MID RANGE PLAN FISCAL YEARS 2012–2015 SEPTEMBER 8, 2011

Revenue Generated by SPT Revenue 5,230 6,129 5,744 6,605 5,640 4,678 4,982 FY12 Budget/Frcst FY13 Prior/Current FY14 Prior/Current FY15 Current 2

Revenue Generated by SPT 3.

SPT Financial Summary TV Product & Channel Revenue from all SourcesTV EBIT 3,637 4,536 4,079 4,941 4,022 3,212 3, Note: EBIT excludes 3Net EBIT of ($8MM), ($6MM), ($2MM) and $2MM in FY12-FY15, respectively. FY12 Budget/Frcst FY13 Prior/Current FY14 Prior/Current FY15 Current FY12 Budget/Frcst FY13 Prior/Current FY14 Prior/Current FY15 Current 4

SPT Financial Summary 5

1. Production 2. Distribution & Ad Sales 3. Networks 3 Areas of Discussion 6

International Production – Market Environment New Formats & Programs Key Global Competitors Market Opportunities Limited flow of new IP from top light entertainment format origination markets – UK and Netherlands –UK market continues to be fiercely competitive –Dutch market heavily dominated by Talpa (John de Mol) Latin America maintains strong scripted focus with increasing popularity of local productions Asia market opportunities limited in short term but emerging territories have high strategic value in long term (e.g., China) Endemol in a state of turmoil Fremantle continues to be a strong production network Shine and Shed Media sold to large media companies News Corp and Warner Bros Continued rapid consolidation activities by major super-indies All3media, Zodiak and Banijay, driving significant competition for acquisitions of remaining independent players Challenging economic conditions in key markets creating demand for competitors to take greater financial risks (e.g., pilot funding, series deficit funding) SPT well-positioned to grow scripted format remakes activity, but market opportunity may be limited Limited flow of new IP from key origination markets; rapid industry consolidation continues 7

International Production – Strategic Priorities Develop and produce hit format Build scale via strategic investments Launch competitive incentive program Develop new break-out hits by focusing creative, operational and financial efforts on a few high potential formats (e.g., Exit List, Angry Birds, Famous) Identify and attach new creative talent to group (in any form or shape), be competitive in remuneration, and initiate start-ups Initiate, coordinate and intensify light entertainment collaboration between US and International Production businesses to drive more synergies and production flow on both sides UK is top priority – imperative to develop significant local production presence Strengthen presence in major European markets and expand to emerging territories Drive interactive extensions and revenue opportunities and innovative multiplatform businesses Pursue strategic partnerships to expand market share in key markets (especially the U.K.) and opportunistically enter new markets in Eastern Europe and Asia Important for hit format creation, multi-territory format exploitation and talent retention SPT’s major competitors all benefit from similar programs – e.g., Banijay, Zodiak Drive development of blockbusters and continue to expand global network 8

Norway, Sweden, Portugal, India, Indonesia, Ivory Coast, Sri Lanka, Bangladesh, Uganda, Albania, Georgia, Nigeria, Honduras, Chile, Panama, Poland, Russia, Austria, Ukraine, Armenia, UK, France, Afghanistan, Angola/Kosovo, Australia, Germany, Hungary, Japan, Middle East, Ecuador, Denmark, Costa Rica, USA, Vietnam, Philippines, Ghana, Brazil, El Salvador, Turkey, Netherlands, Bulgaria, Italy, Venezuela, Romania, Switzerland, Moldova France Italy Russia China Middle East Brazil Chile Columbia UK Ireland Czech Republic Poland Romania Turkey Saudi Arabia USA Panama Argentina Bolivia Brazil Chile Columbia Costa Rica Mexico Panama Peru Uruguay Italy Lithuania Moldova Portugal Turkey Ukraine Philippines Columbia Formats That Have Been Sold In Over 5 Territories (FY10-FY11) Note: Specials are denoted in PURPLE. 9

