Category: News Headline

  • Content bigwigs converge in Mumbai for Indiantelevision.com’s The Content Hub

    Content bigwigs converge in Mumbai for Indiantelevision.com’s The Content Hub

    MUMBAI: The floodgates of content may be open, but India’s audience has evolved—and she’s no longer easily pleased. That’s the sharp message echoing through the plush halls of JW Marriott, Juhu on 23 July as the ninth edition of Indiantelevision.com’s The Content Hub Summit gets underway.

    The theme, The End of the Age of Innocence, captures the new reality: streamers, broadcasters, and filmmakers can no longer afford to shoot in the dark. With 47 of the industry’s sharpest minds in attendance, it’s a day packed with soul-searching, strategy, and storytelling pivots.

    The curtain-raiser is a heavyweight panel on The Future of Original Content, featuring SonyLiv’s Saugata Mukherjee, JioStudios’ Tejkarran Singh Bajaj, Rose Audiovisuals’ Goldie Behl, Pocket Aces’ Aditi Shrivastava, Applause Entertainment’s Swati Patnaik, and Terribly Tiny Tales’ Anuj Gosalia, moderated by E&Y’s Raghav Anand.

    That’s followed by a fireside chat between Prime Video’s Nikhil Madhok and Indiantelevision.com’s founder Anil Wanvari, diving deep into how platforms are rewriting playbooks.

    Next up: Mindset Change: You are not making for a single screen, a spirited panel on diversifying content, with Fremantle’s Aradhna Bhola, Applause’s Sunil Chainani, Juggernaut Productions’ Samar Khan, Sri Adhikari Brothers’ Kailash Adhikari, Marigold Studios’ Hemal Thakkar, and Balaji Telefilms’ Nitin Burman. Chairing the discussion is Bodhitree Multimedia’s Sukesh Motwani.

    JioStar’s Alok Jain is slated to stir things up with a solo presentation, Reclaiming Bold – Why Indian Entertainment Must Dare Again.

    A burning issue up next: the inconsistent fortunes of Hindi cinema at the box office. A high-stakes panel, Getting the Business Model Right, features Panorama Studios’ Abhishek Pathak, Red Chillies’ Aashish Singh, Ormax Media’s Sailesh Kapoor, Friday Filmworks’ Devendra Deshpande, and Zee Studios’ Pragati Deshmukh, with film critic Mayank Shekhar at the helm.

    Regional powerhouses take centre stage in The Rise of Regional Content, chaired by Elara Capital’s Karan Taurani. Speakers include PTC’s Rabindra Narayan, Shemaroo’s Arpit Mankar, Junglee Pictures’ Mamta Kamitkar, ETV Win’s Saikrishna Koinni, OTT Play’s Avinash Mudaliar, and Banijay Asia’s Rishi Negi.
    A rare fireside chat follows, with Banijay Asia CEO Deepak Dhar in conversation with Shekhar, setting the tone for a deeper dive into genre-bending creativity.

    That’s precisely what the next panel explores—Pushing Genre Boundaries. Writer-director Kussh S Sinha, producer-director Ravindra Gautam, Banijay’s Mrinalini Jain, Applause’s Rahul Ved Prakash, and director Vishal Furia spar with trade analyst Saurabh Varma moderating.

    The day wraps up with two back-to-back masterclasses. The first, on Rana Naidu, sees actor Sushant Singh, director Suparn Varma, and screenwriter Vaibhav Vishal join film critic Stutee Ghosh. The second, on Mandala Murders, features actor Vaani Kapoor, Netflix’s Tania Bami, and directors Gopi Puthran and Manan Rawat, with editor Swati Chopra in the chair.

    In a market where content is no longer king unless it resonates, The Content Hub Summit has one message: India’s audiences have grown up—and the industry must too.

    A cross-section of India’s content powerhouses has lined up in support of The Content Hub Summit, signalling the growing importance of storytelling as a strategic business lever.

    JioStar leads the pack as presenting partner, while Applause Entertainment and Banijay Asia have come on board as associate partners. Fremantle is the lanyard partner, ensuring high visibility with every badge flash.

