1. MID RANGE PLAN FISCAL YEARS 2013–2016 SEPTEMBER [7], 2012 DRAFT As of 8.8.12

2. Gross Revenue Generated by SPT For All Product Revenue xxxx FY13 Budget/Frcst FY14 Prior/Current FY15 Prior/Current FY16 Current 2 MATT to update

3. Revenue Generated by SPT 3. MATT to update

4. SPT Financial Summary xxxx xxx Note: EBIT excludes 3Net EBIT of ($XXMM), ($XXMM), ($XXMM) and $XXMM in FY13-FY16, respectively. FY13 Budget/Frcst FY14 Prior/Current FY15 Prior/Current FY16 Current FY13 Budget/Frcst FY14 Prior/Current FY15 Prior/Current FY16 Current 4 MATT to update TV EBIT TV PRODUCT & CHANNEL REVENUE FROM ALL SOURCES

5. SPT Financial Summary 5 MATT to update

6. Net Overhead 6 FY14 Prior/MRP FY15 Prior/MRP FY16 MRP FY13 Budget/Q2 Net Overhead MATT to update

7. Net Overhead Summary 7. MATT to update

8. 1. Production 2. Distribution & Ad Sales 3. Networks 3 Areas of Discussion 8

9. International Production – Market Environment Europe Emerging Markets Key Global Competitors UK and The Netherlands remain key territories for global IP creation –UK is most important market for IP creation. SPT has increased UK production holdings with investments in Left Bank and Silver River over last 12 months –Despite Talpa’s continued dominance of the Dutch market, Tuvalu continues to sell original IP to local broadcasters Challenging economic climate in some key markets putting downward pressure on ad dollars resulting in (a) reduced opportunities for original programming commissions, and (b) increased demand for producers to take greater financial risks (e.g., pilot funding, series deficit funding) Russia’s demand for original productions rebuilding from low point 2 years ago; SPT seeking to add more sitcom formats to its library to feed local demand for sitcom remakes Middle East - may provide greatest opportunity for growth though the region remains volatile due to political instability; scarcity of experienced TV production personnel on the ground also presents challenge Brazil – new cable quota laws favor Brazilian production companies; SPT must create structure to capitalize on this demand Asia – market opportunities are limited in short term but emerging Asian markets potentially have high strategic value in long term As emerging markets attract more ad dollars, we expect to see new opportunities for local production Significant competition from ITV Studios, WB, NBCU, All3Media, Discovery & Shine to acquire new IP and content creators in key markets Endemol remains in a state of turmoil Fremantle continues to be a strong competitor Shine remains key competitor in territories where SPT has production presence (e.g., France) Shine and All3media experiencing talent retention challenges. 9 UPDATED AS OF 8.1.12

10. International Production – Strategic Priorities Create and Launch IP Build and strengthen global production network Continue investment into companies which create global IP with focus on UK; review opportunities in Scandinavia, Israel, Australia and other content rich countries Strategically deploy central development fund Launch competitive incentive plan to foster creation of global IP and multi-territory format exploitation and attract/retain talent Streamline day to day administrative and operational processes allowing managing directors to focus more on content creation Increase collaboration between operating companies Establish culture that fosters creativity centrally and across operating companies Strengthen and grow production presence in the UK and other key content creation territories Identify and invest in production companies in high growth markets to fortify global footprint (e.g., Asia, Arabia and Australia) Fortify existing production network Included $50M annual investment fund for FY14 - FY16 10 UPDATED AS OF 8.1.12

11. International Production – Growth Opportunities United Kingdom (include brief narrative for each territory) Scandinavia Israel / Middle East Russia Latin America India 11 RICK to update

12. International Production – Financial Summary Revenue EBIT 17 13 25 27 433 658 543 587 519 23% CAGR 65% CAGR 9 12 6 FY13 Budget/Frcst FY14 Prior/Current FY15 Prior/Current FY16 Current FY13 Budget/Frcst FY14 Prior/Current FY15 Prior/Current FY16 Current UPDATED AS OF 8.2.12

