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Category: News Headline

  • Netflix CEOs play coy about Warner Bros Discovery acquisition

    Netflix CEOs play coy about Warner Bros Discovery acquisition

    LOS ANGELES: Netflix is keeping its cards close whilst the rest of Hollywood scrambles for Warner Bros Discovery’s assets. Asked during Tuesday’s third-quarter earnings call whether the streaming giant might join the bidding war, co-chief executives Ted Sarandos and Greg Peters delivered a masterclass in strategic ambiguity: they ruled nothing out, but ruled nothing in either.

    “It’s true that historically, we’ve been more builders than buyers, and we think we have plenty of runway for growth without fundamentally changing that playbook,” said Sarandos. “Nothing is a must-have for us.” 

    Yet he added that Netflix looks at “all” merger opportunities through the same lens—a nod that Warner Bros Discovery’s studio and streaming empire, including HBO, HBO Max and Warner Bros Television, might just pique its interest.

    What Netflix definitely won’t touch are Warner Bros Discovery’s linear networks. “We’ve been very clear in the past that we have no interest in owning legacy media networks, so there is no change there,” Sarandos said. That rules out a bid for the whole company, which Warner Bros Discovery is splitting in two: one entity (Warner Bros) housing the streaming and studio jewels, the other (Discovery Global) lumping together cable channels and Discovery+.

    The carve-up comes after Warner Bros Discovery announced it was reviewing “strategic options” following “unsolicited interest” from “multiple” parties. Paramount is reportedly leading the charge, having offered $20 per share for the lot, then upping its bid to $24—both rejected. CNBC reports that Netflix and Comcast are also circling.

    Peters downplayed the threat of rivals bulking up through deals, pointing to mega-mergers like Disney-Fox, Amazon-MGM and Discovery-WarnerMedia that failed to shake up the landscape. “None of those mergers represented a fundamental shift in the competitive landscape,” he said. “Watching some of our competitors potentially get bigger via M&A does not change our view.”

    The caginess came as Netflix reported third-quarter revenue up 17 per cent year-on-year to $11.5bn, in line with forecasts. Operating income rose 12 per cent to $3.2bn, though it fell short of expectations after a $619m hit from a dispute with Brazilian tax authorities. Shares tumbled 6.5 per cent in after-hours trading, though Netflix insisted the tax spat won’t dent future results.

    By region, revenue in the US and Canada grew 17 per cent to $5.01bn, Europe, Middle East and Africa climbed 18 per cent to $3.7bn, Latin America rose 10 per cent to $1.37bn and Asia Pacific surged 21 per cent to $1.37bn. Netflix now commands 8.6 per cent of US television viewing time, up from 7.5 per cent in late 2022, and 9.4 per cent in Britain, up from 7.7 per cent.

    Hits last quarter included Wednesday season two (114m views), The Thursday Murder Club (61m) and My Oxford Year (81m). The Canelo-Crawford boxing match drew 41m viewers, making it the most-watched men’s championship bout this century, Netflix claimed.

    For now, Sarandos and Peters are content to watch the feeding frenzy from the sidelines. But their refusal to slam the door suggests they might yet crash the party—provided the price is right and the baggage left behind.

  • Netflix’s KPop Demon Hunters set to conquer toy aisles as Mattel & Hasbro get on board licensing bandwagon

    Netflix’s KPop Demon Hunters set to conquer toy aisles as Mattel & Hasbro get on board licensing bandwagon

    LOS ANGELES: Netflix has pulled off something rare: getting Mattel and Hasbro—bitter rivals in the toy wars—to share the spoils of its cultural juggernaut, KPop Demon Hunters. Both companies will serve as global co-master toy licensees, carving up a merchandise empire to satisfy fans who have turned the film into the streaming giant’s most-watched movie ever.

    Released in June 2025, the film has obliterated records with 325m views in 91 days. Its soundtrack hit number one on Billboard’s 200 Albums chart and has been streamed 8.3bn times. The single Golden became the longest-running number one by a girl group on the Billboard Hot 100 this century. All five main characters dominated Halloween costume searches, proving the frenzy extends well beyond the screen.

