ITV

Category: Movies On Mutiple Platforms

  • PVR Inox brings IPL cricket to the big screen across 30+ cities

    PVR Inox brings IPL cricket to the big screen across 30+ cities

    MUMBAI: PVR Inox Ltd, India’s largest cinema exhibitor, is set to send cricket fans into a frenzy by screening Tata Indian Premier League (IPL) matches live in theatres across the country. In a  partnership with the Board of Control for Cricket in India (BCCI), the cinema chain will transform its plush screens into virtual stadiums for the 2025 season.

    Starting today with the opening ceremony, cricket-mad fans can catch weekend matches and playoffs on the big screen, complete with stadium-worthy sound systems and comfy seats—a far cry from the plastic chairs and overpriced lager at actual grounds.

    The opening weekend promises a cracking lineup:
    * 22 March:  Kolkata Knight Riders vs Royal Challengers Bangalore
    * 23 March: Sunrisers Hyderabad vs Rajasthan Royals, followed by the mouth-watering Chennai Super Kings vs Mumbai Indians rivalry

    “We are excited to bring together India’s two greatest passions—cinema and cricket—through IPL screenings, offering an unparalleled viewing experience in a larger-than-life environment,” said PVR Inox chief executive for revenue and operations Gautam Dutta..“During the last cricket match screenings, we witnessed an overwhelming response from our audiences, with an influx of footfalls to our screenings across cities, affirming the immense popularity and success of this initiative. We are committed to providing a premium experience that takes sports entertainment to the next level this year as well

    The cinema chain appears keen to cash in on India’s cricket fever, offering premium experiences that might make watching at home seem positively dull by comparison. Gourmet food combos and surround sound for every six and wicket? Howzat for a Saturday night out.

    The screenings will blanket the country, hitting not just the usual suspects like Mumbai and Delhi, but also stretching to smaller cities where big-screen entertainment options are typically thinner on the ground than hair on a spinner’s head.

    Fans in Maharashtra can catch matches in Mumbai, Pune and even Latur, while those in Gujarat have options in Ahmedabad, Vadodara and Anand, among others. The eastern cricket faithful aren’t left on a sticky wicket either, with screenings in Kolkata, Guwahati, Odisha and Jharkhand.

    The initiative extends to Rajasthan, Haryana, Punjab and across southern India, including Hyderabad, Bangalore and Kochi.

    This crafty move by PVR Inox not only fills cinema seats during what might otherwise be quiet weekend afternoons but also provides cricket enthusiasts with a novel way to soak up the IPL atmosphere without battling stadium crowds or straining their eyes on tiny mobile screens.

    For those who prefer their cricket with air conditioning and the option of a decent meal, the boundary lines have just been redrawn.

  • Lights, camera, pause! Karnataka high court halts penalty on PVR over ad drama

    Lights, camera, pause! Karnataka high court halts penalty on PVR over ad drama

    MUMBAI: In a twist worthy of a courtroom thriller, the Karnataka high court has put the brakes on a Rs one lakh penalty slapped on PVR Cinemas and PVR Inox Ltd for their allegedly marathon-length advertisements. The cinema giants were ordered to deposit the sum with the consumer welfare fund, alongside compensation to a miffed moviegoer.

    The plot thickened when justice M Nagaprasanna granted a stay order until 27 March, responding to a petition by the Multiplex Association of India and its stakeholder Shantanu Pai. Legal heavyweights Mukul Rohatgi and Uday Holla stepped into the spotlight to argue their case.

    The original drama kicked off when Abhishek MR settled in to watch Sam Bahadur on 6 January 2024. What should have been a tidy 2 hours and 25 minutes turned into an extended sitting, as he endured what he called an “unnecessary” 25-minute pre-show advertisement marathon.

    The Bengaluru Urban District Consumer Commission, playing hero to the movie-going masses, ordered PVR to compensate Abhishek for mental agony and legal costs. The commission went full director’s cut, attempting to dictate how cinema halls should run their shows and banned advertisements altogether.

    The petitioners argued that the consumer forum had overstepped its mark by treating a personal grievance like a public interest litigation.

    The high court, giving the consumer forum’s ruling two thumbs down, noted that their directions appeared to be “without jurisdiction.”

    While the state government suggested an appeal to the state consumer forum, justice Nagaprasanna wasn’t about to let legal technicalities steal the show, invoking Article 226 of the Constitution.

