strong performance in our studio business and contributions from recent acquisitions,” while adjusted EBITDA and margins in the quarter “were impacted by planned, non-operational accounting items related to the RTO, while underlying operating performance remained solid. We also generated $5.2 million in operating cash, significantly reduced corporate debt, and exited the quarter with a strong balance sheet with access to more than $100 million of current and expected capital to support continued growth.

“Looking ahead, we expect to further accelerate growth and earnings power with the planned acquisition of Thunderbird Entertainment Group, which we expect to close in the first quarter of calendar 2026. With increased scale and significant financial flexibility, we are well positioned for the future.”

Also during the company, Blue Ant Media saw continued expansion of its FAST network, with multiple channel feeds launched across several platforms globally, including Roku, Samsung, Vizio, Pluto TV, LG and FireTV. The launches include five Magellan-branded channels, further expanding the company’s global advertising distribution. Blue Ant also launched its Love Nature pay-TV channel on Telia, the largest telecommunications company in the Nordic and Baltic regions.

On the content front, “Slaycation” season two premiered on Crave Dec. 12, while “Canada’s Drag Race” season six premiered on Crave Nov. 20, with a seventh season also greenlighted on that date.

Production continued on “The Great Canadian Baking Show” season nine (CBC) and season 10 was greenlighted.

Several other titles are in production, including “Extracted” season two (Fox), “Top Chef Canada” season eight (global), “Canada Shore” (Paramount+ Canada), and “The Loud House” season nine (Nickelodeon).

Major distribution sales in the quarter include “Matthew Perry: A Hollywood Tragedy” to over 50 territories, and “Mike Holmes: Building a Legacy” seasons one and two licensed to Warner Bros. Discovery for HGTV in the United States.

On Nov. 26, 2025, the company entered into a definitive arrangement agreement under which Blue Ant will acquire all of the issued and outstanding common shares of Thunderbird Entertainment Group Inc. Thunderbird is expected to hold its shareholder vote on the transaction on Jan. 22, and a final hearing order from the Supreme Court of British Columbia has been scheduled for Jan. 26.

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Blue Ant Media Renews Partnership With Sky for Love Nature Series, Documentaries

Blue Ant Media, a global streamer, production studio and rights business, Dec. 2 announced that it has renewed its content partnership with Sky, the big European media and entertainment company, to continue supporting Sky Nature’s programming lineup with original Love Nature series and documentaries for audiences in the United Kingdom, Italy and Germany.

The continuing deal allows Sky Nature to program Love Nature’s original content across Sky U.K., Sky Italia and Sky Deutschland, with customized agreements for each region. 

“Our extended partnership with Sky is testament to the quality and universal appeal of the original wildlife and nature content we produce through our Global Channels commissioning team,” said Carlyn Staudt, president of global channels and streaming for Blue Ant Media. “We value Sky’s continued trust in helping support Sky Nature’s position as a premium natural history destination for millions of viewers in the U.K., Germany and Italy.” 

The partnership gives audiences access to a vast catalog of original series, including “Airborne” (four 60-minute episodes), which immerses audiences in the point of view of animals in flight; “Deep Dive North America” (six hour-long episodes), in which prolific presenter Lizzie Daly takes viewers on a journey across North America’s most diverse marine environments; “Pride Rules” (five hour-long episodes), which explores the daily struggles and survival tactics of a lion pride in Botswana; and “Aussie Snake Wranglers: Deadly Pursuit” (six half-hour episodes), which follows a team of elite snake handlers in Australia as they answer multiple distress calls from everyday Aussies whose homes have been invaded by snakes.

Love Nature, headquartered in Washington, D.C. with offices in Los Angeles, London and Toronto, is a global natural history brand that delivers stories about wildlife and nature on all its platforms. 

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Blue Ant Media Acquires Thunderbird Entertainment Group

Blue Ant Media Corp., an international streamer, production studio and rights business, has entered into an agreement to acquire Thunderbird Entertainment Group, a multiplatform production, distribution and rights management company.

Under the agreement, each Thunderbird shareholder will have the option to elect to receive, for each Thunderbird Share, 0.2165 Blue Ant subordinate voting shares, $1.77 in cash, or a combination thereof, subject to rounding and proration based on a maximum cash consideration of $40 million (Canadian).

The transaction follows Blue Ant’s reverse takeover of Boat Rocker Media, completed on Aug. 1, 2025, and its subsequent listing on the the Toronto Stock Exchange (TSX).

Blue Ant’s most popular shows include “Blown Away,” “Canada’s Drag Race,” “The Great Canadian Baking Show,” “Amazing Race Canada” and “Old Enough! Canada.” The company is known for its unscripted and factual programming, which includes nature, science, and history shows such as “Hope for Wildlife” and “Mysteries From Above.” 

