Category: Television

Series Mania announces ambitious slate for television pitching forum

MUMBAI: Europe’s largest television-series festival has selected 15 projects from a record 406 submissions for its coveted co-pro pitching sessions. Series Mania, to be held in Lille from 21-28 March, will see producers vie for a €50,000 development prize, reflecting the growing importance of international co-financing in the post-peak TV era.

The selection, drawn from 72 countries including first-time entrants New Zealand and Uganda, spans an eclectic mix of genres. Projects range from Nest, a crime comedy about racing pigeons and the Taiwanese mafia, to Wool, a drama about a revolutionary knitting collective in 1960s Yugoslavia. A 16th project, Ruth’s Ghosts—a legal thriller about abortion rights in 2030 America—will be presented outside the competition.

The pitching session’s jury includes notable industry figures, led by M-K Kennedy, executive managing director of TV series at StudioCanal. The Forum has been the launchpad for the release of such series as Unspoken (Ukraine), Off Season (Switzerland / France), No Man’s Land (France), Banking District (Switzerland), Eden (France), Keeping Faith (Great Britain), Manor House (Czech Republic), Stella Blomkvist (Iceland), Tabula Rasa (Belgium), Trepalium (France), Warrior (Denmark), Devils (Italy), The Head (Spain), Ever After (Italy), The Last Socialist Artefact (Slovenia, Finland) and We Got This (Sweden) suggesting the event’s growing influence in Europe’s television landscape.

“Co-financing is more crucial than ever,” says Francesco Capurro, director of Series Mania Forum. “It’s the key to securing higher budgets, boosting sales and staying competitive on the global stage.”

The forum, which launched in 2013, has become a vital bridge between European and international drama projects and potential financial partners.
The event underscores Lille’s rising prominence as a hub for television development. Last year’s festival attracted 98,000 spectators and 4,200 industry professionals from more than 70 countries, cementing its position as Europe’s premier television-series gathering.

ANTIPAROS – 6 x 45′ – Greece
Genre: Comedy, Crime
Produced by Dionyssis Samiotis, Development Producer Alexandra Orfanidou, for Tanweer Productions, Co – Producer Mark Denessen, for Ginger Film Flanders (Belgium)
Written by Alexandros Tsilifonis and George Zafeiropoulos
Directed by Alexandros Tsilifonis
Short synopsis: An overworked detective returns to his hometown in the island of Antiparos for a much-needed holiday. But once there, an overly law – abiding British policewoman drags him deep down into the mysterious disappearance of a foreign billionaire, and the most complicated case of murders in his entire career.

CECILIE MARS – 6 x 45′ – Denmark
Genre: Thriller
Produced by Karoline Leth for Zentropa
Written and directed by Christoffer Boe
Short synopsis: In her pursuit of justice, Cecilie Mars, a brave police officer, faces a moral
dilemma that pushes her beyond the confines of the law. She embarks on a treacherous path to fight evil.

CONSULTANTS – 6 x 45′ – Germany
Genre: Political thriller
Produced by Alexis von Wittgenstein and Gilda Weller for Violet Pictures and Henning Kamm for Real Film Berlin
Written by Richard Kropf, Bob Conrad, Hanno Hackfort
Short synopsis: Carlo, a young political campaigner from Berlin, believes he’s landed the job of a lifetime: working at one of the world’s largest strategy agencies, he’s part of a digital campaign opposing a neo-fascist party. He sees himself as one of the good guys—until the day he discovers he’s merely a pawn in a plot of unimaginable scale.

HEIST – 6 x 60′ – Belgium, France
Genre: Action thriller
Produced by Dries Phylpo for A Private View and Antoine Simkine for Les Films d’Antoine
Written by Ben Braeunlich
Short synopsis: Beirut, 1976. The civil war holds the Lebanese capital captive. And here, amid all this terror, the biggest bank robbery of all times is about to go down.

INTIMACY – 8 x 42′ – UK/Israel
Genre: Thriller
Produced by Ariel Weisbrod for Sipur
Created by: Dan Berlinka, Maude Sandham, Dan Buckland
Written by: Dan Berlinka
Short synopsis: Sex scene, death scene, crime scene. When an actress is found dead on set, the intimacy co-ordinator feels compelled to investigate, which means taking on the dead woman’s role… in more ways than one.