    For now, it seems the credits haven’t quite rolled on this legal blockbuster. The next hearing is scheduled for 27 March  where the future of pre-show adverts hangs in the balance. As they say in the business: to be continued…

  • Eros shareholders give go-ahead to resolutions

    Eros shareholders give go-ahead to resolutions

    MUMBAI — Eros International Media Ltd has secured shareholder approval for all resolutions presented at its recent e-voting session, the company announced on 2 March in a regulatory filing with the BSE. 

    Shareholders passed an ordinary resolution to reappoint Pradeep Dwivedi to the board. Pradeep who retired by rotation as per statutory requirements, was eligible for reappointment and will continue in his role.

    A special resolution was also approved granting a waiver for excess remuneration paid or payable to Sunil Lulla, executive vice chairman & managing director, for the 2023-2024 financial year. This resolution was required to regularise compensation that exceeded standard limits under company guidelines.

    Additionally, shareholders passed a special resolution approving the company’s name change from Eros International Media Limited to Eros Media International Limited. The rebranding represents a minor adjustment to the company’s official title while maintaining its core brand identity.

    The shareholders also gave the go-ahead to the financials declared by the company for the year ended 31 March 2024. 

    All resolutions received the requisite majority vote, demonstrating shareholder confidence in the company’s governance decisions. The name change is expected to be implemented following completion of necessary regulatory procedures.

  • Baweja Studios & House of Talkies seal three-project deal at Mip London: Variety report

    Baweja Studios & House of Talkies seal three-project deal at Mip London: Variety report

    MUMBAI: Harman Baweja’s Baweja Studios and Sidharth Jain’s House of Talkies have partnered for a three-project deal announced at Mip London, uniting two content-driven Indian production houses, Variety has reported.

    Baweja Studios, producer of Zee5’s Mrs.—a reimagining of The Great Indian Kitchen—will collaborate with House of Talkies, the company behind Netflix’s Trial By Fire, which won the Filmfare OTT critics award for best series.

    House of Talkies, linked to Jain’s The Story Ink, specialises in book-to-screen adaptations, representing 500+ stories. Baweja Studios’ upcoming projects include Dil Ka Darwaza Kholna Darling, directed by Vikas Bahl (Queen, Super 30), starring Jaya Bachchan, Siddhant Chaturvedi, and Wamiqa Gabbi, along with Boy From Andaman by Delhi Crime creator Richie Mehta and Imagine Entertainment.

    “At Baweja Studios, storytelling is a sacred responsibility,” said Baweja. “Trial By Fire showed a fearless voice, and Sidharth ensures stories reach audiences in their most powerful form.”

    Jain added, “Baweja Studios crafts films with transcendental power. Our upcoming films and series will explore human conditions while engaging audiences.”

    “With The Story Ink ecosystem scaling up, the timing of this collaboration couldn’t be better,” he noted.

  • Junglee Pictures debuts in Malayalam cinema with Ronth

    Junglee Pictures debuts in Malayalam cinema with Ronth

    MUMBAI: Junglee Pictures has partnered with Kerala-based Festival Cinemas to launch Ronth (Night Patrol), marking its first venture into Malayalam cinema.

    The film, directed by National Award-winner Shahi Kabir, stars Dileesh Pothan and Roshan Mathew as police officers navigating personal challenges during an intense night shift.

    “The moment we heard the narration, we were hooked,” said Amrita Pandey, CEO at Junglee Pictures, praising Kabir’s realistic storytelling that “blends intense narratives with raw human emotions.”

    Kabir, who won the National Award for “Nayattu” and is known for thrillers like “Ela Veezha Poonchira” and “Joseph,” called the collaboration with Junglee Pictures “thrilling.”

    The film is expected to release later this year.

     

  • Advertising & the art of survival for the Indian cinema exhibition sector

    Advertising & the art of survival for the Indian cinema exhibition sector

    MUMBAI: A recent ruling by a Bengaluru consumer court against PVR Inox’s practice of running blocks of commercials before a film’s screening has sent shockwaves through India’s cinema exhibition industry. The court ordered PVR Inox to pay Rs 20,000 in compensation to a customer whose screening of “Sam Bahadur” was delayed by 25 minutes, along with Rs 8,000 in legal costs and a hefty Rs 100,000 fine. The complainant argued that the delay disrupted his schedule and constituted misrepresentation of screening times, while PVR has denied any wrongdoing and plans to appeal the decision. The court also instructed PVR to mention actual start times for films on tickets, rather than just show start times (ads included).

