Category: GECs

  • Zee takes drama, factual and lifestyle shows to MIPCOM, celebrates 25 years

    Zee takes drama, factual and lifestyle shows to MIPCOM, celebrates 25 years

    MUMBAI: Global Content Hub by Zee, the syndication division of Zee Entertainment Enterprises Limited (ZEEL), has announced its slate of new shows for MIPCOM 2017. This MIPCOM also marks the start of 25 years in business for Zee TV, one of of the leading Indian broadcasters with a reach in 171 countries.

    Debuting at the market is Lala’s Ladiez, Zee’s first-ever English adaptation. Based on Zee’s Indian comedy series Hum Paanch, the story is about a father living with five spirited daughters and his English wife. Each daughter possesses a different personality – one being a feminist; another is all beauty and no brains; yet another is an eco-warrior; a smart tomboy with the youngest being the most fearless. A Zee Format Factory initiative, this 20-part series is being produced in the UK by Endemol Shine.

    Zee’s Indian dramas – Piya Albela, Kundali Bhagya, Woh Apna Sa, Kundali Bhagya are coming to MIPCOM for the first time.

    Piya Albela is a modern love story revolving two people who are worlds apart in character. Naren is a thoughtful and spiritual young man, studying psychology at college, while Pooja is a very modern woman. Naren’s business-tycoon father hires Pooja to entice his son away from his austere life to join the family business. Pooja comes to understand Naren and develop a deep bond. Woh Apna Sa – an Indian drama series about a troubled marriage and the potential love triangle.

    Kundali Bhagya is a spinoff of the family series of the very popular Indian drama series, Kum Kum Bhagya, and the show is about two young girls Preeta and Shristi who discover the existence of their mother ‘Sarla’ and sister Pragya after the death of their father.

    Coming from Zee’s US lifestyle catalogue, Z Living, 34 hours of fresh content have been added to the outstanding library of 1700 hours of health and lifestyle content.

    All are produced in the US in English-language including Conquered, showcasing uplifting stories about people from the everyday to the influential who have broken boundaries and conquered obstacles to achieve their goals in fitness, relationships, career, health and more as well as a second season of Altar’d — the popular wedding reality series featuring fitness and nutrition experts who work with a future bride and groom to shape them up for their big wedding day; Yoga Girls is a never-before-seen side of yoga in Los Angeles, a cut-throat city where the practice can sometimes lead to kicking some serious “asana” and Big Fat Truth is available featuring host/mentor, JD Roth, one of television’s most experienced producers of transformational programming.

    JD helps contestants in this inspiring reality series, inspiring people to change their lives and gain the rewards of a healthier lifestyle.

    Family reality competition programming along with the format is also being featured at MIPCOM. “India’s Asli Champion… HAI DUM!” is hosted by Suniel Shetty. This uniquely crafted show aims to find and crown the “fittest Indian.” After an intensive search across India, 12 contestants, six boys and girls each, coming from different walks of life, have been short-listed for the competition. These 12 contestants battle it out in the ultimate test of physical and mental endurance to win the glorious title of India’s Asli Champion.

    From Zee’s Format Factory, come several scripted and non-scripted formats including: surreal scripted series Phantasmagoria, game show Moksha, scripted comedy Love Thy Neighbour, and family competition, Asli Champion.

    ZEEL’s chief business officer – international ad sales, global syndication and production Sunita Uchil said, “Global Content Hub by Zee has dynamic new drama and comedy series, exciting formats – both scripted and non-scripted — as well as inspiring, English-language, mainstream lifestyle programmes from our US channel, Z Living.”

  • Viacom18’s social expt ‘Bigg Boss’ has ‘Super Bowl’-like fandom, says Raj Nayak, Salman to play ‘peacemaker’

    Viacom18’s social expt ‘Bigg Boss’ has ‘Super Bowl’-like fandom, says Raj Nayak, Salman to play ‘peacemaker’

    MUMBAI: “We all have neighbors of every kind and every hue. Some of us have wonderful memories of them and some of us may have not so good ones,” Salman Khan exemplified Bigg Boss’ theme after returning as the host for the eighth season in a row.

    The new season promises to give the audience a peek into human psychology in its newest avatar with Khan also as the neighbourhood peacemaker!