INVISIBLE – 6 x 45’ – Ireland
Genre: Mystery Drama
Produced by Ciarán Charles, Darach Ó Tuairisg & Bernadette Hoban
Written by Matt Harvey & Marteinn Thorisson
Short synopsis: A girl no one respects. A man no one believes. A crime only they can solve.

MASQUERADE – 8 x 55′ – Iceland
Genre: Crime/Thriller
Produced by Arnbjörg Hafli?adóttir for Glassriver, contact Andri Ómarsson
Created by Andri Óttarsson & Baldvin Z
Short synopsis: A young American reporter arrives in a small Icelandic village, investigating an old unsolved abduction case of a four-year-old girl—the granddaughter of the town’s most wealthy and powerful man—who vanished while on vacation in Florida 25 years ago. As she digs deeper, she begins to unravel the village’s darkest secrets, only to realize that those responsible for the abduction are probably still living in the village.

NEST – 8 x 60′ – Belgium, United Kingdom, Taiwan
Genre: Flamboyant Crime Comedy
Produced by David Vermander for Cartouche, Anouk Mertens for Neo Studios and James Chia-Hao for Reel Asia Pictures
Written by Koen Van Sande, Sven Huybrechts, Daniel Lambo and Lai Kin Chang
Short synopsis: When a charming charlatan and her intellectually challenged brother inherit a promising racing pigeon, they are thrust into a deadly game with the ruthless Taiwanese gambling mafia.

NUCLEAR SUNSET CRUISE – 4 x 45′ – Germany
Genre: Dramedy
Produced by Martin Lehwald, Marcos Kantis, Philipp Goeser for Schiwago Film
Written by Robert Krause and Florian Puchert
Short synopsis: A clueless East German cruise ship accidentally sails straight into the Cuban Missile Crisis. With nuclear war looming and deck chair battles raging, the real question is: can they survive each other?

PHENOMENA – THE SERIES – 8 x 50′ – Italy
Genre: Horror/Soapy teen drama
Produced by Maria Grazia Saccà for Titanus Production
Written by Nicola Guaglianone and Menotti
Short synopsis: Jennifer Corvino, an American student at a fencing academy in the glamorous Dolomites, hides her psychic link with insects. When brutal murders strike, she must learn how to use her secret power to stop the killer, save her comrades and survive.

THE CHAPLAIN – 8 x 30′ – Australia
Genre: Drama
Co-created and Produced by Jude Troy for Wooden Horse
Co-created and Written by Elise McCredie
Short synopsis: Airport Chaplain TOBIAS WALLACE has a constantly ringing mobile, a drawer full of cash, and a decidedly unorthodox approach to solving the daily crises of an airport. When new management threatens to terminate his contract, Tobias devises increasingly ingenious ways to keep his beloved chaplaincy – after all, it’s the only thing keeping his submerged demons at bay.

THE INSTITUTE – 6 x 50′ – Germany, Denmark
Genre: Thriller
Produced by Irina Ignatiew-Lemke for Boxworks Media and Deborah Bayer Marlow for Nordisk Film Productions
Created by: Esther Gronenborn
Written by Esther Gronenborn and Astrid Ströher
Short synopsis: The mysterious death of a PhD student draws a brilliant scientist into a deadly web of deceit and intrigue, exposing the dark side of power and equality in the academic world.

THE LOTTERY TICKET – 6 x 50′ – Spain
Genre: Dramedy
Produced by Secuoya Studios
Written by Carlos Villa
Short synopsis: Julia’s 50th birthday turns chaotic as she reveals her terminal cancer, reconnects with her adopted daughter, and a winning lottery ticket sparks a battle, unearthing old wounds and buried secrets.

TOKYO CRUSH – 8 x 30′ – France, Japan
Genre: Comedy, Romance
Produced by Jonas Ben Haiem and Jean-Félix Dealberto for Salle Commune, and Hiroko Oda for Flag Inc.
Written by Clémence Dargent
Short synopsis: Mona, a bold Parisian chef, is hired to reinvent a struggling Tokyo izakaya – if only Toshiro, the talented (and annoyingly handsome) grandson of the founder, would let her.

WOOL – 6 x 50′ – Serbia, Iceland
Genre: Drama
Produced by Milena Dzambasovic for Film Road Production, Jonas Margeir Ingolfsson & Milla Ósk for Act4, Danna Stern for In Transit Productions
Written by Milena Dzambasovic (creator), Mladen Maticevic, Birkir Blaer Ingolfsson and Milla Ósk
Short synopsis: In 1960s Yugoslavia, a woman transforms a village by uniting housewives into a knitting collective. Their designs catch global fashion attention, revolutionizing their rural lives.