    The industry partners roster reads like a who’s who of television and digital production: Contiloe Films, Sol Productions, and OTT Play have lent their support, amplifying the summit’s reach and relevance.

    The show of strength from across the ecosystem—studios, streamers, and production houses—underscores the summit’s sharp focus on content strategy in a market where the audience is now firmly in the driver’s seat.

  • Nothing gets a visual remix with Jordan Hemingway for Headphone (1)

    Nothing gets a visual remix with Jordan Hemingway for Headphone (1)

    MUMBAI: In a move that fuses fashion flair with sonic innovation, London-based tech disruptor Nothing has joined forces with acclaimed photographer and filmmaker Jordan Hemingway to launch the portrait-led campaign for its first over-ear headphones, the Headphone (1). Known for his gritty, cinematic style and collaborations with the likes of Louis Vuitton, Chanel and FKA Twigs, Hemingway brings his visceral visual language to Nothing’s latest foray into audio.

    Jordan said of the collaboration, “I first found myself at Nothing’s office a few years ago for an unrelated meeting to the Headphone (1) project. Even then, their spirit of innovation and fearless exploration left a mark on me. To return now, years later, to build something together is not just exciting, it’s an honour.”

    Nothing’s Senior Director of Brand & Creative (Global) Ryan Latham said, “Working with Jordan was an instinctive fit, the team was drawn to his signature aesthetic that blends honesty, beauty, and raw brutality with innovation. His ability to challenge the traditional norms in the fashion space felt like an alignment to how we wanted to convey Headphone (1).”

    As Nothing continues to blur the lines between tech and taste, this stylish rendezvous with Hemingway is proof that sound and style aren’t mutually exclusive, they’re just getting started.

  • Prime Video’s Prime Day streamfest goes global, from Panchayat to Priyanka

    Prime Video’s Prime Day streamfest goes global, from Panchayat to Priyanka

    MUMBAI: Prime Video clearly had its popcorn moment. For its Prime Day 2025 bonanza (July 12–14), the streamer rolled out 17 titles across Indian and global languages—and the world hit play hard.

    From the narrow lanes of Nagpur to Netflix’s home turf, Amazon’s homegrown content made noise everywhere. Viewers across 4,400+ Indian towns and cities and in 224 countries and territories lapped up titles like Panchayat season 4, the edgy reality drama The Traitors, and Priyanka Chopra-Idris Elba-John Cena action flick Heads of State.

    Panchayat’s fourth outing hit record numbers, marking the biggest launch in the franchise’s history. Audiences from 180+ countries tuned in during its launch week, with viewership spread across 95 per cent of India’s pin codes. The show even bagged a spot in the Top 10 trending list in 42 countries on day one.

    The unscripted nail-biter The Traitors held fans hostage in 88 per cent of pin codes across India. So naturally, Prime has greenlit season 2. Panchayat season 5 is already in the works and slated for a 2026 premiere.

    But it wasn’t all about desi delights. Prime Video’s international Prime Day slate—featuring Korean romances like Good Boy and Head Over Heels, and Japanese anime like City and the Animation—struck gold too. American heavy-hitters like Dexter: Resurrections, Ballard, and Deep Cover kept screens sizzling.

    “Through our spectacular content line-up, we delivered one of the most engaging experiences for our customers this Prime Day,” said Prime Video, India director & head of SVOD business, Shilangi Mukherji. “While our content resonated deeply and strongly across India, the exceptional response from global audiences to our Indian titles demonstrates the growing influence of Indian entertainment on the world stage. As we continue to take Indian stories global, we’re equally dedicated to bringing premium international content to our Indian audiences, ensuring a truly borderless entertainment experience.”

    It’s not just what you stream, it’s how. With subtitles and dubs in Indian languages, Prime Video’s “global meets local” mantra is clearly paying off. From Uppu Kappurambu to Heads of State, it was a full house at the world’s biggest virtual cinema.
     