    In our lifetime, we all come across a vivid breed of neighbours who we share a love-hate relationship with. The greedy ones, the nuisance creators, the gossip-mongers and sometimes the close confidants with whom we share our day-to-day ordeals with. Incorporating a never-seen-before twist, Colors ’ is all set to present yet another extraordinary season of its marquee show “Appy Fizz presents Bigg Boss powered by Oppo Camera Phones” which will roll out the red carpet for the Padosis this year. Viewers will find a host of new neighbours in the Bigg Boss House whose lives they’ll get to follow over a period of 90 days.

    About the ad rate, official sources told Indiantelevision.com, it was Rs 3 lakh per 10-second — an increase of 15-20 per cent over last year. Apart from the two known and CP Plus as sponsors, Colors is expecting three-four more partners for Bigg Boss.

    About the launch of the show, Viacom18 COO Raj Nayak said, “Arguably the most awaited show on Indian television and a social experiment at its best, Bigg Boss undoubtedly has a fandom like the Super Bowl of the West. After turning risk into a victory last season as the contrasting worlds of common man and celebrities created unparalleled content, the entertainment abode of Bigg Boss this season comes with an even bigger twist filled with indomitable ‘Gharwale’ and ‘Padosis’. We’ve done an impeccable casting and are certain that the universal theme of ‘neighbours’ will not only prove to be relatable but will also elicit the right kind of emotions amongst the viewers.”

    Bigg Boss, the world of Gharwale and Padosis, will premiere on 1 October at 9pm, and the subsequent episodes will air Monday – Friday at 1030pm and on Saturday-Sunday at 9pm on Colors.

    Nayak added, “This year has been wonderful for Colors as we could treat our audience to some exemplary content; be it by presenting unique propositions like India Banega Manch and Rising Star or by accounting another successful season of Khatron Ke Khiladi. Here’s hoping that Bigg Boss will continue the trend and become a matter of neighbourhood gossip in every locality.”

    Talking about the association, Parle Agro’s joint MD and CMO Nadia Chauhan said, “Bigg Boss, as a property, only seems to be getting bigger and better with every season. Our association has not only helped us to cement a significant market position but also to create several innovative brand propositions. We are looking forward to reaching out to our target audience through compelling in-show integration.”

    Khan added, “Bigg Boss is a show that the country awaits with bated breath along with my movies.”

    Said Oppo India brand director Will Yang, “We have continued our association as the results have been tremendous and the recall amongst our target audience has been remarkable. We believe this year’s alliance will create more buzz and reach out to more audience which is young and fashionable as our brand.”

    About the security of the Bigg Boss House, CP PLUS COO Yogesh B Dutta said: “CP PLUS is excited to be an integral part of the Bigg Boss house by intelligently securing the show this time.”

    Colors programming head Manisha Sharma said, “There are quite a few exciting and innovative elements getting added to the House this season, like an ‘aakhara’ and a ‘kalkothri’. For the first time ever, Salman will also be staying alongside the contestants.”

    As the common man and celebrities fight all odds and live together as neighbours for 100 plus days, their lives will be filled with unique challenges and situations that will prove to be an entertainment bonanza. Only the determined and resilient will emerge victorious in this ultimate battle of Gharwale and Padosis.

    On the format, Endemol Shine India MD and CEO Deepak Dhar This season we will add another interesting spin to the drama with the introduction of a ‘Padosi’. The journey gets more fascinating this year when the contestants face unpredictable situations, which will add to the entertainment factor that the franchise is synonymous with.”

    Colors has designed an integrated marketing campaign to promote Bigg Boss across various platforms including OOH, radio integrations including special tie-ups. In the digital medium, actor Gaurav Gera will don the hat of Pinky Padosan and give out inside gossip from the Bigg Boss house.

    One and all would be curious to know how viewers would relate to the dramatic neighbourhood situations.

  • ZEEL CEO Punit Goenka motivates youth, honours his one-millionth Twitter follower and family

    ZEEL CEO Punit Goenka motivates youth, honours his one-millionth Twitter follower and family

    MUMBAI: One of the leading traditional Indian broadcasters ZEEL acknowledges and recognises the importance of new media. It has kept its promise with India’s social media enthusiasts and followers, and honoured them.

    On touching the momentous milestone of ‘One Million Followers’ on Twitter, ZEE Entertainment Enterprises Ltd. (ZEEL) MD and CEO Punit Goenka surprised his one-millionth follower, Manjiri Sonar by inviting her to his office in Mumbai for an exclusive interaction. 

    Sonar, who is a resident of Pune, was driven across to Mumbai, along with her family, in a chauffeur-driven luxury car. Goenka then spent some quality moments with her and family, exchanging thoughts and interests. 

