Category: English Entertainment

  • India’s rare black tiger prowls onto National Geographic’s October cover

    India’s rare black tiger prowls onto National Geographic’s October cover

    MUMBAI: Black is the new roar. India has made global headlines as a rare black tiger from Odisha’s Similipal national park takes centre stage on the cover of National Geographic’s October 2025 edition.

    The striking image, captured by Indian photographer and National Geographic explorer Prasenjeet Yadav, shines a spotlight on one of the world’s rarest big cats, and on India’s growing role in wildlife conservation.

    Similipal is home to about 30 tigers, nearly half of which carry the rare genetic mutation that gives them their striking pseudo-melanistic coats. Photographing one of these elusive cats, known as T12, was no easy feat. Yadav spent more than three months patiently tracking and observing before capturing the defining moment.

    “Being out in the forests of Similipal was intense and humbling,” Yadav reflected. “To see this story now on National Geographic’s cover is both an honour and a reminder of why we document India’s extraordinary wild heart.”

    The cover story, praised by Nat Geo editor-in-chief Nathan Lump, goes beyond the image itself. It underscores the importance of genetic diversity, warning that saving animals is just the first step, ensuring their long-term survival demands broader action.

    Jiostar’s Alok Jain, who oversees National Geographic in India, added: “This almost mythical sight reflects the power of nature’s mysteries and continues Nat Geo’s legacy of ground breaking storytelling.”

    The achievement also highlights the tireless work of the Odisha forest department, scientists, and conservationists working to protect fragile ecosystems. More than a photograph, it is a global reminder of India’s conservation commitment.

    With this historic cover, National Geographic not only celebrates the rare black tiger but also elevates India’s role in safeguarding the planet’s most extraordinary wildlife, one frame at a time.
     

  • Variety hits the right note with launch of Variety India this November

    Variety hits the right note with launch of Variety India this November

    MUMBAI: Call it a blockbuster plot twist: Variety, the world’s number one entertainment news brand, is setting the stage for its India debut. Teaming up with Thursday Tales Publishing Pvt Ltd (TTPPL), helmed by industry veterans Sarita A. Tanwar and Gautam Thakker, Variety India is all set to roll out this November.

    For over 120 years, Variety has been the vital read across Hollywood and beyond, covering film, TV, theatre, streaming, and pop culture in more than 84 countries. Now, with India’s film and entertainment industry booming, the brand is bringing its trusted voice to one of the world’s most dynamic storytelling hubs.

    “India is one of the world’s largest markets for movies, television and digital media. The launch of Variety India will add great depth and dimension to our global coverage,” said Variety, Co-Editors-in-Chief, Cynthia Little and Ramin Setoodeh.

    The new edition will debut in English, with plans to expand into regional languages soon. At the helm is Sarita A. Tanwar, acclaimed editor with stints at Mid-Day, Bombay Times, and DNA. “To bring Variety to India is not just a strategic decision, it’s a passionate one,” she said. “This brand has always been my go-to for Hollywood news, and India deserves a voice just as reliable.”

    Adding to this, EveryMedia Technologies, TTPPL, ceo-founder, Gautam B. Thakker, called it “a timely opportunity,” noting that the move would connect India’s creative pulse to the global stage.

    With Variety India headquartered in Mumbai, the publication promises to amplify the country’s diverse entertainment voices while plugging directly into the international conversation. 

  • Disney India’s Friendship Day post hits nostalgia sweet spot

    Disney India’s Friendship Day post hits nostalgia sweet spot

    MUMBAI: Disney India marked Friendship Day with an Instagram nod to the good old days of imperfectly perfect friendships. Its caption, “Timings were off. But the bond? Always on point!”, struck a playful chord, inviting followers to share their own throwback tales of late-night calls, silly fights and loyalty.

    With a wink to nostalgia and a splash of heart, the post reminded fans that while timings may falter, true friendships never do.

     
     
     
     
     
     
     
     
     
     
     
     
     
     
     

    A post shared by Disney India (@disneyindia)

    In a world obsessed with blue ticks and instant replies, Disney’s message feels refreshingly analogue: friendships don’t run on Wi‑Fi, they run on heart. By tapping into a universal truth that bonds outlast bad timing the brand delivers a post that’s equal parts sentiment and scroll‑stopping charm.