  • Capping ticket prices could be the blockbuster move India needs

    Capping ticket prices could be the blockbuster move India needs

    MUMBAI: Lights, camera… exit? For many Indian cinemagoers, that’s the current script thanks to ticket prices that have crept from “reasonable” to “ridiculous.” With average Hindi movie tickets hovering around Rs 203, a family outing to the movies now rivals a restaurant bill. It’s no surprise then that India’s total cinema footfalls in 2023 dropped to 88.3 crore, down six per cent year-on-year despite record-breaking hits.

    Now compare that to states that have capped ticket prices. In Karnataka, a Rs 200 ceiling (inclusive of taxes) has been formally introduced across all formats, aiming to widen access and stabilise footfalls. Tamil Nadu continues to enforce an effective price limit of Rs 150 (excluding GST), especially for regional films. Andhra Pradesh has a structured pricing framework where regular seats are capped at Rs 177 and recliners at Rs 295, with special government permissions needed for hikes. Meanwhile, Telangana sets Rs 295 as the multiplex cap, but with a softer hand that allows occasional hikes.

    These capped states, many of which are strongholds for south Indian cinema actually offer a crucial insight. Despite lower average ticket prices (ATP- as low as Rs 94–Rs106 for Telugu and Tamil films), these industries continue to deliver some of India’s highest-grossing films. Pushpa, RRR, and Leo weren’t powered by premium pricing they were powered by massive turnout. Volume over margin, and accessibility over exclusivity, has been the winning formula.

    Now contrast that with the Hindi film industry’s ATP of Rs 203. While Bollywood does see big openings, the high price point restricts repeat viewing and deters casual audiences. When a movie ticket costs nearly as much as a one-month OTT subscription, families weigh their choices and increasingly choose the sofa.

    A nationwide cap  of Rs 150 for regular seats, Rs 200 for premium, across all languages wouldn’t just level the playing field, it could dramatically boost footfalls for Hindi films, which continue to rely heavily on urban, multiplex markets. Lowering the barrier to entry could reopen the gates to India’s vast middle-class audience. Let’s not forget: a single Rs 100 ticket sold to 1,000 people earns more than a Rs 300 ticket sold to 200.

    Even with a cap on ticket prices, theatres and multiplexes can continue to thrive by shifting focus from high-margin tickets to high-volume footfalls and diversified revenue streams. More affordable prices draw in larger crowds, especially families and repeat viewers, creating consistent occupancy rates across weekdays and not just weekends. Multiplexes can optimise profits through premium experiences charging modest surcharges for IMAX, recliner seats, or 4DX formats while also driving revenue through food and beverage sales, branded partnerships, and on-screen advertising.

    Additionally, bundled offers, loyalty programmes, and dynamic pricing during off-peak hours can further boost margins. With lower pricing unlocking access to wider audiences, the overall revenue pie can grow not shrink by getting more bums in more seats, more often.

    An excellent case in point is Saiyaara, the breakout romantic drama that is shattering expectations at the box office not by charging more, but by charging smart. Yash Raj Films rolled out discounted pricing strategies from day one, offering Buy 1 Get 1 free deals, Rs 99 weekday tickets, and up to 50 per cent off on early bookings, particularly targeting youth and family audiences. Far from cannibalising revenue, this pricing hack did the opposite Saiyaara earned over Rs 105 crore in just four days, with weekday occupancy soaring to 80 per cent in some centres, a rare feat for non-franchise films.

    The promotional pricing widened the film’s reach beyond urban cinephiles to first-time and return viewers alike. It proved that lower prices didn’t shrink earnings, they supercharged them. Instead of relying on premium ticket margins, Saiyaara leaned on volume, accessibility, and buzz making a powerful case for why affordable cinema might just be the industry’s best blockbuster strategy.

    Hindi films once thrived in single screens packed with cheering crowds. But rising costs and shifting consumption habits have turned cinema into a weekend indulgence rather than a weekly ritual. Reintroducing affordability could revive that mass magic, bringing back the audiences who made the movies matter.

    The numbers don’t lie: when tickets are cheaper, people come in droves. And that’s a happy ending the Indian film industry desperately needs.