    Expressing her delight, Sonar said, “I feel extremely privileged to be the chosen one to meet and greet with Punit Goenka as his one millionth Twitter follower. It was overwhelming to know that such a successful business leader like Goenka chose to celebrate this milestone with a commoner. I can’t thank him enough to host me and my family in such a grand manner in his office. I was completely awestruck by his simplicity and greatness. His journey to success is an inspiration for me and many others, as I am just stepping into my career.”

    Sharing his experience, Goenka said, “It was a pleasure meeting my one-millionth follower, Manjiri Sonar. This is the least that I can do for my followers. Wish I could do this with all of them. While it’s always a pleasure to interact with them on Twitter, this time, thought I must meet and interact in person. As senior leaders of the industry, we must motivate the youth because that’s the future of our country.”

    Sonar, an aspiring business professional recently graduated with an MBA in HR from Pune University. Even though she joined Twitter in 2015, she recently became active and is more than happy with her 100 followers, and doesn’t call herself a ‘Twitterazzi’. As an aspiring professional, she sees Twitter as a great platform to follow successful personalities and to learn from them. Manjiri and her family are big fans of Dr. Subhash Chandra and they follow his show on TV. 

    During the meeting, Goenka shared his life lessons with Sonar. He also presented her with a personalised signed copy of the much celebrated autobiography – ‘The Z Factor: My Journey as the Wrong Man at the Right Time’ of Dr. Subhash Chandra, Rajya Sabha MP, and ZEE and Essel Group chairman.

  • Star’s Uday Shankar on distribution challenges, IPL, FTA vs. pay TV, innovations, Made in India content…and much more

    Star’s Uday Shankar on distribution challenges, IPL, FTA vs. pay TV, innovations, Made in India content…and much more

    From the thirty seventh floor room, consisting of a table for the occupant to stand and work, some thought-provoking books and a huge TV screen, apart from other knick-knacks, the city life and environs below look scenic. Rather, most of the surrounding sea-facing skyscrapers in between the  green patches of land that could be seen below belie the image that it’s India. Until a Mumbai local train passes by, giving away the address of  Urmi Estate (which houses Star India’s Hq) , it could have been located anywhere in Hong Kong or Singapore for that matter.

    But in sharp contrast to the tranquil view of Mumbai from behind big glass windows of the thirty seventh floor, in most of the other 14 floors occupied by Star India in a tony building in South Mumbai’s Lower Parel business area, there is a sense of urgency — and excitement. And, why not? After all one of the biggest media companies in India — some say it’s the largest in terms of revenues — has many things on the plates of every employee, including the top honchos residing in the top floor. Bagging the global media rights for the  much-coveted IPL  is just one of the many issues engaging Star India’s employees. Though, in all fairness, it won’t be wrong to state that IPL probably could be one of the most important issues presently. Simply because, as the dust settles on the euphoria of this massive win , the difficult task of planning for returns on  the investment of $ 2.55 billion starts now.

    Ushered into the room with a view, its occupant and Star India chairman and CEO Uday Shankar shakes my hand warmly, exuding the same camaraderie that he did almost three decades back when we used to meet as journalist colleagues sometimes in the New Delhi house of one of his early mentors, Siddharth Ray (India’s first general manager  for Star TV  – yes, in the 90s it carried that name officially). Over tea (for him) and strong Espresso coffee for Indiantelevision.com’s consulting editor Anjan Mitra, a wide range of media matters were debated for about 90 minutes. Edited excerpts from a free-wheeling interview follow. Read on:

    How do you view the Indian broadcast and entertainment industry as of today?

    There are two or three things that I feel very strongly about. From a consumer point of view it’s a great time for them because large volumes and range of domestic and global content is being made available to them at increasingly competitive prices. But when it comes to the industry itself, it’s a bit of a mixed bag. Though the industry has grown dramatically in terms of the number of players in the last several years, the business case of the industry looks under pressure. When I say business case, I don’t mean just the profit model, which is under pressure for a large segment, but the sustainability itself for the whole industry. 

    I think, the IPL bidding is a very interesting case in point and an indicator of things to happen in future in the media sector.  This is probably the only place and example where for a major content right, the contenders included two very strong media companies (Star and Sony Pictures Networks India), two big telecom companies (Airtel and Reliance Jio) and a couple of global digital/technology companies (including Facebook). And, they all valued the property almost equally as important and almost in the same ballpark.