The 16th project, announced on February 18 during the Berlinale’s Co-Pro Series:

RUTH’S GHOSTS – 6 x 60’ – US, Germany
Genre: Legal thriller with supernatural elements
Produced by Jennifer Fox for A Luminous Mind Production, Tara Grace for Temair Pictures and Jana Lotze for Oma Inge Film.
Written by Jennifer Fox
Short synopsis: Set in 2030: Ghosts begin to haunt a Christian pro-life lawyer in New Orleans when she is confronted with arguing in court for her 13-year-old granddaughter’s right to an abortion amidst a national ban.

February 21, 2025
JioStar bags 10 major sponsors for Tata Women’s Premier League 2025

MUMBAI: With the Tata Women’s Premier League (WPL) 2025 returning for its third edition, the tournament is set to deliver even more electrifying cricket action. As the official broadcaster and streaming partner, JioStar has locked in ten major sponsors spanning diverse industries, a testament to the increasing commercial power of women’s sports in India.

JioStar’s impressive sponsor lineup for Tata WPL 2025 includes some of the biggest names across banking, finance, FMCG, and infrastructure. The brands stepping up to the crease are:

● State Bank of India (SBI)

● Tata Capital

● Association of Mutual Funds in India (AMFI)

● Kajaria Ceramics

● Black & White Ginger Ale

● Himalaya No.1 Facewash

● Tata Motors Limited

● APAR Industries Limited

● Amul (Gujarat Cooperative Milk Marketing Federation Limited)

● MSD Pharma

These partnerships reflect the soaring popularity of the Tata WPL and demonstrate the confidence that brands have in its audience reach and engagement. With sponsors cutting across BFSI, infrastructure, beverages, automotive, and FMCG, the league continues to cement itself as a mainstream commercial powerhouse.

JioStar EVP & business head, premium sports and agency relationships, Udit Sharma expressed his excitement over the sponsorship lineup, “We are thrilled to welcome a varied set of sponsors on JioStar’s coverage of the Tata WPL 2025 Season 3. Their support will play a pivotal role in promoting women’s cricket and empowering female athletes. With Tata WPL growing stronger each year, this season will undoubtedly deliver a unique and exhilarating experience for fans and partners alike. Our platform helps brands engage India’s growing women’s sports audience and high-intent consumers. We are confident our sponsors will see significant brand impact and ROI through their association with JioStar’s coverage of Tata WPL.”

The Tata WPL 2025 kicked off on 14 February, leading up to a grand finale on 15 March 2025. All matches are being broadcast on Star Sports and Sports18, with live streaming available on JioHotstar.

With an increasing number of brands betting big on women’s cricket, the Tata WPL is proving that the game is no longer just about men’s leagues.

February 21, 2025
Fremantle secures global rights to Japanese game show Ants

MUMBAI: Fremantle has acquired worldwide distribution rights to Ants, a novel Japanese competition format where contestants tackle supersized challenges while pretending to be ant-sized humans.

The format, originally created by Nippon TV and further developed by Fremantle North America, transforms contestants into ant-sized competitors who must navigate enormous everyday objects and work together to complete physical challenges. Tasks include transporting oversized food items across a giant kitchen against the clock, with prize money increasing based on successful collections.

Under the distribution agreement, Nippon TV will retain rights for most of Asia, while Fremantle will handle the rest of the world. The show has already proven successful in Japan, where it launched as a special on Nippon TV.

“It is so rare to find a format that makes you say to yourself ‘I have never seen anything like this,’” said Fremantle EVP of Unscripted Jimmy Fox. He noted that Nippon TV has a strong track record in format creation, having developed both Dragons’ Den (known as Shark Tank in America) and Sokkuri Sweets, which sparked the ‘cake or not cake’ trend.

Fremantle’s EVP global acquisitions and development Vasha Wallace, said the company has already received significant interest in the format, citing its unique blend of humour and physical challenges that appeals to viewers of all ages.

Nippon TV head of formats Tom Miyauchi described the show as highlighting “the power of unity and teamwork, much like the ants themselves.” The format features distinctive themed characters and larger-than-life set designs to create its miniaturised world.