    While judicial rulings must be respected, there is concern that this decision may not fully account for the operational realities of running a multiplex. The cinema exhibition industry operates on a tight schedule, with only a 50-minute gap between screenings. Within this window, crucial activities such as cleaning, restocking, and technical checks must be completed to ensure a seamless movie-watching experience. Typically, around 20-30 minutes are consumed by cleaning operations alone, leaving theatre owners with limited time to run commercials and pre-show content.

    The placement of advertisements before a movie is neither new nor exclusive to India. In most countries, pre-show advertisements are a standard practice, helping exhibitors generate additional revenue to sustain their business. These ad slots are often categorized into different packages, such as bronze, silver, gold, and platinum, depending on when they are played relative to the start of the movie.

    For instance, in the United Kingdom, cinema-goers are accustomed to watching an average of 11 minutes of commercials before the film begins. This system allows cinemas to monetize screenings while ensuring that the audience is well aware of this industry-wide practice. The United States follows a similar model, with advertisements running for about 15-20 minutes before the start of a feature film.

    Theatre chains, including PVR Inox, depend on multiple revenue streams to stay afloat. Ticket prices alone are often insufficient to cover operational costs, especially given the significant investment in infrastructure, maintenance, and technology. Average ticket prices in India are among the lowest in the world; hence, chains are dependent on food and beverage purchases by patrons to plug the gap in revenues. Advertisements play the next most important role in offsetting these expenses, ensuring that cinema halls can offer high-quality viewing experiences while keeping ticket prices competitive.

    Additionally, government-mandated public service announcements and advisories—such as health warnings about smoking or messages promoting national interests—also consume valuable screen time. At one point, playing the national anthem before the movie was a compulsory practice in India, further adding to the pre-screening content duration.

    The consumer court’s ruling sets a concerning precedent that could disrupt the well-established norms of the cinema industry. If similar cases emerge, multiplex operators may be forced to reduce or eliminate advertisements, leading to revenue losses and potentially higher ticket prices to compensate. This could, in turn, affect moviegoers who may have to pay more for the same entertainment experience.

    Moreover, imposing rigid constraints on advertisements without considering industry norms and financial dependencies could discourage investments in multiplex infrastructure and expansion. It could also affect advertisers, for whom cinema remains a lucrative medium to reach captive audiences. I remember as a youngster how we would pester our parents to take us earlier to the cinema hall so we could learn about new launches and promotions and take advantage of them by rushing to the stores. Even the commercials during the interval were something we watched, fascinated and goggle-eyed.

    While consumer rights must be protected, it is imperative that regulatory and judicial bodies take a holistic approach when adjudicating industry practices. Instead of outright bans or penalties, a more balanced solution could involve clearer communication from cinema chains about the expected duration of advertisements before a film starts. This could include displaying specific information on ticket booking platforms and at theatre entrances, ensuring transparency while allowing theatres to sustain their business model. For more than 70 years, not many objections relating to the airing of advertisements have been filed in the courts – consumer or otherwise. Let us remember: a swallow does not make a summer.

    PVR Inox’s decision to appeal the ruling is a step toward safeguarding the interests of the industry. If courts begin penalizing exhibitors for long-standing practices that are globally accepted, it may only serve to disrupt an ecosystem that has been meticulously structured to benefit both businesses and audiences alike.

    The cinema industry is already navigating challenges such as declining footfalls due to streaming services and high operational costs. Adding legal hurdles in the form of restrictions on pre-show or interval advertisements could prove to be a costly misstep that does more harm than good. As this case unfolds, it remains to be seen whether common sense and pragmatism will ultimately prevail.

  • Cricket comes to the big screen: PVR INOX to show Champions Trophy matches

    Cricket comes to the big screen: PVR INOX to show Champions Trophy matches

    MUMBAI: PVR Inox, India’s largest cinema chain, has partnered with JioStar to screen live matches from the ICC Champions Trophy 2025, beginning with the highly anticipated India-Pakistan clash on 23 February in Dubai.

    The cinema exhibitor will broadcast matches across more than 150 screens nationwide, including the India versus New Zealand fixture on 2 March. Additional screenings of semi-finals and finals will be arranged should India progress in the tournament.

    “This association combines two of India’s greatest passions: cricket and cinema,” said Gautam Dutta, chief executive of revenue and operations at PVR INOX. He noted that similar screenings last year drew substantial audiences across cities, demonstrating strong demand for communal sports viewing experiences.