International Production – Financial Summary Revenue Profit Contribution EBIT FY12 Budget/Frcst FY13 Prior/Current FY14 Prior/Current FY15 Current FY12 Budget/Frcst FY13 Prior/Current FY14 Prior/Current FY15 Current FY12 Budget/Frcst FY13 Prior/Current FY14 Prior/Current FY15 Current % CAGR 45% CAGR 57% CAGR Total FY12 EBITDA of $34MM growing to $90MM in FY15 Missed budget EBIT targets for FY12 mainly due to Latin America restructuring, various delays or shifts from operating companies, lack of consolidation for Teleset Better than expected performance from Russia and 2waytraffic distribution and all start-ups are projected to be profitable in FY12 MRP below previous MRP primarily due to delayed hit Strong projected autonomous growth driven by strong light entertainment creative pipeline, strong scripted remakes pipeline, and a hit assumed to get traction in FY13 Strong underlying autonomous year-on-year revenue and EBIT growth

International Production – Detailed EBIT 11

International Production – Detailed Revenue 12

Broadcast networks have reinvested in primetime dramas. ABC and NBC the most aggressive with development to redefine their brands (ordering 14 new dramas, or 58% of all new dramas). Increase in the variety of sub-genres - period (60’s), escapist, paranormal, action-adventure and musical (+8 new across these sub-genres). Crime procedurals still king (13), however traditional crime procedurals giving way to character driven procedurals (with CBS industry leader in both). Cable and SVOD networks aggressive on original series development and purchasing established franchises to gain subscribers. Netflix becoming a series buyer – House of Cards deal. Increase in volume of comedies (36 vs. 29). Multi-cams rebound (47% of all new comedies), but single-cams still majority (58% of all live action comedies). ABC building off Modern Family success with push into Weds night. NBC redefining brand around it’s Thurs night block. CBS still favors multi cam Focus on the 8PM hour (+8 new comedies). Female leads & voices (over half of new comedies). FBC has broadened to female leads the most. Talent floor competition shows continue to be huge on network, but little traction in other sub-genres. Formats still matter (X Factor, The Voice, etc). Docu-reality ultra successful on cable (Bravo, E!, A&E, History). Broadcast stations trending towards producing their own content to save costs and control ad inventory. NBC stations in New York and Los Angeles testing locally produced Daily Connection and LX TV in their daytime lineups SPT is combating this trend by partnering with local stations and station groups to help them produce programs and partner in the distribution efforts. U.S. Production – Market Environment Drama Comedy Non-Scripted Syndication 13

U.S. Production – Strategic Priorities Continue to grow our broadcast drama slate and support our current primetime dramas Charlie’s Angels, Pan Am and Unforgettable to secure syndication opportunities Nurture our broadcast comedies Community and Happy Endings to reach syndication Invest heavily in A-list writers, directors and producers for future drama/comedy/unscripted development Continue to maximize international revenues through exploring co-production opportunities and maximizing tax credits - Develop series with broad international appeal with globally marketable talent to sell in the US and abroad Continue to be on the forefront of the burgeoning subscription VOD market (Netflix, DirecTV) to sell and develop series Build on our syndication success (Dr. Oz, Nate Berkus) to expand into the daytime market with A-list talent Expand our prime time broadcast reality slate off the success of Sing Off, Shark Tank and Re-Modeled and continue to sell formats abroad Continue to maintain a balanced portfolio across the cable and broadcast business to secure SPT’s position as a prime destination for premiere talent in scripted and non-scripted programming 14