  • Zee posts Rs 1,115 crore profit as legal heat with Star rises

    Zee posts Rs 1,115 crore profit as legal heat with Star rises

    MUMBAI: Just when you thought the drama was reserved for primetime, Zee Entertainment’s first quarter of FY26 delivered its own plot twist, a cocktail of climbing profits, flat revenues, and a billion-dollar legal cliffhanger.

    For the quarter ended 30 June 2025, Zee posted a standalone profit of Rs 1,115 million, up from Rs 469 million in Q4 FY25. Revenue from operations stood at Rs 16,839 million, a steep drop from Rs 20,042 million in the previous quarter and Rs 20,007 million a year ago. Yet, the bottom line perked up thanks to lower operational costs (Rs 9,574 million), subdued ad spends (Rs 2,531 million), and a positive fair value gain of Rs 185 million.

    Consolidated numbers tell a slightly flashier story: Zee clocked Rs 18,498 million in revenue and a net profit of Rs 1,437 million from continuing operations, despite a decline from Rs 22,203 million in the previous quarter. No surprises ad revenue dipped to Rs 7,585 million from Rs 8,375 million, while subscription revenue held steady at Rs 9,817 million.

    Zee managed to tame the finance cost dragon just Rs 77 million this quarter and depreciation remained under Rs 600 million. Tax outgo was Rs 535 million on a consolidated basis, including Rs 473 million current tax.

    What’s missing from this quarter? Exceptional items. After a Rs 2,024 million pre-tax profit in Q4, Zee reported no one-offs this time, a marked shift from the Rs 361 million in restructuring costs and write-offs reported in the same quarter last year.

    Still, the real cliffhanger lies in the 1,003 million dollars legal dispute with Star India. Star claims the termination of their Alliance Agreement was valid and now wants damages that have ballooned from 940 million dollars to over a billion dollars as of April 2025. Zee’s defence? A robust counterclaim and demand to recover 8 million dollars plus interest with arbitration hearings slated for November.

    Meanwhile, Zee has been busy spinning off new stories. It incorporated two new entities lbullet Enterprise Limited and Advance Media Distribution Limited in June 2025 to bolster distribution and vertical synergies.

    And for those keeping score on compliance subplots: the Securities Appellate Tribunal (SAT) overturned SEBI’s order against one of Zee’s KMPs last October, although investigations continue. For now, it’s one less legal plotline to follow.

    With the company’s consolidated EPS at Rs 1.50 and a market bracing for the November arbitration climax, Zee seems to be scripting a cautious yet intriguing comeback.

    Zee may be facing more than just viewer fatigue but for now, it’s dodged the ratings dip where it matters most: the bottom line.
     

  • TAM Adex: screens and scenes spark spend surge as adland switches on big in Q1 FY 26

    TAM Adex: screens and scenes spark spend surge as adland switches on big in Q1 FY 26

    MUMBAI: India’s advertising engines have revved up in Q1 2025, with the industry riding high on the back of buzzing TV sets, scroll-stopping digital spends and billboards getting their groove back. The latest TAM AdEx Quarterly Report shows that marketers didn’t just show up, they splashed out. TV made a grand re-entry into the spotlight with a 16 per cent year-on-year growth in ad volumes compared to Q1 2024. Hindi GEC (General Entertainment Channel) ruled the roost with a whopping 22 per cent share, followed closely by Regional GEC and News genres at 15 per cent and 14 per cent respectively.

    The big screen darling of Indian homes wasn’t just fluff and reruns either top advertisers like Hindustan Unilever, Reckitt, and Coca-cola kept the spots hot, with Coca-cola returning to the top 10 TV advertisers after a brief fizz out in 2024. Among categories, Toilet Soaps and Aerated Soft Drinks bubbled up, clocking a 29 per cent and 67 per cent growth in ad volumes respectively compared to Q1 last year.

    Digital advertising clocked in an impressive 18 per cent increase in ad insertions in Q1 2025 over the previous quarter. Notably, Programmatic advertising contributed a dominant 45 per cent share of digital spots, while Google Display and Facebook together accounted for over a third of digital insertions.