“The acquisition of Thunderbird is anticipated to add scale and complementary capabilities that strengthen Blue Ant’s studio business and enhance our earnings and cash flow,” Michael MacMillan, Blue Ant’s CEO, said in a statement. “Thunderbird’s world-class service work and proprietary content creation strengthens Blue Ant’s studio portfolio and fortifies our ability to develop, package, and monetize content across multiple platforms, while improving operating efficiency across our combined businesses. We are thrilled to carry on the momentum we started with the RTO this summer.”

“This transaction brings Thunderbird into a larger, more diversified media group with stronger commissioning opportunities, global distribution, and greater emphasis on IP ownership and monetization. It creates a powerful platform for future growth, while also delivering compelling value for shareholders,” Jennifer Twiner McCarron, Thunderbird CEO and chair, said in a statement. “We anticipate joining Blue Ant from a position of financial strength in fiscal 2026. As of today, productions representing approximately 76% of the revenue associated with Thunderbird’s current slate are approved and underway. Based on Thunderbird management’s current visibility, we expect full-year revenue growth in the mid- to high-single-digit range year-over-year.”

Under the transaction, assuming full cash proration, consideration per Thunderbird Share represents approximately $0.80 in cash and 0.1192 of a Blue Ant SVS. The total consideration to be received by Thunderbird shareholders values Thunderbird at $1.77 per Thunderbird share based on the closing price of Blue Ant SVS on Nov. 25, 2025, representing a total equity transaction value of $89 million.

Upon completion of the transaction, assuming full cash proration, existing Blue Ant and Thunderbird Shareholders are expected to own approximately 79% and 21% of the pro forma company, respectively. If no cash elections are made, existing Blue Ant and Thunderbird shareholders would own approximately 67% and 33% of the pro forma company, respectively.

The transaction is expected to close in the first quarter of 2026, subject to the satisfaction of customary closing conditions including court approval, approval of the Competition Bureau of Canada, the Toronto Stock Exchange (“TSX”) and Thunderbird shareholder approval.

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Blue Ant Media Acquires Magellan TV for $12 Million

Toronto-based Blue Ant Media Oct. 2 announced that it has acquired Magellan TV, a digital documentary streaming company for $12 million.

The transaction expands Blue Ant Media’s global channels and streaming business, enhances monetization opportunities, and strengthens its position as a provider of premium factual content worldwide.

Founded in 2018 by Greg Diefenbach and Thomas Lucas, veterans of National Geographic, PBS and Discovery, Magellan TV operates a streaming video-on-demand (SVOD) service and a growing portfolio of advertising video-on-demand (AVOD) and free, ad-supported streaming television (FAST) channels across key genres including history, nature, science, space, and true crime.

With distribution partnerships spanning Roku, Amazon, Apple, Samsung, LG, Comcast, Vizio, Pluto TV and Google, Magellan TV reaches audiences in 13 countries across more than 20 platforms.

“This acquisition increases Blue Ant’s scale and adds audiences and distribution capabilities that are highly complementary to our business,” Michael MacMillan, CEO of Blue Ant, said in a statement. “Magellan TV’s business model is primed for optimization within our global infrastructure, and we’re thrilled to welcome the talented team to Blue Ant.”

Diefenbach will join Blue Ant as EVP of streaming, overseeing the company’s direct-to-consumer and subscription video businesses. He will report to Carlyn Staudt, president of global channels and streaming. Co-founder Lucas will remain involved for several months to support the transition and ensure continuity for partners and audiences.

“Joining Blue Ant creates new opportunities to scale MagellanTV’s platform, while contributing to Blue Ant’s expansion as a leading factual content provider,” Diefenbach and Lucas said in a statement. “We look forward to working closely with the Blue Ant team to expand our offerings, unlock synergies, and connect with audiences around the globe.”

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Blue Ant Media Appoints New Marketing/Communications, Technology Leaders

Canadian streamer Blue Ant Media Corp. Sept. 3 announced the appointments of Dervla Kelly as chief marketing and communications officer (CMCO), and Surani Adamesco as chief technology officer (CTO), following the completion of its reverse takeover transaction and listing on the Toronto Stock Exchange.

“Now as a public company, we’re embarking on an ambitious growth strategy to strengthen our position as an international streamer, production studio, and rights-management leader,” said COO Jamie Schouela. “Dervla and Surani bring exceptional expertise and strategic vision in their respective areas. Their leadership will be key as we scale operations, drive innovation, and deliver long-term value for our shareholders.”

As CMCO, Kelly will lead Blue Ant’s corporate, consumer, and trade marketing strategy. She will also oversee the company’s Communications and Creative Services teams, advancing innovation and AI-driven initiatives to enhance marketing performance and support international growth.

Kelly previously led digital at Corus Entertainment, overseeing a diverse portfolio of broadcast, streaming, distribution and digital brands, including Kin Community — a leading creator agency — and so.da, Corus’ social-first agency supporting major clients such as Amazon, RBC and Pluto TV. Her prior experience includes senior leadership roles at Canwest, Shaw Media, Husky Injection Molding Systems and Celestica.