Rules sold in syndication in 97% of U.S. 7 shows on 2011 primetime fall schedule (most since 2002) SPT has broadcast programming on 6 of 7 nights of the 2011 fall schedule SPT has the best broadcast drama pilot-to-series conversion ratio of any studio (75%) Rules sold in syndication in 97% of U.S. 7 shows on 2011 primetime fall schedule (most since 2002) SPT has broadcast programming on 6 of 7 nights of the 2011 fall schedule SPT has the best broadcast drama pilot-to-series conversion ratio of any studio (75%) Charlie’s Angels Pan Am Unforgettable Necessary Roughness Re-Modeled Substitute Breaking In Franklin & Bash Happy Endings The Big C Nate Berkus Community Rules of Engagement Shark Tank The Sing-Off The Boondocks Breaking Bad Damages Drop Dead Diva Hawthorne Justified Rescue Me Dr. Oz Newlywed Game 2011– series Only studio to get a new series on each of the 5 broadcast networks Rules of Engagement becomes primetime’s #2 comedy SPT becomes the #1 producer of scripted cable series SPT achieves 29 Emmy nominations Rules of Engagement becomes primetime’s #2 comedy SPT becomes the #1 producer of scripted cable series SPT achieves 29 Emmy nominations The Shield becomes SPT’s first cable-to- cable series sale; $32M SPT secures partnership with Harpo and successfully launches Dr. Oz Rescue Me sells into U.S. syndication and has an ultimate profit of $47M Community becomes first new comedy to anchor Thursday nights since The Cosby Show SPT secures partnership with Harpo and successfully launches Dr. Oz Rescue Me sells into U.S. syndication and has an ultimate profit of $47M Community becomes first new comedy to anchor Thursday nights since The Cosby Show Highest volume year in SPT history with 13 stand-alone profitable series Three primetime broadcast reality series SPT has more new broadcast comedy series than any other studio Highest volume year in SPT history with 13 stand-alone profitable series Three primetime broadcast reality series SPT has more new broadcast comedy series than any other studio 2008– series Happy Endings Mad Love Mr. Sunshine Breaking In Plain Jane The Big C Franklin & Bash Nate Berkus Community Rules of Engagement Shark Tank The Sing-Off The Boondocks Breaking Bad Damages Drop Dead Diva Hawthorne Justified My Boys Rescue Me Newlywed Game Dr. Oz 2010– series 2005– series Book of Daniel Emily’s Reasons Love Monkey Beautiful People The Boondocks King of Queens Huff Rescue Me Strong Medicine The Shield Judge Hatchett 2006– series Big Day Heist Kidnapped Rules of Engagement Runaway Til Death 10 Items or Less My Boys Judge Maria Lopez Greg Behrendt The Boondocks Huff King of Queens Rescue Me The Shield Judge Hatchett Sit Down, Shut Up The Unusuals The Beast Newlywed Game Judge Karen Rules of Engagement Spider-Man Til Death 10 Items or Less The Boondocks Breaking Bad Damages My Boys Rescue Me The Shield Judge David Young Judge Hatchett 2009– series Brothers Community Shark Tank The Sing-Off Drop Dead Diva Hawthorne Justified Make My Day Dr. Oz Rules of Engagement Til Death The Boondocks Breaking Bad Damages My Boys Rescue Me Newlywed Game 2007– series Canterbury’s Law Cashmere Mafia Power of 10 Spider-Man Viva Laughlin Breaking Bad Damages Judge David Young Rules of Engagement Til Death 10 Items or Less The Boondocks My Boys Rescue Me The Shield Judge Hatchett Judge Maria Lopez SPT Timeline: 2005 – 2011 (excluding Wheel of Fortune, Jeopardy!, Days of Our Lives, Young & The Restless) Pilots Inv. Pool 16 $(96)MM 15 $(78)MM 8 $(63)MM 12 $(72)MM 14 $(85)MM 14 $(86)MM 16 $(81)MM 15