    “KPop Demon Hunters unleashed a global fan frenzy—we’re talking dancing, singing, and more screaming than anyone was emotionally prepared for,” said  Netflix chief marketing officer Marian Lee. The partnership, she added, means fans can finally get their hands on merchandise “they’ve been not-so-subtly demanding on every social platform known to humanity.”

    Mattel will unleash dolls, action figures, playsets and collectibles starting in 2026, with a presale three-pack of Huntr/X dolls available on Mattel Creations from 12 November. Mattel, chief global brand officer Roberto Stanichi promises to harness the company’s “world-class design, creative and marketing expertise” to delight fans worldwide.

    Hasbro is taking a different tack, leveraging its arsenal of brands—Monopoly, Nerf, Furby and Wizards of the Coast—for collaborations. Its first salvo is Monopoly Deal: KPop Demon Hunters, available for pre-order from 21 October and shipping on 1 January 2026. The full lineup, including plush toys, youth electronics and role-play gear, arrives in spring 2026.

    Hasbro president of toy, licensing and entertainment Tim Kilpin called the film “a powerful pop culture phenomenon with global resonance” that fits seamlessly with the company’s commitment to innovation.

    The film follows K-pop superstars Huntr/X, who moonlight as demon hunters protecting fans from supernatural threats—until they face off against a rival boy band of demons. Directed by Maggie Kang and Chris Appelhans, it is produced in partnership with Sony Pictures Animation.

    Products from both toy titans will flood retail shelves from spring 2026 through the holiday season and beyond.

    For Netflix, Mattel and Hasbro, the bet is simple: why fight over market share when there is enough screaming fandom to go around

  • Sportel 2025: Laliga’s Tebas declares war on football pirates

    Sportel 2025: Laliga’s Tebas declares war on football pirates

    MONACO: Piracy is theft, plain and simple. That’s the message Javier Tebas delivered with fire at Sportel Monaco, opening his remarks with a moral flourish: “When I was a young man I was taught not to steal because it’s a sin. This is stealing.” The LaLiga president wasn’t mincing words. He warned that illegal streaming remains one of the gravest threats to football’s future and demanded that rights holders stop being passive victims.

    “Rights holders need more awareness,” Tebas urged. “Broadcasters have to work on the protection of the service.” The enemy, he explained, is growing more sophisticated by the day. Pirates are deploying increasingly advanced technology to siphon content, forcing LaLiga to respond with its own arsenal. The league is pouring investment into anti-piracy systems designed to trace and block illegal streams in real time. “Pirates are extremely advanced,” Tebas said. “We’re blocking. It is like the NASA headquarters…but we need to be able to trace them.”

    The war on piracy wasn’t Tebas’s only battle. He also vented his frustration over UEFA’s reluctant approval of LaLiga’s plan to stage a match in the United States—the December 2025 fixture between Barcelona and Villarreal in Miami, Florida. “It is very frustrating,” he said of UEFA’s stance. “This is a very old-fashioned vision of professional football.”

    Tebas argued that taking one league match abroad is a natural step for a global sport, not some radical betrayal of tradition. “This is just one game, not twenty,” he pointed out, before deploying a cultural counterpunch: “We accepted Halloween from the US, why don’t they accept something from us?”

    But the LaLiga chief suggested there’s more lurking beneath the surface—secrets he’s saving for his memoirs. “I am going to write about it when I retire and talk about a lot of secrets,” he teased. Until then, he’ll keep fighting pirates, battling UEFA, and dragging Spanish football into the future—willing or not.

  • Mccain serves a musical treat this Diwali with Usha Uthup’s ‘Jugalbandi’

    Mccain serves a musical treat this Diwali with Usha Uthup’s ‘Jugalbandi’

    MUMBAI: This Diwali, McCain is striking all the right chords. The brand’s new campaign, Jugalbandi, brings together three generations of the Uthup family in a heartwarming celebration of food, music, and togetherness.

    Created by Schbang, the film stars the queen of Indian pop, Usha Uthup, alongside her daughter Anjali and grandson, in a delightful musical face-off that turns into a moment of family unity. Set at a lively Diwali house party, the film captures Uthup’s iconic disco charm blending with Anjali’s spirited beats and her grandson’s modern DJ flair. The playful competition melts into harmony when the irresistible aroma of Mccain snacks fills the air, bringing everyone together over hot, crispy treats.