The deal marks another significant format export from Japan, following Nippon TV’s previous international successes with shows like Dragons’ Den and Old Enough!, the latter of which streams on Netflix in over 190 countries.

February 20, 2025
India’s Competition Commission clears Torrent’s acquisition of Gujarat Titans

MUMBAI: The Competition Commission of India (CCI) has approved Torrent Investments Pvt Ltd’s acquisition of a controlling stake in the Gujarat Titans cricket franchise, marking a significant development in Indian Premier League ownership.

Under the approved deal, Torrent will acquire a 67 per cent stake in Irelia Sports India Pvt Ltd , which owns and operates the Gujarat Titans. The regulatory body noted that the transaction raises no competition concerns, as there are no horizontal overlaps or vertical relationships between the parties’ business activities.

Torrent Group, a diversified conglomerate with interests spanning pharmaceuticals, power generation, healthcare, and city gas distribution, views the acquisition as a strategic move to enhance its brand presence. The company stated that the investment aligns with its strategy of acquiring “high-value, scalable assets that offer consistent returns.”

The target company, Irelia Sports, manages the Gujarat Titans franchise along with its associated revenue streams, including match ticketing, team merchandising, and advertising rights. The acquisition has been notified under Section 6(4) of the Competition Act, 2002.

A spokesperson for Torrent Group noted that the acquisition would help the company connect with a broader demographic through cricket, India’s most popular sport. The deal represents one of the most significant ownership changes in the IPL’s recent history.

The CCI’s swift approval suggests a straightforward review process, given the distinct nature of the acquirer’s existing business portfolio and the target’s sports-focused operations. The transaction value remains undisclosed, though industry experts suggest it reflects the growing valuations of IPL franchises.

(Picture courtesy Gujarat Titans franchise)

February 20, 2025
Nandini Singh: bridging the worlds of Indian and Korean entertainment

MUMBAI: Veteran television executive Nandini Singh is burning the midnight oil these days, but not just for business. As executive consultant at CJ ENM, South Korea’s entertainment powerhouse, Singh is not only driving market expansion in India but also mastering the intricacies of the Korean language. Guided by her dedicated colleague and boss, Seb Dohyun Kim, she engages in late-night lessons in Hangul, fully immersing herself in the cultural world she now represents.

Her new role is a dream come true.

“From K-drama to more K-drama!” she exclaims. “Joining CJ ENM was like stepping into my dream Korean drama company.”

Singh’s position at the global entertainment giant places her at the forefront of bridging the gap between two entertainment-loving nations, introducing Korean storytelling to Indian audiences on a grand scale. Beyond television, she is embracing all aspects of Korean culture—content, cosmetics, cuisine, and K-pop—bringing a new wave of Hallyu to India.

Singh’s illustrious career spans over two decades, during which she has played a pivotal role in shaping India’s television landscape. Before joining CJ ENM in August 2024, she spent 18 years at Disney Star, where she held several leadership roles.

As general manager, she spearheaded a remarkable turnaround for a regional channel Star Pravah in Maharashtra, increasing its market share from 13 per cent to 52 per cent and driving revenue growth sixfold.
In 2018, she led the launch of Star Bharat, Disney Star’s first free-to-air channel, crafting a brand identity rooted in national pride. The channel quickly became a household name, establishing itself as India’s leading urban and rural entertainment brand within just eight months.

Her tenure at Disney Star also saw her driving the growth of a portfolio of six English-language channels, overseeing sales, marketing, content acquisition, and partnerships with Hollywood studios. As Business Head of Star Movies, she launched the premium offering Star Movies Select HD in 2015, targeting India’s top-tier households and redefining Hollywood content consumption in the country.

Earlier in her career, Singh played a crucial role in programming strategy for Star Plus, aligning sales, acquisition, marketing, and communication to relaunch the brand in 2010. Her strategic approach to slot management boosted non-original programming viewership by 40 per cent, earning her the prestigious ‘Star Achiever’ award that year.

Her expertise extends to advertising sales, where, as Vice President of Sales, she developed long-tail sales strategies for regional channels, bringing in 40 new clients from sectors including FMCG, education, and real estate. She also pioneered ‘Star Scribble,’ an online sales training programme, which achieved a 99 per cent completion rate among participants.

Now at CJ ENM, Singh is leveraging her extensive experience to drive market expansion and business development in India. Her deep understanding of consumer behaviour, honed through years of research and media planning at Mindshare and Disney Star, positions her perfectly to bridge the gap between Korean content and Indian audiences.