U.S. Production Assumptions Network: Days Of Our Lives / The Young & The Restless continue through plan Rules Of Engagement continues through 12/13 (7 Seasons). Community continues through the plan (6 seasons); Happy Endings continues through the plan (5 seasons); Breaking In continues through 11/12 (2 seasons) 10 Pilots for the 11/12 season. Thereafter 9 Scripted Pilots per year resulting in 3 new series next year 5 new series succeed and run through plan: 2 from the 11/12 season and 1 from each season thereafter Cable: Rescue Me – 6th and final season airing now Boondocks continues through 12/13 (4 seasons); Damages continues through 11/12 (5 seasons). Breaking Bad continues through 12/13 (6 seasons). Hawthorne continues through 10/11 season (3 seasons). Justified and Drop Dead Diva continue through 13/14 (5 seasons). The Big C continues through 12/13 ( 3 seasons) Franklin And Bash runs through plan (5 seasons) 4 pilots produced in FY12 and 3 pilots per year resulting in 1 series in FY13 and 2 per year in FY14 and FY15 Necessary Roughness premieres in 11/12 and continues through the plan (4 seasons). 5 new series launch during plan and 3 succeed: 1 from 12/13 season and 2 from 13/14 season First-Run Syndication: Wheel Of Fortune and Jeopardy! continue through plan Dr. Oz continues through plan (6 seasons). Nate Berkus continues through 11/12 ( 2 seasons). 2 new syndicated series launch and continue through plan: 1 in 13/14 and 1 in 14/15 Non-Scripted: Shark Tank continues through 13/14 (5 seasons); Sing Off continues through the plan (6 seasons) 3 new series per year: Re-Modeled and 2 TBD series premiere in 11/12 of which 2 continue through plan (4 seasons); 2 new cable series & 1 new broadcast network series per year thereafter. 2 series per year continue through plan MOW: 13 movies in FY12; 9 movies and 1 miniseries per year from FY13–FY15 16

U.S. Production – Consolidated Financial Summary RevenueEBIT FY12 Budget/Frcst FY13 Prior/Current FY14 Prior/Current FY15 Current FY12 Budget/Frcst FY13 Prior/Current FY14 Prior/Current FY15 Current 17

EBIT U.S. Production – Current Series & Development Revenue FY12 Budget/Frcst FY13 Prior/Current FY14 Prior/Current FY15 Current FY12 Budget/Frcst FY13 Prior/Current FY14 Prior/Current FY15 Current 18

U.S. Production – Current Series & Development 19

U.S. Production – Library and Net Overhead 20 EBIT

U.S. Production – New Series Investment & Development Budget/Prior MRP(90) Variance4 (47) (29) (46) (28) Represents ONLY development expense and deficit pilots/series and EXCLUDES profitable series (86) (74) (76) 21

Wheel of Fortune, Jeopardy!, Y&R and Days of Our Lives Syndicated Game Shows Daytime Serials FY12 Budget/Frcst FY13 Prior/Current FY14 Prior/Current FY15 Current FY12 Budget/Frcst FY13 Prior/Current FY14 Prior/Current FY15 Current

U.S. Product Library EBIT Revenue FY12 Budget/Frcst FY13 Prior/Current FY14 Prior/Current FY15 Current FY12 Budget/Frcst FY13 Prior/Current FY14 Prior/Current FY15 Current SPHE revenues drop from FY12 to FY15 due to worldwide trend toward current domestic product, and significant availability of older product in rental and subscription markets Ad Sales consists of TV series in off-net syndication which ratings decline over time Consideration from a renegotiated Starz deal has not been included in the MRP 23

1. Production 2. Distribution & Ad Sales 3. Networks 3 Areas of Discussion 24

New competition among premium subscription services (Netflix, Hulu, Amazon) is increasing demand for new/library film and television product Cable networks continue to emphasize original programming and top-level film/TV series acquisitions –Premium new release movies continue to be the gold standard and the demand for exclusive rights is growing to protect against competition –Buyers are mostly interested in series from the 1990s and forward In syndication, stations continue to pay aggressively for top-quality talk shows and comedies –In the near future, there will be opportunities to introduce new shows and for Dr. Oz ratings to grow as aging daytime hosts leave their franchises –Digital network space continues to develop and offers increased licensing opportunity (e.g. Antenna TV, Bounce, Me.TV) Retransmission agreements create a new revenue stream for broadcaster-owned stations (e.g., ABC, CBS) to receive cash payment from cable operators (e.g., Comcast, Time Warner) for the right to air the station's signals –This incremental revenue puts our network and station clients in a stronger economic position to license product U.S. Distribution – Market Environment 25