    The initiative will span major metropolitan areas and tier-2 and tier-3 cities, including Mumbai, Delhi NCR, Kolkata, Ahmedabad, Pune, and Lucknow. Viewers will have access to PVR INOX’s full range of food and beverage offerings during matches.

    The partnership represents a significant move by PVR INOX to diversify its entertainment portfolio, leveraging its cinema technology to create stadium-like atmospheres for major sporting events. All matches will be shown at 1:00 PM GST (Gulf Standard Time).

    The screenings mark an interesting convergence of traditional cinema exhibition and live sports broadcasting, potentially opening new revenue streams for the theatre chain while providing cricket fans with an alternative viewing experience.

  • Consumer court fines PVR Inox; orders it to mention actual movie start times on ticket

    Consumer court fines PVR Inox; orders it to mention actual movie start times on ticket

    MUMBAI: Theatre goers can now decide if they would like to skip the smattering of ads that confront them when they enter a cinema hall before the movie starts. A Bengaluru consumer court has ordered PVR Inox to mention the time when a film will finally roll on the  screen on tickets that are issued to consumers at the time of booking.  Whether this will extend to all cinema halls  and whether PVR Inox will appeal against this ruling only time will tell. 

    Be that as it may, PVR Inox also got a financial rap on the knuckles from the same court as a reminder that moviegoers pay for films, not a barrage of ads. A Bengaluru consumer court has ordered the multiplex giant to cough up Rs 1 lakh in punitive damages after a customer’s screening was delayed by 25 minutes due to excessive advertising.

    The case stemmed from a December 2023 screening of Sam Bahadur at 4:05 pm, which, to the frustration of ticket holders, actually started at 4:30 pm. The plaintiff, a Bengaluru resident, sued the cinema chain for misleading audiences and wasting their time. The court agreed, branding the delay an ‘unfair trade practice’ and instructing PVR Inox to display accurate movie start times on tickets instead of ad-heavy schedules.

    In addition to the Rs 1 lakh fine, the complainant was awarded Rs 20,000 for mental agony and Rs 8,000 in legal expenses. The ruling signals a strong pushback against multiplexes prioritising ad revenue over audience experience.

    PVR Inox attempted to justify the prolonged advertising, arguing that ads help latecomers settle in and that government-mandated public service announcements (PSAs) are a legal requirement. The court, however, dismissed this defence, ruling that PSAs should not exceed 10 minutes and that subjecting audiences to 25-30 minutes of commercials was unjust.

    Adding an interesting twist, the multiplex argued that the complainant’s act of recording the delay violated piracy laws. The court dismissed the claim, ruling that the footage served a legitimate purpose in exposing an issue that plagues moviegoers nationwide.

    With this ruling, multiplexes may have to rethink their ad-heavy screenings. For audiences, the decision reinforces the expectation that they are paying for movies, not marketing. Whether PVR Inox and other cinema chains will amend their practices remains to be seen, but for now, Bengaluru’s consumer court has delivered a long-awaited blockbuster verdict.

    (Cited from Indian Express)

  • Why Abundantia’s Vikram Malhotra is looking to raise Rs 250 crore in 2025

    Why Abundantia’s Vikram Malhotra is looking to raise Rs 250 crore in 2025

    MUMBAI: It’s had an abundant share of hits. Now Abundantia Entertainment is gearing up to ramp up its slate further and is in the market to raise a nice little treasure chest of money to fund its future film and series projects. 

    Speaking to moneycontrol.com, its CEO Vikram Malhotra said that he was looking to raise Rs 200-250 crore in the first half of 2025, only one third of the investment of Rs 750 crore he has lined up for movies and series  for the company going forward.

    Abundantia has been behind some critically acclaimed  and commercially  successful films like Baby, Airlift, Toilet – Ek Prem Katha, Shakuntala Devi, Sherni, Chhorii, Jalsa, Ram Setu, Sukhee and Sarfira. Its series  Breathe which ran into three seasons and  Hush Hush which brought yesteryear super stars Juhi Chawla and Ayesha Jhulka onto streaming have got him hungry to do more. 

    “Out of the 23 titles in development actively at Abundantia right now, the next three years should see an output of 18 of them, starting with six releases in 2025,” he told Moneycontrol. “So far, we’ve had a tremendous five years in terms of creative and financial success and now the plan is to take it to the next level with the infusion of additional capital that allows us to exploit the opportunities that exist in the market.”