Her transition from Indian dramas to Hallyu appears seamless, given her track record in handling diverse entertainment markets. Singh’s success in managing English-language channels catering to India’s elite households has given her a unique ability to make foreign content relatable to Indian audiences—a skill that will prove invaluable in her new role.

The perks of her position extend beyond just television content. “The best part is getting access to all things Korean—content, cosmetics, food, K-pop,” Singh shares, highlighting the cultural immersion that comes with the job.

As she embarks on this exciting journey, Singh remains committed to her mission of making high-quality Korean entertainment accessible to a wider Indian audience. With late-night language lessons and a growing passion for Korean culture, she is not just working to bring K-dramas to India—she is fully embracing the world of K-content herself.

Her late-night Korean language sessions with Kim symbolise a broader shift in global media consumption patterns, where cultural boundaries are increasingly blurred, and Asian content continues its march onto the world stage.

February 20, 2025
Zee gets thumbs up on ESG from S&P; leads media sector in ESG rankings

MUMBAI: Even as certain government bodies are investigating Zee Entertainment for lack of transparency and for misuse of corporate funds in India, a global rating provider S&P Global’s Corporate Sustainability Assessment has given it a score of 44, placing it among the top 10 per cent of global media companies and well above the industry average of 20.

Ironical is it not? A prophet is not recognised in his own country, but is venerated elsewhere.

The Indian media powerhouse recorded a 16-point improvement from 2023, reaching the 93rd percentile in the global media, movies and entertainment sector. The company achieved top marks in transparency and reporting, whilst scoring above the 90th percentile in business ethics, cybersecurity, labour practices, and customer relations.

“Sustainable growth remains key to driving long-term success”, said Zee CEO Punit Goenka, emphasising the company’s focus on environmental sustainability and governance frameworks.

The assessment evaluated Zee’s management of material ESG risks through company disclosures, stakeholder analysis, and detailed corporate engagement. The score reflects Zee’s enhanced commitment to responsible business practices as it seeks to maintain its position as a leading entertainment provider in Asia’s third-largest economy.

February 19, 2025
Fancode to stream UIM E1 World Championship featuring star-studded teams

MUMBAI: Buckle up, motorsport fans—electric powerboating has arrived, and it’s bringing some serious star power. Once again Fancode solidifies itself as India’s go-to sports streaming platform with the broadcast of the UIM E1 World Championship presented by PIF, the world’s first all-electric powerboating competition. And if high-speed water racing isn’t enough to get you hooked, the team owners certainly will.

This championship isn’t just about speed—it’s about the biggest names in sports, music, and entertainment backing their teams in a battle for aquatic supremacy. Virat Kohli’s Team Blue Rising will hit the waves, joined by LeBron James’ Team AlUla, Steve Aoki’s Aoki Racing Team, and Tom Brady’s Team Brady. Football icon Didier Drogba leads Team Drogba, Latin music sensation Marc Anthony powers Team Miami, and tennis legend Rafael Nadal backs Team Rafa. Hollywood’s own Will Smith takes charge of Westbrook Racing, while Marcelo Claure heads Team Brazil. The line-up is as electrifying as the competition itself.

But the UIM E1 World Championship isn’t just about celebrity-backed teams. This series is breaking boundaries with its commitment to diversity and innovation, featuring mixed-gender pilots selected from disciplines like rally racing, jet ski competitions, and Formula 1. Through the E1 Pilot Academy, these elite racers earn their spot based on raw skill and precision.

The championship takes place in some of the most breathtaking locations on the planet—Jeddah, Miami, Monte Carlo, and Doha—where electric powerboats will slice through the water in a spectacle of speed and sustainability.

Fancode co-founder Yannick Colaco shared his excitement, “We are delighted to bring the UIM E1 World Championship with its cutting-edge electric racing and unique format to sports fans in India. This Championship has already attracted global icons like Kohli, LeBron James, and Rafael Nadal as team owners, and I’m sure fans will enjoy watching exciting racing action at some iconic locations around the world.”

E1 co-founder & CEO Rodi Basso echoed this enthusiasm, “We are delighted to partner with Fancode to bring E1’s thrilling racing on water action live and exclusive to our growing fanbase in India. There is already strong national interest with Virat Kohli’s Team Blue Rising competing as one of nine teams racing in the all-electric on-water Championship.”