As CTO, Adamesco will lead Blue Ant’s IT, Media Services, and Channel Playout teams, ensuring the company leverages advanced systems, automation tools, and efficient workflows.

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Adamesco has more than 25 years of experience in technology leadership and digital transformation. She previously served as SVP of information technology at SiriusXM Canada, where she led enterprise modernization initiatives, enhanced cybersecurity strategies, and implemented innovative cloud platforms. Her career also includes leadership roles at Rogers Communications and Primus.

Blue Ant is an international streamer, production studio and rights business. The company’s studio creates and distributes a premium slate of programming, in all content genres, for streaming and broadcasting platforms around the world. Blue Ant also operates free streaming and pay TV channels under several media brands internationally, including Love Nature, Cottage Life, Smithsonian Channel Canada, BBC Earth Canada, HauntTV, Homeful, Total Crime, Declassified and Love Pets. 

Blue Ant Media Launches ‘Declassified’ FAST Channel on Roku in Canada

International production studio, rights business and channel operator Blue Ant Media has launched the free ad-supported streaming TV (FAST) channel “Declassified” on The Roku Channel in Canada.

“Declassified” delves into the secrets behind the stories that have shaped the world, from conspiracies and catastrophes to engineering and ancient civilizations. The launch marks an expansion of the brand’s ongoing partnership with The Roku Channel. “Declassified” joins a lineup of Blue Ant free-streaming brands already streaming on the platform in Canada, including “Love Pets,” “Total Crime,” “Homeful” and “HauntTV.”

“Launching ‘Declassified’ on The Roku Channel in Canada extends our brand’s reach on one of Canada’s leading free streaming platforms,” Andrew Irwin, SVP of content distribution and partnerships at Blue Ant Media, said in a statement. “We’re proud to expand Blue Ant’s free streaming brand lineup on The Roku Channel and build on our successful partnership in Canada.”

Programming highlights on “Declassified” include San Andreas: A Race Against Time, a close-up look at one of the world’s most active earthquake zones and the engineering innovations designed to prevent the Big One; Who Sank the Titanic?, revealing how a chain of misjudgments, human errors and misfortunes doomed the ship; Roman Megastructures, exploring three cities that showcase the remnants of Roman ingenuity, using CGI, archive footage, aerial imagery and expert insights to reveal the secrets of their engineering marvels; Forbidden History, investigates two mysteries surrounding the ancient city of Petra in Jordan; Top Secret UFO Projects: Declassified, examining the infamous plan to investigate UFO sightings during the Cold War; and Spycraft, which takes viewers on clandestine missions to learn how spies ferret out sensitive intel about foreign countries with the help of high-tech tools.

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Canada’s Blue Ant Media to Go Public on Toronto Stock Exchange Through Reverse Takeover of Boat Rocker Media

Canadian media company Blue Ant Media Inc. is going public via a reverse takeover of Boat Rocker Media Inc.

Boat Rocker will acquire all shares of Blue Ant at C$2.25 per share, or a 125 percent premium to the March 21 closing price of Boat Rocker shares on the Toronto Stock Exchange.

Michael MacMillan

The combined company will then trade as Blue Ant Media Corp. on the TSX. Upon closing of the deal, Blue Ant shareholders will own 73.5% of the company, with Boat Rocker Media shareholders owning the remaining 26.5%.

Blue Ant’s operations span content creation and acquisition, rights management, international distribution, streaming, broadcasting, consumer shows, and connected TV ad sales. The company, founded in 2011 by Michael McMillan, specializes in unscripted shows such as “Northwoods Survival” but also produces scripted, animated and kids and family content. Blue Ant generated C$196 million in revenue in its most recent fiscal year, which ended Aug. 31, 2024 — up 16% from the prior fiscal year. The company also generated C$18 million in net income.

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The new company will own three Boat Rocker production companies — Insight Productions and Jam Filled Entertainment, which specialize in unscripted content, and animation studio Proper Television — which collectively delivered C$118 million in revenue (based on unaudited results) in calendar 2024. 

MacMillan becomes CEO of the combined company, with Brad Martin retaining his title as chair.

“This is an opportunistic moment for Blue Ant to go public, paving the way for long-term value creation,” MacMillan said a statement. “We are confident that this transaction will unlock significant value for all shareholders. Through the combination of our public listing, a strengthened balance sheet, and significant net cash post-transaction, we believe that we are strategically positioned for profitable global growth, both organically and through M&A.”

Prior to founding Blue Ant Media, MacMillan was chair and CEO of Alliance Atlantis, which he founded in 1998. 

In a separate transaction, Boat Rocker Media’s three top leaders — co-founders and co-executive chairmen Ivan Schneeberg and David Fortier, along with CEO John Young — will acquire Boat Rocker Studios in a management buyout as IDJCo, which plans to continue using the Boat Rocker name and brand.

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