    With Jugalbandi, Mccain celebrates the idea that food bridges more than just hunger, it bridges generations. By fusing two of India’s biggest passions, food and music, the campaign transforms a simple snack into a symbol of connection and joy.

    “These days, families are often spread across cities and time zones, and it’s only on special occasions that everyone comes together,” said Mccain Foods India managing director Mainak Dhar. “Our Jugalbandi campaign celebrates how different generations, each with their own rhythm, can find harmony over a plate of Mccain snacks. Usha Uthup embodies this spirit perfectly, rooted in culture yet modern and relevant.”

    Schbang president – brand solutions Jitto George added, “When we set out to create a generational ‘jugalbandi’, the first and only choice was Usha Uthup and her family. Their real bond brought the idea to life, blending nostalgia, music, and the joy of food which is the very essence of Mccain’s philosophy of togetherness.”

    The campaign runs across digital platforms, reinforcing Mccain’s role as the snack that turns festive gatherings into shared moments of warmth, laughter, and love. 
     

  • Ola lights up homes with ‘Shakti’ energy storage system

    Ola lights up homes with ‘Shakti’ energy storage system

    MUMBAI: Ola has flipped the switch on a new kind of power. With Ola Shakti, the company is charging into the fast-growing Rs 1 lakh crore Battery Energy Storage System (BESS) market, bringing clean, home-grown energy straight to Indian households.

    Launched in Bengaluru, Ola Shakti marks Ola Electric’s first step beyond electric mobility into energy storage for homes, farms and small businesses. It uses the company’s indigenous 4680 bharat cells and is fully designed, engineered and manufactured in India.

    “India doesn’t face an energy shortage; it faces an energy storage opportunity,” said Ola Electric CMD Bhavish Aggarwal. “With Ola Shakti, we are turning that opportunity into energy independence.”

    Available in four configurations of 1.5 kwh, 3 kwh, 5.2 kwh and 9.1 kwh, Ola Shakti starts at an introductory Rs 29,999 for the first 10,000 units. Reservations are open at Rs 999, and deliveries will begin on Makar Sankranti 2026.

    Compact, stackable and built to last, Ola Shakti offers efficiency of up to 98 percent and zero maintenance costs. It promises instant power during outages, protection from voltage fluctuations and weatherproof reliability tested for monsoon conditions.

    The system can also think for itself. Through real-time insights, intelligent scheduling and remote updates, Ola Shakti helps users manage power smarter, reduce bills and make the switch to clean energy effortless.

     

  • Mangaldeep lights up Ayodhya’s record glow with an AR of devotion

    Mangaldeep lights up Ayodhya’s record glow with an AR of devotion

    MUMBAI: Who says faith and technology don’t mix? This Diwali, ITC Mangaldeep proved that devotion can go digital and dazzlingly so. As part of the Ayodhya Deepotsav 2025, the brand turned prayer into pixels with an Augmented Reality (AR)-powered campaign, enabling devotees across India to virtually light Diyas and become part of Ayodhya’s record-breaking glow.

    The grand spectacle in Ayodhya, hosted by the government of Uttar Pradesh, set a new Guinness World Record for the Highest Number of Oil Lamps Lit, an awe-inspiring 26,17,215 Diyas, surpassing last year’s total of 25,12,586 Diyas. But beyond the numbers, this Deepotsav stood out for how it united hearts across distances, one click, one flame, one prayer at a time.

    Through Mangaldeep’s AR-enabled microsite, devotees from every corner of India could light a virtual Diya that corresponded to an actual lamp in Ayodhya on 19 October. What began as a modest plan to light 1 lakh Diyas quickly turned into a wave of faith when over 1.3 lakh virtual Diyas were lit prompting the brand to mirror that devotion on the ground by lighting 1.3 lakh real Diyas as well.

    Adding to the sacred ambience was the Mangaldeep Khushboo Path, where 25 five-foot incense sticks and 25 Maha Havan Cups filled the air with divine fragrance, creating a multisensory experience that blended spirituality with spectacle.

    “At ITC Mangaldeep, we believe devotion is timeless, though the way we experience it continues to evolve,” said ITC Divisional CEO of matches and agarbatti division Rohit Dogra. “This year’s initiative not only united millions of devotees across India digitally but also became a part of history as Ayodhya achieved a Guinness World Record. It’s a step forward in making devotion immersive, inclusive and meaningful in today’s digital era.”