With electric racing gaining momentum worldwide, the UIM E1 World Championship is set to redefine water motorsports and push sustainability to the forefront with Fancode’s exclusive broadcast network.

Fans can catch all the high-speed drama live on Fancode’s mobile app (Android, Ios), TV app (Android TV, Amazon Fire TV Stick, Jio STB, Samsung TV, OTT Play, Amazon Prime Video Channels, Airtel XStream), and on the web at www.Fancode.com.

February 19, 2025
Solitario Diamonds ink partnership with Gujarat Giants for WPL

MUMBAI: Solitario Diamonds has officially partnered with Gujarat Giants in the Women’s Premier League (WPL), becoming the first lab-grown diamond brand to align with the world’s biggest women’s cricket tournament. As the third most-watched cricket event globally, following the IPL and ICC T20 World Cup, the WPL presents an unmatched opportunity for Solitario to engage with millions across India.

With Gujarat—the diamond capital of India—at the heart of this collaboration, the synergy between Solitario and the WPL is seamless. The partnership goes beyond sport, celebrating the resilience, brilliance, and achievements of women in all fields.

Solitario Diamonds CEO & co-founder Ricky Vasandani expressed his enthusiasm for the association, stating, “We are incredibly proud to be associated with the Women’s Premier League, a tournament that is not just revolutionising women’s cricket but also inspiring millions across the country. As a brand dedicated to brilliance and resilience, we see this partnership as a tribute to women who shine in every field. Just like our diamonds, these athletes embody strength, perseverance, and excellence.”

To mark this alliance, Solitario Diamonds will host the entire WPL team in Bengaluru on 25 February. During a special ceremony, Vasandani will present each team member with a stunning tennis bracelet—a symbol of strength and elegance, much like the athletes themselves.

Solitario Diamonds is rolling out a power-packed marketing campaign that ensures maximum visibility throughout India. The brand is making bold moves with:

● Digital promotions and social media blitz – High-impact campaigns across live-streaming platforms and social media to keep the buzz alive throughout the tournament.

● Out-of-home (OOH) advertising – Strategic placements in key cities, including Mumbai, Bengaluru, Lucknow, and Baroda.

● Bus branding – Extensive branding on public transport in cricket-loving regions.

● Stadium branding & in-game digital activations – Front-and-centre presence at WPL venues, ensuring strong brand recall.

With stadium branding, live-streaming integrations, and high-impact activations, Solitario Diamonds is ensuring that its presence is as dazzling as its creations. As the WPL takes centre stage, the brand is set to knock it out of the park, positioning itself as a game-changer in the world of luxury diamonds.

This strategic collaboration underscores Solitario’s dedication to empowering women, drawing a compelling parallel between the brilliance of diamonds and the rising success of Indian women in sports and beyond. Cricket, revered as a religion in India, offers the perfect stage for Solitario to inspire and connect with audiences on an unparalleled scale.

With this partnership, Solitario Diamonds is championing a movement that celebrates women’s achievements, resilience, and brilliance, both on and off the field.

February 19, 2025
Haier India becomes title sponsor for Match Centre Live at Champions Trophy 2025

MUMBAI : Haier India is set to take centre stage in the ICC Men’s Champions Trophy 2025 as the title sponsor for Match Centre Live on JioHotstar. From 19 February to 9 March 2025, the brand will bring cricket fans closer to the action with exclusive match insights, real-time updates, & expert analysis, reinforcing its presence in the world of sports entertainment.

This move aligns with Haier’s sport-o-tainment marketing approach, which aims to engage India’s young, tech-savvy, and premium consumer base through major sporting events. By integrating its brand into the cricketing action, Haier is set to amplify its visibility among millions of passionate fans.

Haier appliances India president NS Satish remarked, “Cricket unites India like no other sport. This collaboration with JioHotstar enhances our engagement with audiences across generations, reinforcing Haier’s image as an innovative & challenger brand that merges technology with passion.”

As Match Centre Live’s title sponsor, Haier will offer exclusive live match statistics, expert insights, and commentary across JioHotstar’s connected TV and mobile platforms. The collaboration will also feature high-impact tv commercials, showcasing Haier’s premium refrigerators, LED TVs, washing machines, and air conditioners.

With a history of sponsoring top-tier sporting events such as the ICC Men’s T20 World Cup 2024, Euro Cup, Roland-Garros, & the IPL, Haier continues to strengthen its presence in the sports & entertainment landscape.