    Banking and financial services made big digital strides online investment platforms, personal loans, and insurance players were aggressive spenders. But the scene-stealer? Fantasy Sports, which surged ahead as Dream11 and My11Circle banked on cricketing fervour ahead of IPL 2025.

    Out of Home (OOH) advertising made a thunderous comeback, reporting a 32 per cent jump in ad volume over Q1 2024. Transit media think metro wraps, bus backs, and airport panels saw the sharpest uptick, up by 38 per cent. FMCG, e-commerce and OTT brands led the charge, with a special mention for Amazon Prime Video’s “Mirzapur 3” teaser plastering high-traffic junctions in metro cities.

    North India continued to dominate with 39 per cent of total OOH volumes, while Tier 2 towns witnessed an OOH growth spurt of 28 per cent, driven largely by regional retail players and upcoming D2C brands eager to build street cred.

    India’s ad sector lit up Q1 2025, with TV ad volumes up 16 per cent YoY, Digital ad insertions rising 18 per cent QoQ, and OOH jumping 32 per cent YoY. FMCG led with over 25 per cent of total ad volume, while Hindi-language ads drove over 50 per cent of TV and digital impressions.  

    With IPL in full swing and festive season preparations already in the works, Q2 is expected to outdo Q1. But beyond numbers, what stands out is how brands are blending mass and personalised media placing bets on both prime-time viewership and pocket-sized scrollable moments.

    From hoardings to handhelds, the message is loud and clear: India’s adland isn’t just recovering, it’s rewiring.
     

  • Nestlé Purina expands the Friskies range

    Nestlé Purina expands the Friskies range

    MUMBAI: Nestlé Purina is expanding its popular Friskies range with two new dry cat food variants – Friskies Meaty Grills and Friskies Indoor Delights, designed to keep cats healthy and active. Friskies Meaty Grills combines the taste and nutrition of chicken, turkey, lamb and vegetables, while Friskies Indoor Delights packs the goodness of chicken, salmon, tuna and vegetables. Indoor Delights have the added benefit of helping reduce hairball formation and litter odour. Both recipes provide 100% complete and balanced nutrition.

    Nestlé Purina India business head, Pallavi Anand said, “At Nestlé Purina, we understand how important it is for pet parents to give the best nutrition to their pets.  Friskies is recogniSed globally for its wide range of products and flavours with a rich history, dating back to the 1930s. With the launch of the new range of Friskies cat food, we are excited to offer tasty and nutritious products that embody our expertise in pet nutrition.”

    ­­The new range will be currently available across all major cities in India through pet specialty stores, e-commerce and quick commerce platforms, making it convenient for pet parents to bring home the goodness of Friskies.

  • Atrangii gets Fast and furious on smart TVs with Amagi in the driver’s seat

    Atrangii gets Fast and furious on smart TVs with Amagi in the driver’s seat

    MUMBAI: Atrangii, the OTT maverick known for its edgy dramas and steamy thrillers, has fired the next salvo in the streaming wars by launching its Free Ad-supported Streaming TV (Fast) channels on LG and Xiaomi smart TVs. With cloud playout and distribution powered by Amagi’s broadcast stack, Atrangii has become the first Indian OTT platform to plug into LG’s Fast universe with a full-blown Hindi general entertainment channel.

    This move marks a turning point in Atrangii’s bid to dominate passive viewing, offering no-login, always-on Hindi content with a TV-like experience. It’s also a savvy pivot into the Fast lane, an ecosystem poised to rake in over $12bn globally by 2027, without shelling out for fresh production. Atrangii is playing it smart: recycling its spicy library of cult originals like NCR, KINK 2, Chitta Ve, and Sabse Bada Rupaiya, alongside devotional blockbusters like Jai Mahalakshmi and Shri Tirupati Balaji.

    Prashant Nigam, VP revenue for Atrangii said, “At Atrangii, our mission is to lead with innovation while remaining true to our storytelling roots. Collaborating with Amagi and launching on LG and Xiaomi is not just a technological upgrade, it’s a revolution in how our audience consumes content. Fast removes barriers like subscriptions and logins, delivering our deep content library directly to viewers in a way that feels intuitive and accessible. We’re excited to be at the forefront of the Hindi-language Fast revolution.”