    And if engagement numbers are anything to go by, Disney India’s Friendship Day celebration proves one thing: the best friendships, like the best stories, never really go out of style. 
     

  • Warner Bros. Discovery saddles up for Tour de France with a high-tech

    Warner Bros. Discovery saddles up for Tour de France with a high-tech

    MUMBAI: Warner Bros. Discovery (WBD) is shifting gears for this year’s Tour de France and Tour de France Femmes avec Zwift, promising wall-to-wall coverage powered by tech, talent and turbo-charged storytelling.

    Starting 5 July, the world’s most iconic cycling race will stream live across every stage on WBD’s streaming services – Max, HBO Max and discovery+ – alongside traditional coverage on Eurosport and TNT Sports. That’s 3,320 km of pedal-powered drama, served in 20 languages across Europe and Asia, with exclusive rights in 44 territories.

    And the peloton doesn’t stop there. The women’s race – the Tour de France Femmes avec Zwift — gears up with nine stages and 1,165 km of action, beginning 26 July. It marks the longest race yet on the UCI Women’s World Tour.

    Joining the broadcast caravan is recently retired French cycling legend Romain Bardet. Swapping saddle for mic, Bardet will ride alongside the action as WBD’s newest motorbike reporter for stages 11 to 15. “I’m throwing myself into the unknown,” he said, “but I’ve got the experience and team to bring new insight to fans.”

    He’s part of an all-star commentary squad, including Tour de France veterans Jens Voigt, Adam Blythe, Alberto Contador, and studio anchors Orla Chennaoui, Robbie McEwen, and Ashleigh Wilmot, among others.

    For cycling purists and super fans, WBD is rolling out a game-changer: a new quad screen feature. It lets viewers track breakaways, the peloton and the grupetto simultaneously using real-time footage from motorbikes, drones, and helicopters. It’s tactical, immersive, and perfect for armchair analysts.

    Also back in action is WBD’s award-winning Curve studio with its arsenal of mixed reality tools — think virtual wind tunnels, inclinometers for brutal climbs, and even a digital team bus to unpack race strategies in forensic detail.

    And just in case fans need more than live races, there’s Cycling Africa – The Rise of African Pro Cycling debuting 20 July. The original film features stars like Chris Froome, Biniam Girmay and Ashleigh Moolman-Pasio ahead of the historic 2025 UCI Road World Championships in Rwanda.

    Ad dollars are racing too, with record commercial investments from brands including Zwift, Whoop, Škoda, Lidl and Velux. Expect bespoke campaigns and in-broadcast storytelling to match the race’s pace.

    With the men’s field headlined by Tadej Pogacar, Jonas Vingegaard and Remco Evenepoel, and the women’s peloton packed with firepower from Kasia Niewiadoma to Demi Vollering, this year’s Tour is shaping up to be an all-out sprint for cycling supremacy.

    In the saddle or on screen, WBD is making sure fans don’t miss a turn of the wheel.

  • Sea it to believe it David Attenborough dives deep with National Geographic

    Sea it to believe it David Attenborough dives deep with National Geographic

    MUMBAI: From the man who’s shown us the planet’s wildest wonders comes a call louder than the crashing waves and this time, the sea is the story. To mark World Oceans Day, National Geographic and Sir David Attenborough have teamed up for the first time to present OCEAN WITH DAVID ATTENBOROUGH, a sweeping, feature-length documentary that blends science, storytelling, and soul-stirring visuals to shine a light on our planet’s blue heart and how we might just save it. The film premieres on Sunday, 8 June at 7 pm on National Geographic and streams the same day on JioHotstar.

    At 99 years old, the legendary broadcaster, biologist, and knighted natural historian delivers what may be his most powerful message yet. Drawing on a 70-year career of exploration, Attenborough takes viewers on an awe-inspiring undersea journey from coral reefs to kelp forests, seamounts to the open ocean showing how the Earth’s watery lungs are all interconnected, increasingly imperilled, and yet astonishingly resilient.