February 19, 2025

Uday Shankar & Ishan Chatterjee’s masterplan to disrupt the sports ecosystem

MUMBAI: By partnering with Nielsen, Uday Shankar and Ishan Chatterjee have revolutionised the way advertising revenue is allocated in media. With all relevant consumption metrics now accessible, brands and managers can accurately measure the return on investment for ads on the JioHotstar platform.

Previously, advertisers relied on distributor and retailer feedback to gauge the impact of TV or OTT ad campaigns or simply trusted platform-provided figures on watch times and engagement. This lack of transparency led many senior marketing executives to lament that half their advertising budget was wasted—without knowing which half.

Now, with JioHotstar exposing detailed consumer engagement data, transparency is paramount. Competitors such as Sony, Zee5, and MX Player will face pressure to disclose their own engagement metrics, which are likely to fall far short of JioHotstar’s. With 50 million subscribers, JioHotstar’s numbers will set a new benchmark, challenging the credibility of figures previously reported by other streaming services.

Will Nielsen’s dashboards validate or debunk existing industry claims? Will this new transparency drive up unit pricing for OTT ad spots or cause a market correction?

Some believe smaller OTT platforms could benefit from JioHotstar’s initiative, as advertisers gain confidence in exploring alternative options.

“The battle for advertising video revenue is primarily between Alphabet, Meta, and other players, while retail commerce giants such as Amazon, Flipkart, and Swiggy are evolving into media powerhouses, attracting thousands of crores in ad spending. The first two dominate 70 per cent of India’s digital ad spend. Transparency measures like JioStar’s could shift investment from Alphabet and Meta to other video platforms as the ad market expands,” observes an industry expert.

To capitalise on this shift, Uday Shankar has launched sports channels in multiple languages in both standard and high definition. The true impact of JioStar’s transformation of the sports vertical will likely become evident later this year, as marketers, agencies, cable operators, aggregators, and DTH platforms assess the platform’s potential. Subscription and advertising revenue are expected to surge.

Digital advertising has long been a black box, with advertisers investing heavily in Meta and Alphabet despite knowing there’s wastage—largely because of the strength of their data, even though it’s self-reported.

In an effort to bring more transparency, Google has been encouraging third-party tech solution providers outside its ecosystem through programs like YTMP, where Channel Factory plays a role, particularly for YouTube advertisers.

The recent Jio-Hotstar collaboration with Nielsen aims to shed light on consumption data, providing advertisers with third-party insights. However, since the study is commissioned by the media company itself, its credibility will be met with some skepticism—much like the trust advertisers place in Meta and Alphabet’s data. That said, it still offers a level of validation that could make investment decisions more confident.

More importantly, this move could push other players to enhance transparency in their own data reporting, ultimately fostering a more accountable digital ecosystem

Yesudas Pillai
Founder Y&A Transformation and Strategic Advisor, Channel Factory

The BCCI has thrived on the IPL’s ever-increasing media rights value, pocketing Rs 48,000 crore in the 2022–27 cycle. However, the IPL has been a loss leader for JioStar, with revenue projections of Rs 4,000–4,500 crore for the 2025 season, meaning profitability remains elusive.

The recent merger aims to stabilise rights acquisition costs. Previously, Disney Star and Viacom18 engaged in aggressive bidding wars, inflating prices. With one less competitor, prices may better reflect market realities—unless Netflix, Eurosport, Prime Video, YouTube, Zee, or Sony enter the fray, not just for the IPL but for other sports properties, as India’s sporting interests expand beyond cricket.

(Sources suggest sports administrators are privately expressing concerns about the impending disruption, while smaller sports associations are eager for new opportunities.)

If rights prices fall to more realistic levels, the entire ecosystem will feel the effects. BCCI and ICC will have less revenue from central media and broadcast rights pools, reducing payouts to team owners. Consequently, player salaries will also decline as team owners rationalise spending. The days of cricketers commanding double-digit crore salaries, as Virat Kohli, Rohit Sharma, and Hardik Pandya have, may be numbered.

The sports sector is on the brink of a transformation. On the infrastructure side, on the broadcast side, on the talent side – it is all waiting to explode. Production quality, engagement, and interactivity will reach unprecedented levels. It only took a nudge from the likes of Uday Shankar, Akash Ambani, and Nita Ambani. As the saying goes, the match isn’t over until it’s won—or lost.

February 19, 2025