    Among the titles which are under developed or are on the production floor include: Amazon Prime Video’s Bhoomi Pednekar-starring Suresh Triveni-directed Daldal, the sequel to  the 2021 released Chhorii, and the Anil Kapoor-starring Suresh Triveni-directed Subedaar.  Many a talent have also been signed up by Abundantia, reveals Malhotra. Among them: Hansal Mehta (the director of the successful Scam series ) who is working on a multi season series, Gullak director Palash Vaswani who’s working on a film, Bhav Dhulia (the director behind Drishyam and Paan Singh Tomar)  who’s got a film project as well as Mayank Sharma (he directed Breathe’s three seasons) for a film. 

    Malhotra has been restructuring Abundantia and has built two verticals within it: psych for horror and paranormal stories and Filters for the young adult segment and is actively developing content under these.  

    A creative studio  called Opening Image has been launched with Suresh Triveni. The idea: focus on creating and developing differentiated content across mediums and aims at being an ecosystem for young writers and directors to flourish under Triveni’s guidance.

    This is not the first fund raise Malhotra’s attempting. He initially secured funding from Dalip Pathak’s Callista Capital and Ashok Wadhwa’s RW Media, who he later bought out. 

    Going by his track record (and despite the mixed response from movie goers that  the film industry has been receiving), Malhotra and his Abundantia should get the fund raise  through and  right – in the first take itself.

  • Artist One’s, Tata Comms’ & AMC’s mega plan to disrupt live entertainment globally

    Artist One’s, Tata Comms’ & AMC’s mega plan to disrupt live entertainment globally

    MUMBAI: It’s an initiative that’s being talked about as  being a game changer for live entertainment. No longer will artistes have to jet  across time zones, wake up groggy and yet have to perform in front of tens of thousands of fans who have paid top dollar for tickets. The innovation that’s being discussed gives them another way to connect with audiences – live across the globe from one venue. 

    Well, Pennsylvania registered next gen company Artist One Entertainment group which is looking to build v2.0 of the entertainment industry, has brought together a clutch of partners including Tata Communications, ticketing firm Atom Tickets, and a deep bench of live production companies to “revolutionise live entertainment – unveiling the first globally connected arena.” 

    Exclusively launching throughout AMC Theatres’ robust footprint, Arena One is a collective of interconnected immersive venues, where fans, artistes, and creators around the world will be able to see, hear, and interact with each other in real-time. Made possible by next gen tech, global audiences will share in bespoke live shows – all together, all at once. 

    “Imagine the world’s most incredible live concerts, locally accessible, more sustainably produced, and affordable for hundreds of thousands of fans who are together in-real-life in one shared experience,” says Artist One Entertainment group founder & chief creative officer, Rohit Kapoor. “Every single person, no matter where they are on the planet, is up close and intimately connected to the artist and performance. With boundless visual potential, high-fidelity surround sound, and no such thing as a ‘nosebleed seat,’ Arena One heralds an entirely new future-forward category in live entertainment.”

    Arena One’s unprecedented real-time interaction is powered by Tata Communications’ next generation media platform, which leverages proprietary low latency technologies and the cloud capabilities of its live production and delivery service, The Switch. Tata Communications carries roughly 30 per cent of internet routes globally, and its media entertainment services (MES) division supports live event coverage for the biggest sports and entertainment organisations in the world. 

    “This launch marks a transformative shift in how music fans and artistes engage with each other, utilising cutting-edge technologies to create an unparalleled, interactive real-time experience,” says Tata Communications  vice-president & global head of media and entertainment c. “We are excited to bring a new immersive experience through this partnership, drawing on our live event expertise and global reach to introduce an entertainment concept that gives audiences unmatched access to their favorite artistes.”

    AMC theatres

    Arena One simultaneously disrupts the theatrical and live entertainment industries – reimagining and revitalising existing theatres and screens through a new lens. Performers will have the power to shatter the limits of traditional filmed events – as if there’s no screen there at all – engaging live with their global fanbases just as though they are in one arena together. With additional production enhancements that physically extend the performance into the theatres, all audience members are in the center of the action. 

    “AMC Theatres welcomes the opportunity to offer music fans across the United States and Europe unique and engaging experiences with their favorite artistes,” says AMC Theatres executive vice-president, worldwide programming & chief content officer Elizabeth Frank, “Arena One will enable exciting artist performances, ranging from fresh takes on fan favorites to launches of brand new music, from tech-infused dance parties to intimate acoustic sets, from tributes and sing-alongs to holiday collaborations, and much more. All of these live performances will be presented through high quality broadcast technology and delivered with the convenience, comfort and affordability of a neighborhood venue.”