13. International Production – Detailed EBIT 13 UPDATED AS OF 8.2.12

14. International Production – Detailed Revenue 14 UPDATED AS OF 8.2.12

15. 3 fewer new dramas than last season (23 vs. 26), continuing on downward trend. More networks putting dramas in at 9:00 and 10:00 pm in “protected” slots with established lead-ins, however, 10:00 pm continues to erode as DVR playback grows. Majority of orders from “repeat” players- showrunners who have had a track record of previous series ordered. Largest output since 2003. 41 comedies for next season (vs. last year’s 38) as networks expand comedy real estate on their schedules. Single-cams continue to dominate output, especially among the freshman class. Overall, 24 of 41 (59%) comedies are single-cam, while 75% of new comedies are single-cam (12 of 16). Multi-cam still dominant on CBS. Networks looking for new comedy opportunities through aggressive expansion and are now programming comedy blocks on multiple nights, including Friday for NBC and ABC. Decline in total output with 26 this season vs. 30 last year, as well as new series pick-ups (-3). Key talent floor competition shows remain some of the highest-rated network series and key elements in networks’ overall schedule success. Foreign formats dominate this field. Cable expansion continues with USA adding unscripted programming. Docu-reality series, talent-based, and real-life competitions are the most successful on cable. The most crowded talk landscape in over a decade with programmers positioning in the post-Oprah era this fall and next. Familiar faces are coming to the talk landscape this year and next: Katie Couric, Ricki Lake, Steve Harvey, and Jeff Probst. Broadcast stations continue to experiment with in-house production to save costs and control ad inventory. U.S. Production – Market Environment Drama Comedy Non-Scripted Syndication 15 UPDATED AS OF 8.7.12

16. U.S. Production – Strategic Priorities 16 Continue to invest in broadcast drama and support our current prime time dramas Last Resort, The Mob Doctor, Made in Jersey, and Unforgettable. Prepare our broadcast comedies Community and Happy Endings for the syndication/SVOD Marketplace. Invest in A-list writers, directors and producers for future drama/comedy/unscripted development. Continue to grow 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. Build on our syndication success to expand into the daytime market with Queen Latifah in 2013. Expand our prime time broadcast and cable reality slate. 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. UPDATED AS OF 8.7.12

17. 17 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 2011–2012 24 series 14 $(86)MM 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%) 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 11 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 16 series SPT Timeline: 2005 – 2012 (excluding Wheel of Fortune, Jeopardy!, Days of Our Lives, Young & The Restless) Pilots Inv. Pool 16 $(96)MM 2007–2008 17 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 15 $(78)MM 2008–2009 17 series 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 8 $(63)MM 2009–2010 17 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 12 $(72)MM 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 2010–2011 22 series 14 $(85)MM 16 $(81)MM 25 series 9 $(86)MM Community sold to SVOD and Cable SPT achieves 39 Emmy nominations 4 new series premiering on all 4 major broadcast networks SPT converts 50% of broadcast pilots to series Community sold to SVOD and Cable SPT achieves 39 Emmy nominations 4 new series premiering on all 4 major broadcast networks SPT converts 50% of broadcast pilots to 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 Mob Doctor Last Resort Made In Jersey Save Me The Job Men At Work Masters of Sex Client List Pyramid Franklin & Bash Happy Endings The Big C Necessary Roughness Community Rules of Engagement Unforgettable Shark Tank The Boondocks Breaking Bad Damages Drop Dead Diva Justified Substitute Dr. Oz Newlywed Game 2012–2013 2005–2006 2006–2007 UPDATED 8.7.12