    With haunting new footage of bottom trawling, the film doesn’t flinch from showing the devastation being caused by destructive fishing practices. But rather than wallowing in gloom, Attenborough and the filmmakers focus on solutions: stories of hope, restoration, and revival, offering evidence that if action is taken now, marine life can recover at unprecedented scale.

    “If we save the sea, we save our world,” declares Attenborough and the science backs him. According to recent studies and inputs from advisors including Enric Sala, founder of National Geographic Pristine Seas, ocean protection efforts can lead to rapid biodiversity rebounds and support climate stability.

    The film’s timing is no accident. It aligns with the UN Ocean Conference 2025 in Nice and falls mid-decade of the UN’s Ocean Science for Sustainable Development plan (2021–2030), lending weight to its message.

    As National Geographic EVP Tom McDonald put it, “There is no one better to deliver this landmark film than Sir David.”

    In India, where over 11,000 km of coastline supports thriving marine ecosystems and millions of livelihoods, the message couldn’t be more personal. JioStar president of entertainment Alok Jain noted, “This is not just a global story, it is our story too.”

    With sweeping cinematography, compelling accounts, and Attenborough’s trademark gravitas, Ocean urges viewers to rethink their relationship with the ocean. The film also offers hope that with the right marine protection policies and public pressure, we can restore what’s been lost beneath the waves.

    Later this year, the film will also be made available to educators and non-profits worldwide, bringing the message to classrooms, museums, and conferences.

    Directed by Toby Nowlan, Keith Scholey, and Colin Butfield, and produced by Silverback Films and Open Planet Studios, Ocean is not just a documentary, it’s a rallying cry for ocean lovers, policy-makers, and future generations.

    Tune in this Sunday, 8 June at 7 pm because when Attenborough speaks, the world listens. And this time, the sea needs us to.

  • Ghosted with benefits as Noyontara haunts prime time on Colors

    Ghosted with benefits as Noyontara haunts prime time on Colors

    MUMBAI: Just when your TV schedule was mourning the end of IPL madness, Colors is summoning the spirits with Noyontara, a supernatural thriller that slips between the living and the dead with all the finesse of a ghost through a locked door.

    Premiering 9 June at 8:30 PM and airing daily, Noyontara centres on a 23-year-old ghost-whisperer who marries into a family with more secrets than skeletons in the closet and that’s saying something. The titular Noyontara (played by Shruti Bhist) steps into the lavish yet ominous Pari Mahal as Dr Surjo’s new bride, only to discover that her real in-laws might be the ones lurking beyond the veil.

    With a cheeky ghost sidekick named Hasiram and two very much dead women claiming to be her mother-in-law (cue Narayani Shastri in a dual role that’s all shade and secrets), Noyontara must untangle love from manipulation, science from the supernatural, and figure out whether she’s being guided… or gaslit.

    Noyontara isn’t your typical ghost story,” says Shruti Bhist. “She’s not afraid of the dead she speaks their language. What drew me in was the idea of a saviour, not a victim. And yes, the ghosts here are more guardian angel than ghoul.”

    For Narayani Shastri, it’s a dual debut her first collaboration with Colors and her first time playing two emotionally conflicting characters on the same canvas. “One thrives on power, the other on protection. And the viewer never quite knows which one’s which.”

    Also making his Hindi TV debut is Bengali heartthrob Arjun Chakrabarty as Surjo, a rational man grappling with very irrational hauntings. “It’s less about fearing the supernatural,” he explains, “and more about wrestling with buried grief and emotional truths we hide from ourselves.”

    With its blend of paranormal drama, human vulnerability, and a haveli that’s practically a character in itself, Noyontara promises to be the gothic escape viewers didn’t know they needed. Expect blurred lines, chilling twists, and a heroine who’s got one foot in this world and one firmly planted in the next.

    So, if your evenings have been missing drama post-IPL, prepare to get possessed. Noyontara is here to haunt your heart and your remote.