U.S. Distribution – Strategic Priorities Pay TV Subscription Cable TV Syndication Although uncertain, an opportunity may exist to modify the Starz pay TV deal –Internet caps in the existing Starz deal have created the renegotiation opportunity –Negotiating directly with Netflix on consideration –If the Starz deal is not renegotiated, an opportunity exists to make deals directly with Netflix that are not related to the content included in the Starz pay TV deal Sell library film and TV series into non-exclusive subscription deals Complete WWAG deal with Netflix Split library windows, license multiple rights, structure non-exclusive deals Aggressively sell slate carve-out windows utilizing more aggressive inventory tracking and planning Sell offnet cable series: Drop Dead Diva (linear avail FY14), Justified (avail FY14), Damages (linear avail FY15) Develop consistent flow of first-run product with top talent Sell all offnet syndication series: Rules of Engagement (avail FY13), Community (avail FY14), Happy Endings (avail FY15) Sell library film and TV series onto broadcast digital platforms Acquire 3 rd party distribution rights with minimal financial risk (e.g. Right This Minute) 26

U.S. Distribution – Financial Summary Revenue Profit Contribution EBIT FY12 Bdgt/Frcst FY13 Prior/Current FY14 Prior/Current FY15 Current FY12 Bdgt/Frcst FY13 Prior/Current FY14 Prior/Current FY15 Current FY12 Bdgt/Frcst FY13 Prior/Current FY14 Prior/Current FY15 Current Revenue and corresponding profit contribution volatility is largely driven by release timing, size of theatrical slate and timing of off-net syndication avails (e.g., Rules of Engagement (FY13), Community (FY14), Happy Endings, (FY15)) EBIT drops in FY15 due to lower contractual annual bonus from Starz Consideration from a renegotiated Starz deal has not been included in the MRP 27

U.S. Distribution – Financial Summary by Division 28

U.S. Distribution – Library Gross Revenue by Division FY12 Bdgt/Frcst FY13 Prior/Current FY14 Prior/Current FY15 Current Consideration from a renegotiated Starz deal has not been included in the MRP 29

International Distribution – Market Environment Traditional TV customers are still struggling to rebound from the global financial crisis Public broadcasters remain under severe pressure Private broadcasters’ ad revenues slow to recover Traditional business of selling movies to Free TV and Pay TV broadcasters is changing Free TV broadcasters are moving away from buying features to selective one hour drama series, and as a result, we’re having to look at other solutions in those markets o For example, we’ve sold or are contemplating sale of our Free TV window to non-traditional players in 3 of our top 7 markets (Italy – SkyItalia, UK – Netflix, Canada – Netflix) o Leveraging TV drama slate with traditional buyers (TFI-France) Arrival of new SVOD services creates competition with established Free and Pay TV players Creates opportunity to increase product value in markets where traditional media is declining such as the UK and Canada Prompts a number of issues around usage and deployment that we need to manage Multiplying our options to lessen our dependence on the traditional marketplace 30

Sustained delivery of network dramas will enable revenues for TV product to double to >$500MM by FYE15 and amplify feature film revenue –Continue to work closely with SPT U.S. Production to secure and sustain strategically important network dramas –Broaden scope of broadcaster relationships to explore English language, European content, co- production opportunities –Look for key series acquisition opportunities International Distribution – Strategic Priorities Exploit market trends and broadcaster relationships to maximize content value Leverage Slate of Network Dramas Capitalize Upon New Market Entrants Build Secure Pipeline of Future Revenue Take full advantage of opportunities with emerging SVOD players Work with a wide range of partners to develop deal structure options to help them maximize value of their offerings and compete with traditional businesses Focus on select emerging markets to expand SPT’s presence and better capitalize on opportunities (Netherlands, Scandinavia, Poland, Hungary, South Africa) Deepen relationship with clients to ensure success through partnering on launches, promotions Develop Stronger Relationships in Key Markets Close long-term deals in key markets over the plan Ensure we keep rights to key revenue-driving feature film franchises 31

International Distribution – Network Dramas New network series drove record prices for one hour broadcast dramas, achieving 20% improvement on previous highest ultimate value Charlie’s Angels $2MM per episode Pan Am $2.1MM per episode Unforgettable $2.2MM per episode Network dramas help to sustain value and drive improvements across the SPE portfolio Looking to partner with key broadcasters in major markets to ensure shows become hits in those markets Network dramas drive significant value in the international market 32