18. U.S. Production Assumptions 18 UPDATED AS OF 8.7.12

19. Projected Value of Shows in Syndication 19 Current Examples Projected Examples Rules of Engagement$37MM Community Last Resort 2 $29MM $113MM Happy Endings$40MM Attractive returns with upside potential for shows that prove to be a ‘hit’ Note: 1. Value on an ultimate basis after allocated overhead; as of FY13 Q2 Forecast August 2012, except as noted below in Note 2 Note: 2. Value on an ultimate basis after allocated overhead; based on updated Greenlight financial model Rescue Me$55MM Breaking Bad$65MM SHOWS IN SYNDICATION / EXPECTED TO SYNDICATE ANTICIPATED VALUE TO SPE (1) UPDATED AS OF 8.7.12

20. U.S. Production – Current Series & Development Cost FY14 Prior/MRP FY15 Prior/MRP FY16 MRP 20 FY13 Budget/Q2 FY14 Prior/MRP FY15 Prior/MRP FY16 MRP FY13 Budget/Q2 Revenue EBIT UPDATED AS OF 8.7.12

21. U.S. Production – Current Series & Development Cost 21 EBIT UPDATED AS OF 8.7.12

22. U.S. Production – Library and Net Overhead EBIT 22 FY14 Prior/MRP FY15 Prior/MRP FY16 MRP FY13 Budget/Q2 UPDATED AS OF 8.7.12

23. U.S. Production – Library and Net Overhead 23 EBIT UPDATED AS OF 8.7.12

24. U.S. Production – New Series Investment & Development Budget/Prior MRP(86) Variance3 (74) (4) (74) (6) Represents ONLY development expense and deficit pilots/series and EXCLUDES profitable series 24 $MM (83) (78) (80) UPDATED AS OF 8.7.12

25. 25 FY14 Prior/MRP FY15 Prior/MRP FY16 MRP FY13 Budget/Q2 FY14 Prior/MRP FY15 Prior/MRP FY16 MRP FY13 Budget/Q2 U.S. Product Library 182 173 150 163 145 160 162 Revenue EBIT UPDATED AS OF 8.7.12

26. 1. Production 2. Distribution & Ad Sales 3. Networks 3 Areas of Discussion 26

27. 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 27 TEXT NOT UPDATED JOY TO UPDATE

28. U.S. Distribution – Strategic Priorities Pay TV Subscription Cable TV Syndication Pursue a pay output extension (2017-19), considering a split slate if this optimizes pricing ­Maximize fees for feature product in first pay window ­Preserve premium quality of pay offering, which preserves the value of features downstream  Retain control in emerging Internet exploitation or secure enough compensation that SPE can be indifferent to wider exploitation ­Retain flexibility for SPE to pursue key corporate initiatives: UltraViolet, SEN and Crackle Leverage SVOD Licensing and Strategic Product Planning for US Channel Carriage ­Deploy leverage of direct-to-MSO SVOD licensing towards carriage of SPT Channels, both in deal timing and in avoiding a duplicative product mix ­Make available unsold product and drive network window titles ­Consider rights carve-outs in pay negotiations Leverage SPT Distribution relationships to find new homes for broken SPT series (attempted for Pam Am with Amazon) Develop emerging cable channels (e.g., G4, Reelz, NuvoTV) as buyers ­Aggressively pursue small cable buyers as targets for SPE product as larger players move increasingly towards an ‘originals’ strategy and away from off-net/library buys ­Use demographic/niche-targeted sales pitch and creative deal structures (including time-buys, to expand the footprint of cumulative inventory sold by SPTAS) Push cable networks in the direction of TV Everywhere, which supports the lucrative pay cable model, and away from open Internet dot-coms ­Limit parameters for ancillary on-demand exploitation to maintain the proven, primary value of linear television Develop consistent flow of first-run product with top talent: Queen Latifah (avail FY14) Sell all off-net syndication series: Rules of Engagement (avail FY13), Community (avail FY14), Happy Endings (avail FY16) 28 One Sony Pursue new broadcast spectrum opportunity with Sony Electronics ­Exploit Sony technology to empower stations to reach mobile Sony devices with Sony proprietary technology, and potentially retain spectrum for SPT Library Increase feature library sales despite the ‘flat’ market ­Strategic use of driver inventory to leverage broad package sales ­Bulk buys to drive low rated product ­Hyper-targeted offerings with premium pricing to take advantage of fragmented market and multiple buyers ­Aggressive stacking of nonexclusive buyers in the SVOD, syndication/Dot.2 and emerging cable channel spaces UPDATED AS OF 7.30.12