    The government, too, lauded the initiative. Ayodhya district magistrate Nikhil Tikaram Funde I.A.S noted, “We are delighted to have ITC Mangaldeep join the Deepotsav celebrations. Their digital effort allowed devotees nationwide to participate, reinforcing the spirit of unity and devotion that Deepotsav stands for.”

    As the sacred city shimmered under millions of flickering flames, Mangaldeep’s AR-driven participation marked a new chapter in how technology can transcend geography turning faith into an experience that’s as collective as it is personal.

    From app to aarti, the campaign embodied a rare harmony of the ancient and the avant-garde showing that in today’s India, even a Diya can have a digital soul.

     

  • Bright lights up festive season as outdoor ads shine with double-digit glow

    Bright lights up festive season as outdoor ads shine with double-digit glow

    MUMBAI: This festive season, the outdoors are looking anything but dull. As streets dazzle with lights and shopfronts sparkle with offers, Bright Outdoor Media (BOM) is gearing up for a season of high visibility literally. The company expects strong double-digit growth in ad spends this Diwali, fuelled by a cocktail of economic optimism, brand buzz, and an unmistakable festive pulse on the streets.

    Leading the charge, the real estate sector has taken centre stage, wrapping city skylines in giant hoardings and LED glows announcing new projects. From FMCG and e-commerce to automobiles, consumer electronics, jewellery, and fashion, nearly every sector is upping its outdoor presence to capture festive shoppers’ attention. The result: India’s cities are once again turning into open-air galleries of marketing ambition.

    But it isn’t just traditional categories making noise. Fintech, BFSI, health and wellness, D2C, and quick commerce players are also stepping into the OOH frame, using the medium to push festive payment offers, cashback deals, and brand discovery. With outdoor spaces offering both scale and immediacy, even digital-first brands are realising that nothing beats the visibility of a billboard at a bustling junction.

    “We are witnessing robust demand across brand categories this festive season, with advertisers focusing on visibility, innovation and impact,” said Bright Outdoor Media CMD Yogesh Lakhani. “Large-format visibility, digital billboards and integrated campaigns are driving the momentum, and we expect strong double-digit growth compared to last year.”

    At the heart of this surge is the rise of Digital Out-of-Home (DOOH). Bright Outdoor, already among India’s largest operators of big-size LED billboards, is riding the wave of dynamic and data-driven displays. These screens allow advertisers to adapt messaging in real time from countdown offers to live sports updates making the outdoors feel as alive as the internet.

    However, Bright isn’t dimming its faith in traditional billboards just yet. Static formats, the company says, remain the cornerstone of mass visibility vital for brands seeking long-term impact or presence beyond metros. Lakhani explains, “Digital and interactive formats will continue to gain preference, but large-format billboards will always be critical for brand recall and reach. The future is hybrid where technology meets tradition.”

    The festive glow isn’t confined to big cities either. With Tier-2 and Tier-3 markets witnessing a consumption boom, brands are extending their OOH footprints into regional India. From high-footfall malls in Pune and Jaipur to highways connecting emerging industrial towns, the billboard boom is spreading fast.

    As the first outdoor media company listed on the BSE, Bright Outdoor Media continues to consolidate its leadership across Mumbai and the wider MMR region, claiming nearly 50 per cent of Mumbai’s OOH market. Its stronghold, built on long-term client partnerships and a robust portfolio of owned media assets, is now expanding into a digital frontier with more LED installations across transit hubs and high-traffic zones.

    The company’s hybrid model combining static strength with digital agility could very well define the future of Indian outdoor advertising. For now, though, Bright’s billboards are doing exactly what their name promises: keeping the festive season shining, one giant frame at a time.

     

  • AI adds a pinch of emotion to Fortune’s home-cooked Diwali story

    AI adds a pinch of emotion to Fortune’s home-cooked Diwali story

    MUMBAI: This Diwali, Fortune isn’t just stirring pots, it’s stirring hearts. In a season when most ads sparkle with gloss and glamour, the brand has chosen a different recipe: a heartwarming, AI-powered homecoming that celebrates the soul of ‘Ghar Ka Khana’.