    Live performances will originate at purpose-built Arena One studios, and link to theatres everywhere within milliseconds, facilitating universal and multi-dimensional live interactivity between connected studios and venues. These innovative performance facilities give artistes powerful studio-level precision and complete control over the quality and content of their creative vision, while boasting multi-stadium reach and revenue generation from a single live performance. 

    Arena One model
    “Audiences are thirsty for memorable experiences that are unique and deeply special. What we?re building allows every fan to gain access to the most coveted blue chip events – and sit in the best seat in the house,” says Arena One managing partner Megan Colligan. “Exhibitors all over the world are looking for more content – this is exactly the kind of innovation our business needs.”

    The inaugural Arena One east coast studio is located on the acclaimed Rock Lititz campus – an epicenter of entertainment industry creativity and innovation. The campus, which is 65 per cent  solar and geothermal-powered, is headquarters to several of the world’s preeminent leaders in live production, many of whom have participated and invested in the design and development of Arena One.

    Future performance hubs are planned in Los Angeles, Nashville, Atlanta, Miami, Toronto, London, Singapore, Mumbai, Melbourne, Accra, Brazzaville, Johannesburg, and São Paolo – bringing artistes from around the world directly to their fans, no matter where they are. 

    Live Arena One performances will be uniquely presented from a single stationary camera, capturing the most realistic, ideal and best seat audience point of view – with high production-value elements taking place on the technically advanced stages, capable of  an elaborate physical and digitally augmented visual spectacle. The studios will also be equipped with multiple robotic and 3D stereoscopic cameras, and adjacent Dolby Atmos mixing studios; in addition to putting on a once-in-a-lifetime live performance, artistes are able to capture, edit, and release subsequent concert films, downstream releases featuring behind-the-scenes content, and albums of their unique live performance mixed in spatial audio. 

    “Providing artistes the power to pull up to one comfortable state-of-the-art studio with unrivaled creative tools at their disposal, get that irreplaceable rush of performing live to a packed arena of fans, and simultaneously generate a treasure-trove of content for future applications in one consolidated pipeline – the Arena One model radically shifts the artiste experience, the fan experience, and entertainment industry economics across the board,” says Kapoor. 

    The launch of Arena One firmly locks in Artist One Entertainment Group and Tata Communications shared vision to originate the world’s largest, most advanced live entertainment ecosystem, capable of seamlessly scaling and expanding into limitless territories and formats. 

    “This is just the beginning. Music, comedy, sports, e-sports, Broadway and beyond will all find a home here,” says Arena One managing partner Mo Rhim. “Not only are we opening new windows of marketing, distribution and monetisation, but the underlying data and technology will also provide creators deep insights that empower them to connect with their fans in places and ways never imagined. Arena One is a universal stage that connects communities and brings separate entertainment verticals together to create something completely new.” 

    With the inclusion of hundreds of traditionally untapped markets, Arena One provides consumers hyper-local, equitable accessibility to premium live shows at ground-breaking price-points and scale. The ability to instantly contract and expand its connected seating footprint from one-hundred to hundreds-of-thousands of available seats, as well as the flexibility to host multiple shows concurrently across different markets, makes Arena One the venue of the future for all artistes and fans. 

    “We are all about empowering artistes with more equity, transparency, control, and scale. Arena One gives a new platform for artists – setting the stage for live special release events, one-night-only live global performances, mini-residencies, and sustainable tours,” says  , music industry pioneer, programming Arena One’s inaugural slate of artistes Marcie Allen.

    Rounding out Arena One’s seamless end-to-end offering is a collaboration with Atom Tickets – the social movie ticketing platform for the modern generation. A full-service online and mobile ticketing site will offer concertgoers instant access to Arena One shows, including pre-order options for merch and concessions. 

    “With our collaboration, we ensure that planning your concert experience is effortless,” says Atom Tickets  CEO Bryan Bowles. “For Arena One customers, we’ve added special enhancements during the ticketing process, bringing audiences closer to the artist and delivering unique surprises along the way.?”

    Tickets for the up-close-and-personal live Arena One shows, inclusive of all fees, will be an astonishing fraction of the cost of a typical concert-going experience, and vary by artiste and connected venue location. Arena One will open doors with 230,000 available seats across 1,600 connected domestic auditoriums this coming spring, with planned expansion to 400,000 seats worldwide by the end of 2025.