29. U.S. Distribution – Financial Summary Revenue Profit Contribution EBIT FY13 Bdgt/Frcst FY14 Prior/Current FY15 Prior/Current FY16 Current FY13 Bdgt/Frcst FY14 Prior/Current FY15 Prior/Current FY16 Current FY13 Bdgt/Frcst FY14 Prior/Current FY15 Prior/Current FY16 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, (FY16)) 29 Pay DBO $1.20B/$1.24B UPDATED AS OF 8.3.12 $1.32B/$0.93B$1.89B/$1.78B$2.08B

30. U.S. Distribution – Financial Summary by Division 30 UPDATED AS OF 8.3.12

31. U.S. Distribution – Library Gross Revenue by Division 103 105 111 FY13 Bdgt/Frcst FY14 Prior/Current FY15 Prior/Current FY16 Current UPDATED AS OF 7.31.12 31 REVENUE

32. International Distribution – Market Environment Traditional TV business is still struggling to emerge from the global financial crisis. However, continued demand for strong network TV product creates opportunities –Allows us to sell the individual product for more (e.g., Last Resort expected to generate $2.2M per episode in Season 1) –Enables us to make better deals in big markets (e.g., Germany/RTL, France/TF1, Canada/Shaw) across our television and feature portfolio New SVOD services create opportunities and competitive advantage –Creates opportunity to drive incremental product value across key markets (e.g., Netflix, Amazon/Lovefilm, NowTV, HBO GO) –SVOD is creating a stronger global platform for serialized cable dramas (e.g., Breaking Bad and Damages on Netflix) Local productions are poised for growth –A fully integrated format sales business enables us to better capture opportunities across local and U.S. production Multiplying our options to lessen our dependence on the traditional marketplace 32 UPDATED AS OF 8.3.12

33. Sustained delivery of network dramas will enable revenues for TV product to grow to $541MM 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 (e.g. House of Cards) 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 markets to expand SPT’s presence and better capitalize on opportunities (Scandinavia, South Africa) Deepen relationship with clients to ensure success through partnering on launches, promotions Leverage strength of having multiple programming genres in our portfolio (e.g. hit movies, hit TV, formats) 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 33 UPDATED AS OF 7.30.12

34. International Distribution – Building a Secure Deal Pipeline Closing key deals in top markets will help secure new revenue over the plan 34 UPDATED AS OF 7.31.12

35. International Distribution – Financial Summary Revenue Profit Contribution EBIT Driving strong growth over the plan – revenue hits $1.84B in FY16; Profit contribution exceeds $780MM 35 FY13 Bdgt/Frcst FY14 Prior/Current FY15 Prior/Current FY16 Current FY13 Bdgt/Frcst FY14 Prior/Current FY15 Prior/Current FY16 Current FY13 Bdgt/Frcst FY14 Prior/Current FY15 Prior/Current FY16 Current UPDATED AS OF 8.3.12 FX Impact Unfavorable currency movement impacts revenue growth, with continued volatility posing additional risk (esp. Euro) 1,600 1,644 1,696 700 713 727 (50) (52)

36. International Distribution – Financial Summary by Division Revenues from TV product to exceed $600MM over the plan 36 UPDATED AS OF 8.3.12