    India’s most loved food and kitchen staples brand, Fortune from AWL Agri Business ltd (formerly Adani Wilmar Ltd) has launched a two-fold digital campaign that uses artificial intelligence to turn festive emotion into moving imagery. The result is an evocative story that captures what Diwali truly tastes like, not the click of a delivery app, but the clatter of pots and laughter around a family table.

    At the centre of the campaign is an AI-generated film that contrasts the convenience of the fast-paced modern world with the warmth of home-cooked food. It follows a young man who leaves behind his takeaway meals and train food trays to return home for Diwali, rediscovering the love that simmers in his mother’s kitchen. As she prepares traditional delicacies, the son’s quiet journey home unfolds into an emotional reunion, a moment that beautifully serves up the campaign’s message: ‘Iss Diwali, Fortune wale hai woh jo Ghar Ka Khana Khayenge’.

    Visually rich and emotionally resonant, the film uses generative AI to create hyperreal scenes from bustling cityscapes to glowing diyas blending futuristic tech with timeless emotion. It’s a modern retelling of an age-old truth: that no matter how advanced our gadgets get, nothing beats the comfort of food made by someone who loves you.

    “Diwali is more than lights and sweets. It’s a pause that reconnects us to home, family and food made with love,” said AWL Agri Business Ltd joint president for sales & marketing Mukesh Mishra. “Through our AI-led storytelling, we’ve tried to blend technology with emotion, creating a campaign that’s both nostalgic and forward-looking. This is our invitation to India to pause, come home and rediscover the joy of ‘Ghar Ka Khana’.”

    But Fortune doesn’t stop at film. The brand has also cooked up an AI-powered interactive greeting generator, adding a playful twist to festive sharing. Users can upload their photos, choose their favourite festive treats from Karanji and Malpua to Mathri and Muruku and watch them transform into animated, glowing Fortune Diwali postcards ready to be shared across social media.

    By turning memories into motion and nostalgia into pixels, Fortune’s campaign bridges tradition and technology with surprising ease. It’s a reminder that while AI can replicate almost everything, the warmth of home-cooked food remains inimitable.

    This Diwali, Fortune’s message is clear, the most precious gift you can unwrap isn’t delivered to your door; it’s waiting in your kitchen

     

  • Sportel 2025: AI set to dominate sports content as clubs embrace fan-generated revolution

    Sportel 2025: AI set to dominate sports content as clubs embrace fan-generated revolution

    MONACO: Sports organisations have a decade at most before artificial intelligence swallows nearly all their non-live content whole. Scoreplay – the AI-powered asset management platform – chief executive and cofounder Victorien Tixier delivered that stark message at Sportel Monaco’s sports business conference.

    The technology has become the lifeline for clubs scrambling to flood time zones with content that keeps fans glued. Yet Tixier reckons sport has a fleeting chance to rise above the tidal wave of AI dreck—provided it doubles down on storytelling and authenticity whilst deploying AI to dub content, chase trends and turbocharge workflows.

    “Sport has a unique opportunity to differentiate itself from all that huge flow of AI-generated content by helping organisations invest time and effort on storytelling, authenticity, and capitalise on what makes sport emotional, very human, and then globalise that,” Tixier told the panel.

    Liverpool FC vice-president of media Matthew Quinn detailed how the English football giants ditched physical infrastructure for cloud storage, enabling content creation from anywhere. The club had “years of images stored under a person’s stairs at home that were unsearchable,” he said. Cloud technology let Liverpool scatter content teams across training grounds and away fixtures whilst keeping them connected.

    Liverpool now deploys regional agencies in MENA and southeast Asia to run social media feeds round the clock. “Whilst we sleep in Liverpool, they will be awake in Thailand and those guys can be creating content, jumping on a trend,” Quinn explained. But his real obsession is user-generated content—fans capturing trophy lifts can tell stories “a million times more authentic than the clubs can do,” he said, though AI must do the heavy lifting to process footage in real time.

    Quinn sketched Liverpool’s business model: create centrally, distribute by audience. Different age groups and locations devour content differently—linear TV, YouTube, membership platforms. The setup lets clubs pounce when new platforms materialise. “A few years ago, TikTok didn’t exist,” he noted.