  • Max gets a manga-nificent makeover with Japanese drama rollout

    Max gets a manga-nificent makeover with Japanese drama rollout

    MUMBAI: Is it a romcom? A legal thriller? A dark comedy with a deadly title? Max says: Why not all of the above? In a bold eastward expansion of storytelling, Warner Bros. Discovery and Japanese streaming powerhouse U-Next are taking their relationship to the next level by giving Japanese dramas a global passport.

    After launching Max within U-Next in Japan last year, the partners are now flipping the narrative. A curated bouquet of 10 Japanese series, including TBS’s much-awaited Love is for the Dogs and TV Tokyo’s deliciously morbid Please Die My Beloved, will be released across key international markets starting with the U.S., Brazil and Southeast Asia.

    Also in the lineup: Ignite (a legal drama with teeth), Mr. Mikami’s Classroom, Who Saw the Peacock Dance in the Jungle?, La Grande Maison Tokyo, its special episode Light of My Lion, Until I Destroyed My Husband’s Other Family, and Baby Assassins. The slate cuts across genres from slow-burn psychological thrillers to culinary family sagas and assassin-led chaos ensuring there’s more than one flavour for every binge palate.

    This cross-cultural programming exchange is no accident. U-Next president and CEO Tenshin Tsutsumi confirmed that since their exclusive tie-up with WBD in September 2024, expanding Japanese IP globally has been a core focus. “We’re handpicking shows that don’t just do well at home but hit the right emotional notes internationally,” he said.

    U-Next currently offers the largest SVOD catalogue in Japan, per GEM Partners, with add-ons like e-books, e-manga, e-magazines, and a seven-year Premier League streaming deal thrown into the mix. Its 2023 merger with Paravi has also deepened its access to local favourites from TBS and TV Tokyo making it a treasure trove of binge-worthy content.

    For WBD, it’s another power move in its global localisation playbook. Operating across 220+ territories in 50 languages, the media giant is leaning into regional partners to give local stories international wings, proving that you don’t need subtitles to go viral, just good storytelling.

    The international rollout of the Japanese drama collection on Max will begin later this year. Dates? Still hush-hush. But the message is loud and clear: Japan’s dramas are no longer just for Japan. And Max is ready to stream the love.

  • Lightning International strikes with 14 Fast channels on myTV Super

    Lightning International strikes with 14 Fast channels on myTV Super

    MUMBAI:  Lightning International has unleashed a storm of entertainment on Hong Kong’s leading streaming service, myTV Super, with the launch of 14 brand-new free ad-supported streaming TV (Fast) channels. From action-packed blockbusters to toe-tapping tunes and jaw-dropping documentaries, the new channels promise a binge-worthy bonanza – all for free.

    The partnership marks myTV Super’s first-ever Fast channel collaboration, powered by Amagi Media Labs, and is set to transform the streaming landscape in Hong Kong. With the new channels, viewers can dive into a world of diverse content across smart TVs, myTV Super boxes, the myTV Super app, and the web.

    Lightning International  CEO James Ross couldn’t hide his excitement: “This collaboration with myTV Super is a game-changer. We’re bringing a treasure trove of content to viewers, catering to every taste and passion.”

    The channel lineup is an eye-pleasing buffet:

    * Action Hollywood Movies – Big hits, bigger thrills. 
    * Concerto – Classical music that strikes a chord.
    * Docsville – Documentaries that dare to inspire.
    * Globetrotter – Travel tales for the restless.
    * NewsWorld – Headlines and happenings, 24/7.
    * Now 70s, Now 80s, Now 90s00s – Nostalgia with a beat.
    * Now ROCK – Rock your world, one riff at a time.
    * Pet Club TV – Furry friends and adorable adventures.
    * Pulse – Wellness and wellbeing in a click.
    * Rialto Classic Movies (RCM) – Golden era films in all their glory.
    * TRACE Sport Stars – The world’s sporting elite in action.
    * TRACE Urban – Hip-hop and urban vibes that never stop.

    myTV Super, the OTT platform of Television Broadcasts Ltd (TVB), has cemented its position as a streaming powerhouse in Hong Kong, and this partnership with Lightning International adds a bolt of variety to its content arsenal.