37. International Distribution – Library Gross Revenue 37 250 FY13 Bdgt/Frcst FY14 Prior/Current FY15 Prior/Current FY16 Current 255 265 255 270 280 UPDATED AS OF 7.31.12 REVENUE

38. U.S. Ad Sales – Market Environment 38 TV Spending remains consistent with last year’s strong upfront Broadcast Prime up +1.6% to $9.2B; Cable up +4.3% to $9.7B (stronger than broadcast for 2 nd year in a row); Syndication flat at $2.5B Pricing in upfront still on the rise (all in the 6-9% range for broadcast nets, CBS recorded top pricing gains) Sell-out levels were higher in upfront this year (~80% vs. mid-70s last year) which could lead to strong scatter market, but uncertain economy could have negative effect. Outlook still unclear Auto / Telecom / QSR / Insurance strong upfront spenders; studio spending down Syndication market un-even - strong performers had strong demand, but excess inventory in off nets has this, deflated some pricing New talk shows sold well, with Katie commanding CPMs in line with other high-rated daytime programs (good sign for Queen Latifah) Digital Video streams and dollars spent continue to grow year over year Projected spending for online video advertising $3B, a +55% increase over last year As digital and traditional media converge, TV buyers play an increased role in placement and buying of digital video - internet companies not taking huge chunk of TV money, but will take some Market still dominated by portals, YouTube, Hulu, Yahoo…. –But video streams far exceed ad impressions-deflating pricing: YouTube 44% of video streams, 13% of ad inventory Strong growth in mobile/OTT inventory – agencies starting to shy away from ad networks, doing more publisher-direct deals Men watching 2.5x more online video than women Cross platform measurement is creating new revenue opportunities but favors big broadcaster Heightened demand for demographic measurement & targeting to help advertisers make sense of the digital market UPDATED AS OF 8.7.12

39. TV Priorities Continue to drive additional revenue for first run through pricing increases and advertiser integrations –Renew incumbent integration clients such as Walgreens, Pedigree, Weight Watchers and P&G for Dr. Oz Show –Aggressively pursue limited amount of integration partners including Cover Girl, Target, Frito-Lay and possibly an automotive for Queen Latifah Show in launch season Go for share in TV market upfront –Expand current list advertisers for 30s/10s –Sell Queen Latifah Show as the next first-run must have show in television –Establish sell out levels of 70% or higher in upfront and sell remaining inventory at premium CPMs Expand FEARnet advertisers with Digital Ad Insertion (DAI) on the VOD platform. Have already secured 8 test partners Maintain demand for Seinfeld by using 360 approach (TV, Crackle)-keeping the brand fresh Strategize with distribution to pursue incremental opportunities for Dot Two Networks / Court Block, etc.. 39 UPDATED AS OF 8.3.12

40. Digital Priorities 40 Dedicated Crackle team driving revenue to $44mm in FY14 –Transform ad sales organization to a single focus structure –Scale to drive and deliver revenue on par with major competitors Establish Crackle as a new entry and strong member at the Digital New Front Heightened categorical focus on theatrical releases, TV tune-in, gaming, wireless, auto (Crackle) with implementation of rich media units Focus on closing more publisher-direct deals – less reliance on ad networks; higher CPMs Dynamic ad integration for PlayStation Network and devices (more video options to yield higher revenue; $25M+ in FY14) –Lead RFP process (FreeWheel/ Double click) –Work with CSX out of Tokyo –Decision made by end of September Develop and pioneer high-value rich media placements on connected devices (PlayStation and Crackle) Establish one standardized technology solution to support all properties Dedicated research initiatives exploring avenues including: –Cross-platform measurement (comScore or Nielsen) –Demo targeting –Mixture of research initiatives and technology integration Expand international operations shared services opportunities in Latam (PlayStation, SPTI) UPDATED AS OF 8.3.12