    Tixier stripped the monetisation playbook bare: “You sell tickets, you sell licensing, you sell brand partnerships, and you’re a content business.” Content must power every revenue stream, whether plastering Mo Salah across the website to shift tickets or exploiting international players to crack new markets culturally.

    Wasabi Technologies product marketing manager Isabel Freedman spotted another angle: sponsorship. Brands can trumpet partnerships that matured alongside the sport using archived footage—a compelling pitch.

    Quinn imagines AI linking fan-shot videos to match moments, creating hundreds of perspectives on the same goal. It’s a seductive vision: supporters as storytellers, clubs as enablers, AI as the glue. The sceptics worry about job losses and hidden agendas. The believers see magic. Either way, the revolution isn’t pending. It’s live.

  • Olympic films triumph at Monaco’s glittering Sportel Awards

    Olympic films triumph at Monaco’s glittering Sportel Awards

    MONACO: Monaco pulsed with sporting glamour on 20 October as the 36th Sportel Awards crowned this year’s finest films at the Grimaldi Forum. Two Olympic Channel productions—Personal Best and I’m Carl Lewis—walked away with coveted golden podiums, the ultimate accolade in sports broadcasting.

    Personal Best, a South African production by Anant Singh, claimed best thematic documentary. The film shadows eight athletes through their Olympic Games Paris 2024 journey, offering a raw glimpse into medal-chasing drama. I’m Carl Lewis, produced by Noah Media Group for Olympic Channel, secured best biopic honours. The British production explores the uncompromising life of the nine-time Olympic champion whom the International Olympic Committee declared “Sportsman of the Century” in 1999.

    Prince Albert II presided over the ceremony, broadcast live on TV Monaco, before a packed Salle Prince Pierre. The prince personally handed athletics legend Marie-José Perec the autobiography award for her book Ma Vie Olympique, whilst motor racing icon Jacky Ickx received the lifetime sport achievement award.

    Other winners included NBC Sports, which took best slow motion for Ilia Malinin: Relatable Awe, and Welcome to Wrexham, which won best docu-series. France’s Comme tout le monde claimed best report, whilst Canal+’s La Quête secured best advertising. ESPN Deportes’ Las Amazonas de Yaxunah won the Peace and Sport documentary prize.

    Tennis star Henri Leconte presided over a jury featuring handball champion Allison Pineau, cyclist Masomah Ali Zada and footballer Lonsana Doumbouya. Marine Picoulet, executive director of Sportel Awards, called the 2025 edition “one of the most powerful and inspiring” yet.

    Both winning Olympic films are currently streaming free on Olympics.com—territorial restrictions permitting. For once, the podium finish comes without the sweat.

    GOLDEN PODIUMS
    Best Slow Motion Georges Bertellotti
    Supported by Comité National Olympique et Sportif Français
    Ilia Malinin: Relatable Awe
    Eric Hamilton, Max Rahamin, Ryan Yeager, Eric Girgash, Sam Tydings, Jack Felling – NBC Sports
    USA

    Best Thematic Documentary
    Supported by TVMONACO
    Personal Best
    Ady Walter & Amal Doghmi – Videovision Entertainment – Distant Horizon
    South Africa

    Best Report
    Supported by
    Comme tout le monde
    Pierre-Etienne Léonard et Mohammed Khouadja – WAA ULTRA
    France

    Best Biopic
    Supported by
    I’m Carl Lewis!
    Julie Anderson & Chris Hay – Noah Media Group for Olympic Channel
    United Kingdom

    Best Docu-Series
    Supported by Les Barbagiuans de Monaco
    Welcome to Wrexham
    Bryan Rowland, Josh Drisko and Jeff Luni – NEO Studios / Boardwalk Pictures
    United Kingdom

    Best Advertising – Christian Blachas
    Supported by A.S.Monaco Basket-Roca Team
    La Quête
    Sébastien Bovier – CANAL+
    France

    Jury Special Prize
    Laure ! Laure ! Laure !
    Guillaume Priou & Laurie Delhostal – CHENGYU
    France

    SPECIAL PRIZES
    Peace and Sport Documentary Prize
    Las Amazonas De Yaxunah
    Alfonso Algara – ESPN Deportes
    USA

    Sports book Prize  Renaud de Laborderie
    Supported by Comité Olympique Monégasque
    Rainer W. Schlegelmilch – Porsche racing moments
    Switzerland