    (Photo: James Ross, CEO of Lightning International with Rex Ching, President, myTV Super)

  • Warner Bros. Discovery reports mixed bag in Q1 2025

    Warner Bros. Discovery reports mixed bag in Q1 2025

    MUMBAI: Warner Bros. Discovery (WBD) delivered a tale of two halves in Q1 2025 — streaming surged, but studios and traditional networks struggled. The media giant reported total revenues of $9 billion, a 10 per cent dip from last year’s $10 billion.

    Streaming revenues soared by nine per cent to $2.7 billion, with global subscribers hitting 122.3 million, up 5.3 million from Q4 2024. Advertising revenue in streaming shot up by 35 per cent, driven by a surge in ad-lite subscribers. Adjusted EBITDA in streaming rocketed to $339 million from just $86 million in the same period last year.

    Studios revenue dropped 16 per cent to $2.3 billion, hurt by a 27 per cent plunge in box office revenues. Hits like Dune: Part Two and Godzilla x Kong: The New Empire couldn’t prevent a fall in theatrical revenue. Games revenue was a washout, plummeting by 48 per cent, as 2025 saw no major game releases.

    Global streaming ARPU decreased nine per cent  ex-FX to $7.11, primarily attributable to growth in lower ARPU international markets and a five per cent decrease in domestic streaming ARPU to $11.15, primarily driven by a broader wholesale distribution of Max Basic with ads. Content revenue decreased seven per cent  ex-FX, as the launch of Max in new international markets, including Australia in the current year quarter, resulted in lower third-party licensing. HBO’s The White Lotus  had a record-setting season in the ratings and ranked among the five most streamed shows of March.

    Global linear networks revenue fell seven per cent to $4.8 billion, weighed down by an eight per cent decline in distribution revenue and an 11 per cent fall in advertising. Domestic pay-TV subscribers continued to desert traditional networks, dragging the numbers down.

    The company slashed debt by $2.2 billion but was left with $38 billion in gross debt and $4 billion in cash. Free cash flow took a 23 per cent hit, sliding to $302 million from $390 million in Q1 2024.

  • US Streaming platforms achieve record share of television viewing in Nielsen Report

    US Streaming platforms achieve record share of television viewing in Nielsen Report

    MUMBAI: Nielsen’s March 2025 report on The Gauge indicates a shift towards more seasonal television viewing patterns in the US. Overall television viewing declined by six per cent compared to February, influenced by seasonal changes. However, the streaming category continued its growth, capturing 43.8 per cent of total TV usage in March, a 0.3 percentage point increase from February.

    NIELSEN'S VIEWING

    A notable finding is that for the first time in a monthly Gauge report, the top ten most-watched streaming programmes originated from seven different platforms: Prime Video, Hulu, Disney+, Max, Paramount+, Netflix, and Apple TV+. Max experienced the largest month-over-month growth among streaming services, increasing by six per cent, primarily driven by viewership of The White Lotus. YouTube also achieved a new platform record for the second consecutive month, accounting for 12 per cent of total TV watch time, despite a slight decrease in viewing hours compared to the previous month.

    Cable television benefited from the NCAA men’s basketball tournament in March. Cable’s share of viewing rose to 24 per cent, a 0.8 percentage point increase, supported by a 29 per cent rise in cable sports viewing and consistent viewership for cable news. The most-watched cable sports broadcasts included NCAA Elite Eight games on TBS. Cable news programmes represented seven of the top ten cable telecasts, with Fox News Channel’s coverage of the presidential address on 4 March  attracting 11 million viewers on the network and over 36 million viewers in total.

    TOP STREAMING SHOWS

    The broadcast category saw strong performance with ABC’s broadcast of The Oscars on 2 March, which was the most-watched programme in March with 20.3 million viewers across ABC and Hulu. Data indicated that viewers streaming the Oscars on Hulu were significantly younger compared to those watching via traditional broadcast. Scripted dramas accounted for 28 per cent of total broadcast viewing in March, with Tracker on CBS having five of the top ten broadcasts, each averaging over 10 million viewers. However, the absence of football contributed to an overall nine per cent decrease in broadcast viewership from February, resulting in a 20.5 per cent share of total TV viewing for the month.