41. U.S. Ad Sales Growth Strategy Focus on digital as significant growth area. Position Crackle, PlayStation in the market with the scale and opportunity of marketplace leaders like Hulu and Xbox Continue to look for third party sales opportunities either through representation or acquisition (in past opportunities have been few and tied to distribution) FEARnet to be first channel to offer Digital Ad Insertion (DAI) in VOD. Beta test in August could lead to strong revenue growth in FY14 Protect TV revenue with price increases/packaging and integrations Expand research capabilities – potential opportunities include: –Insights audience measurement through cross-platform solutions –OTT measurement for Crackle –Online proprietary panel to provide primary research for advertisers Evaluate opportunities with existing digital properties for international deal inclusion (PSN sales) and/or shared service support (ad ops) 41 UPDATED AS OF 8.3.12

42. U.S. Ad Sales – Financial Summary FY14 Prior/MRP FY15 Prior/MRP FY16 MRP 42 FY13 Budget/Q2 FY14 Prior/MRP FY15 Prior/MRP FY16 MRP FY13 Budget/Q2 FY14 Prior/MRP FY15 Prior/MRP FY16 MRP FY13 Budget/Q2 Revenue Profit Contribution EBIT UPDATED AS OF 8.7.12

43. U.S. Ad Sales – Financial Summary 43 UPDATED AS OF 8.7.12

44. 1. Production 2. Distribution & Ad Sales 3. Networks 3 Areas of Discussion 44

45. 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% 45 MARK to update

46. 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 46 MARK to update

47. 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 47 MARK to update

48. 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 48 MARK to update

49. Networks Financial Summary – Year over Year 19% CAGR 24% CAGR 1,537 1,961 2,258 2,580 267 329 410 503 UPDATED AS OF 8.6.12 Note: EBIT excludes 3Net EBIT of ($6MM), ($5MM), ($4MM) and ($2MM) in FY13- FY16, respectively. Revenue EBIT

50. Networks – Financial Summary versus Budget/PY MRP 1,690 1,537 19% CAGR FY13 Budget/Frcst FY14 Prior/Current FY15 Prior/Current FY16 Current 1,611 FX Adj Note: EBIT excludes 3Net EBIT of ($6MM), ($5MM), ($4MM) and ($2MM) in FY13- FY16, respectively. 50 2,007 1,961 1,782 FX Adj 2,244 2,258 1,989 FX Adj 2,580 307 267 24% CAGR FY13 Budget/Frcst FY14 Prior/Current FY15 Prior/Current FY16 Current 281 FX Adj 388 329 308 FX Adj 474 410 380 FX Adj 503 UPDATED AS OF 8.1.12 Revenue EBIT

51. Networks – Financial Summary 51 UPDATED AS OF 8.6.12

52. EBIT Year vs. Year 52 Need to update

53. Variance to Budget / Prior MRP EBIT 53 Need to update

54. FY13 Risks & Opportunities 54 Need to update

55. APPENDIX MID RANGE PLAN FISCAL YEARS 2013–2016 SEPTEMBER [7], 2012

56. SPT Cash Flow by Division 56 MATT to update

57. SPT Gross Overhead 57 MATT to update

58. International Produced Program Line-Up 58 UPDATED AS OF 7.31.12

59. International Produced Program Line-Up 59 UPDATED AS OF 7.31.12

60. U.S. Production – Current Program Lineup More than 1,600 episodes produced per year 60 UPDATED AS OF 8.7.12

61. 61 U.S. Production – New Series Investment & Development Detail UPDATED AS OF 8.7.12

62. U.S. Production – Major Contributors 62 MATT to UPDATE

63. U.S. Production – Series Volume Assumptions 63 UPDATED AS OF 8.7.12

64. U.S. Production – Consolidated Financial Summary FY14 Prior/MRP FY15 Prior/MRP FY16 MRP 64 FY13 Budget/Q2 FY14 Prior/MRP FY15 Prior/MRP FY16 MRP FY13 Budget/Q2 UPDATED AS OF 8.7.12 Revenue EBIT