International Distribution – Building a Secure Deal Pipeline Closing key deals in top markets will help secure new revenue over the plan 33

International Distribution – Financial Summary Revenue Profit Contribution EBIT FY12 Bdgt/Frcst FY13 Prior/Current FY14 Prior/Current FY15 Current FY12 Bdgt/Frcst FY13 Prior/Current FY14 Prior/Current FY15 Current FY12 Bdgt/Frcst FY13 Prior/Current FY14 Prior/Current FY15 Current Driving strong growth over the plan – revenue hits $1.65B in FY15; Profit contribution reaches over $700MM FX Impact (1) (40) FX Adj 632 FX Adj 1,360 FX Adj (3) (2) Favorable currency movement contributes to revenue growth, with continued volatility of the Dollar and Euro providing potential for both opportunity and risk (44) FX Adj (46) FX Adj 659 FX Adj 711 FX Adj 1,438 FX Adj 1,539 FX Adj 34 1,343 1,386 1, (39) (42) (43)

International Distribution – Financial Summary by Division Revenues from U.S. TV product doubles to >$500MM over the plan 35

U.S. Ad Sales – Market Environment Strong Upfront – Strong scatter pricing and positive economic forecast leading into 2011 upfront – London Summer Olympics and US Presidential Election in 2012 helped create strong demand Broadcast Network Prime, up +8%, $9B total – FOX led market, up +10% with strong demand for A18-49 demos; American Idol and X Factor – ABC, CBS, NBC up +6-7%; CW small share of dollars but +10% increase driven by A18-34 demo Cable, overall up +12% $9B+ total – Closer parity with broadcast driven by break-out hits (Breaking Bad, Mad Men, etc.) – CPM’s continue to get closer to Network, some reports that total dollars exceeded Network Syndication, overall up +10%, $2.4B total – Oprah Winfrey’s departure from daytime helped drive double-digit gains for first-run – Off-nets achieved mid-to-high single digit increases with an emphasis on high profile shows – Dr. Oz was one of the biggest beneficiaries of Oprah’s departure with a 21% increase in the Upfront Migration of TV dollars to Digital – Crackle saw some benefit – but largely this was content-driven: matching current network content on-air and online – Exploring extended screen test with Nielsen this fall 36

U.S. Ad Sales – Strategic Priorities Continue to drive additional revenue for first run through advertiser integrations –i.e., The Dr. Oz Show: Walgreens, Subway, Weight Watchers Expand current base of advertisers for :30s and :10 to off-nets Develop emerging Cable Networks business –Amount of potential revenue growth tied to sub growth Find new 3 rd party representation opportunities Continue to support cable/network properties through Branded Entertainment Television Priorities Activate cross-platform sales of Seinfeld to grow TV and digital dollars –Working with Nielsen to create cross-platform ratings (extended screen) Drive dollars to Crackle with connected device strategy –BIVL, PSN, iPad, Android Increase PlayStation Network revenue through enhanced reporting Seek new opportunities/platforms to grow digital portfolio –i.e. Sharecare Find new 3 rd party representation opportunities Digital Priorities 37

U.S. Ad Sales – Growth Strategy Diffuse volatility in TV ad revenue market by growing a strong digital base Digital markets are continuing to emerge through an increase in digital platforms (i.e., mobile devices, game consoles, handheld tablets) Client base extends beyond traditional entertainment markets which allows for a more diverse portfolio – e.g., Sharecare Opportunity Year-over-year growth in TV ad revenue is limited by available shows Opportunities for 3 rd party ad sales representation in TV are declining Current Environment Consolidate inventory across platforms to create a digital ad network Initiate video only digital upfront market Utilize audience tracking to optimize CPMs Grow 3 rd party and digital revenue from $32MM to $106MM over the plan years resulting in profit contribution growth of almost 200% Strategy 38