    A spokesperson from LG added, “At LG, we’ve always believed in meaningful innovation that enriches customer experience. By bringing Atrangii’s dynamic and diverse content to LG Channels, we’re not only enriching our Fast offering but also giving our audience more ways to access quality Indian entertainment without the subscription barriers. This collaboration strengthens LG’s commitment to delivering compelling, accessible content to its users.”

    More platforms are revving up. TCL and Runn TV are next, with Yupp and CloudWalker under the hood in testing. The Fast channel also has its eyes set on the global diaspora, with international platform launches on the anvil.

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  • Prime Video announces its latest original, Two Much with Kajol and Twinkle

    Prime Video announces its latest original, Two Much with Kajol and Twinkle

    MUMBAI: Prime Video has announced the start of production for its upcoming Original talk show—Two Much with Kajol and Twinkle, hosted and helmed by two enigmatic and powerhouse personalities, Kajol and the witty Twinkle Khanna. Premiering soon, the bold, fiery, and candid talk show is produced by Banijay Asia.

    Promising a guest list featuring the biggest names in Bollywood and the industry’s Who’s Who—outshining even the most glamorous red carpets, Two Much with Kajol and Twinkle is set to be a bold, brilliant, and unapologetically unfiltered talk show, delivering their hottest takes on the coolest topics, all fired up by the infectious energy of its vivacious hosts.

    “We are very thrilled to announce Two Much with Kajol and Twinkle—a first-of-its-kind talk show, hosted by two of the sharpest voices in Indian entertainment, who are set to reinvent the genre,” said Prime Video India director and head of originals, Nikhil Madhok. “With a mix of charismatic celebrities on the guest list, Kajol and Twinkle will bring their signature blend of wit, feistiness, and unparalleled insights to sparkling conversations that are humorous, unfiltered, and unapologetic. Joining forces with Banijay Asia, we are creating something truly bold, fresh, and unforgettable for our audiences.”

    Banijay Asia and Endemol Shine India Group Chief Development Officer, Mrinalini Jain said, “Two Much with Kajol and Twinkle is a bold blend of unfiltered honesty, sharp viewpoints, and unapologetic conversations with India’s biggest stars. At its heart, it celebrates the firebrand personalities of Kajol and Twinkle—distinct, fearless, and refreshingly real. Built on their camaraderie and lived experiences, the show is packed with insight, laughter, and relatable topics for everyone! At Banijay Asia, we’re committed to crafting original formats that keep audiences engaged, and with Two Much with Kajol and Twinkle, we couldn’t have asked for a better partner than Prime Video—a streaming service that continues to redefine unscripted content in India.”

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  • Nikita Aneja joins Netflix talent team

    Nikita Aneja joins Netflix talent team

    MUMBAI:  Nikita Aneja has announced on Linkedin that she is joining Netflix’s talent team as an HR business partner, effective July 2025. Aneja shared her “excitement” about the move, noting her long-standing admiration for Netflix’s innovative approach to work culture.

    Prior to her move to the streaming behemoth,  Aneja served as lead – HR business partner for digital biz & sports monetisation at JioHotstar for nine months. Before that, she was the head of HR at Viacom18 Sports for three years.

    Her extensive career in human resources also includes a three-year, three-month stint as a senior human resources business partner at Disney Star. Aneja also spent over three years at Edelweiss Financial Services, where she held roles as a human resources business partner and manager for talent management, campus relations, and strategic HR. Her early career saw her as lead – campus recruitment & employer branding at Tata Motors and assistant manager, corporate HR at Godrej Industries Ltd.

    Aneja holds an MBA in human resources management from the Goa Institute of Management (GIM), a management development programme qualification from the Indian Institute of Management, Indore, and a bachelor of business administration from Jai Hind College Entrepreneurship Summit. Her appointment is set to bolster Netflix’s talent strategies in the region.