U.S. Ad Sales – Financial Summary Revenue Profit Contribution EBIT FY12 Budget/Frcst FY13 Prior/Current FY14 Prior/Current FY15 Current FY12 Budget/Frcst FY13 Prior/Current FY14 Prior/Current FY15 Current FY12 Budget/Frcst FY13 Prior/Current FY14 Prior/Current FY15 Current 39

U.S. Ad Sales – Financial Summary 40

1. Production 2. Distribution & Ad Sales 3. Networks 3 Areas of Discussion 41

Networks – Market Environment Macro economy is still recovering but not as fast or steady as originally anticipated – Subscriber revenue continues to be strong but ad revenues are softer than anticipated – India continues to prosper and Latam is strong but Europe is recovering much slower – Asia/Japan - Asia cable/satellite market continues to show growth; Japan growth slowing – US - carriage continues to be challenging but cross-divisional leverage creates opportunity Competition increasing as players roll out channels worldwide (e.g., Fox, NBCU, Turner, Discovery) Securing programming continues to be a challenge due to rising cost considerations and supplier constraints Numerous opportunities remain to acquire or launch new networks with significant returns FX movements now have an increasingly material impact on Networks projections – Annual EBIT variability of $40MM - $55MM across the plan if the dollar FX rate moves up (unfavorable) or down (favorable) by 10% 42

Networks – Strategic Priorities Buy out Indian partners and realize an Indian regional opportunity Explore ways to leverage studio relationship with GSN Carry on launching channels in new and existing territories to increase scale and increase sales leverage and program buying power Continue to invest in ad and affiliate sales infrastructure (Dolphin, AXN Central Europe, Russia Channels, Crackle Latam) Continue to secure programming supply through studio output deals and investment in original programming (The Firm). Increase 3 rd party acquisitions for US businesses Carry on expanding U.S. channels (CineSony, FEARnet buy up) and increase U.S. channels’ contribution to portfolio throughout the MRP period Maximize value in Crackle US and expand internationally (Latam, Brazil, Canada) Expand SPTL Asia facility to service EMEA channels 43

Networks – A Continuation of Strong Sustainable Growth Networks strong year-on-year earnings and revenue growth is forecast to continue Breaking through the $200MM milestone in FY12 (1 year ahead of plan) and the $300MM and $400MM milestones will also be achieved within the MRP period EBIT CAGR of 28% across the plan Revenue CAGR growth of over 14%, breaking both the $1.5B and $2B barriers within the plan Margin* pressure continues but expected to rise from 18% to 22% across the plan MSM India is forecast to have double digit margins (18%) Rising content costs, increased broadcasting costs from HD roll outs and the investment in ad sales and affiliate infrastructure keeps margins in check Continued annual investment in new operations will underpin future earnings growth Thirteen investments from prior years are expected to become profitable in the next 3 years Separately, the six planned launches/acquisitions in FY12 are expected to collectively generate $13MM of positive earnings in FY15 * Margin excludes GSN PPA to normalize year-on-year progression 44

Networks – Growth Opportunities Europe Dolphin Adsales and Channels in the UK Enter Turkey/Greece market AXN SPIN Central Europe 3Net Portugal Asia/Australia India Regional channels acquisitions/launches MSM buy-up Expansion of SET One Launch of Animax Japan on BS and AXN Mystery on CS110 China Latin America Crackle Latin America U.S. CineSony - U.S. Spanish-language Channel 45

Networks – Financial Summary RevenueEBIT 1,287 2,007 1,432 2,244 1,762 1,318 1, % CAGR 28% CAGR FY12 Budget/Frcst FY13 Prior/Current FY14 Prior/Current FY15 Current FY12 Budget/Frcst FY13 Prior/Current FY14 Prior/Current FY15 Current 1,367 FX Adj Note: EBIT excludes 3Net EBIT of ($8MM), ($6MM), ($2MM) and $2MM in FY12-FY15, respectively. 1,363 FX Adj 1,516 FX Adj 46

Networks – Financial Summary 47

EBIT Year vs. Year 48

Variance to Budget / Prior MRP EBIT 49

FY12 Risks & Opportunities 50 M&A Items Not Included in FY13: Shine Escrow of approximately $11mm MSM nor ETV transactions GSN Put