    So, media is no longer the sole domain of traditional media companies. We have heard this being said for some time now, but it played out for the first time in broad day light here. What is more significant is that such competitive bidding for content has not happened in the UK or the US, which are considered mature and big media markets with good broadband infrastructure, but in a country where the digital distribution of content is of very recent vintage.

    I think in some way we set ourselves up for such high inflation by creating Hotstar, which led everybody to realize that there is a value in that kind of a business model. So, for the industry this is time to wake up and take note.

    Third, while parts of the media and entertainment businesses have leaped forward as has the consumer, the distribution and the regulatory models remain locked up in legacy issues and that’s creating a bit of a mismatch. That’s a challenge that we need to solve together as an industry.

    What are the problems besetting video content distribution in India?

    There are various aspects. If you are talking about it in the digital domain, I think with the launch of Reliance Jio there has been a huge disruption. But access to data still remains limited and expensive. The broadband infrastructure has improved in the last 12 months or so, but is still nowhere where it should be. The number of smart phones has grown dramatically in India, but is still a small percentage of the total mobile penetration.

    On the TV side, the industry has done a great job on many fronts. Still, we have to realize that we are competing with global companies with great resources and scale, and the benchmarks too are global. Whether it is story telling or quality of production or marketing or brand strategy, benchmarks are global. So, we the content industry need to step up our game.

    The competition for Star will not be only from similarly placed media companies in India but will come from technology and other global companies; from the likes of Amazon, Alibaba, Google and Facebook. Are we ready for that as an industry? Individual companies may be ready for such competition, but I am not sure if we are ready as the content industry.

    Part of the problem is because the monetization models haven’t evolved much. We still have regulatory issues, which are challenges, though I don’t want to go into too many details on that aspect.

    Still, the entire TV distribution industry, according to me, has done an amazing job of creating 180+ million connected homes. Now that segment has to make sure each one of those homes is going up the value chain rather than trying to offer them discounts, etc. The stakeholders are competing only on the price front. If you are competing only on the price point, then you are compromising on the consumer experience and soon the consumer will start questioning whether it is worth having a cheap service, minus the experience. So, there is this whole challenge of getting the consumer up the value chain.

    Where do you see Star India placed in the scenario that you have painted where both challenges and the opportunities abound?

    There are things that an individual or a company can do with its own enterprise. Then there are things that all of us can do as an industry. I believe that if the whole industry is not progressing, individual companies can only progress so much. In that context, at Star India, we have done a good job and I am satisfied. Can we do more? Of course we can always do better. But we have managed to create a fairly deep and diverse entertainment platform on television and have leadership in a large number of entertainment markets.

    To give you an example of the enterprise we have shown, take sports for instance. Five years ago we got into sports (management and broadcasting) and have created, perhaps, some of the most exciting franchises anywhere in the world. We have not limited ourselves to the sport that guarantees success (cricket), but have gone and experimented too. We have put our faith behind new initiatives in sports whether they are kabaddi or badminton or hockey or football. Our mission is to try turning India from a one-sport nation to a multi-sport one, while maintaining the pre-eminence of cricket. Some progress in that direction has been made and it’s satisfying.

    Can Star make it a mission to get India the Olympic gold considering its continued investments in sports?

    Star is a media and entertainment company and I would not want to have the arrogance to say we can make India win an Olympic gold medal. All I can say is that we’d be happy to partner with any agency or initiative that is designed to get India closer to the Olympic gold(s). Our job is to make sure that we showcase sports’ growth and breakout stories. I think we have done that job very well. I would like to believe that with Star Sports we are able to showcase the new (sporting) heroes far more prominently today than what we could have done few years back. If national team members of various sports, who were relatively unknown, now are recognized by ordinary citizens, I think we have done our job — in fact we are doing just that.

    That being said, I would like to add that private investment in sports ought to be welcome as it is this investment that helps sporting organizations plough funds into infrastructure, training and facilities, which in turn contribute to sporting success.

    What are the changes on the content distribution front that you have seen and what are the continuing challenges for the industry, considering Star has had limited exposure to the distribution business?

    If you look at how much we have moved in the last 10 years, it’s an impressive story.  The problem is that the process of digitization, which started essentially with DTH, and then picked up steam in 2011-2012 hasn’t delivered the full value.

    Digitization still remains an unfinished agenda though it was meant to have been over quite some time back. It was supposed to have meant that people had access to better content at competitive prices and for good content to get easier distribution avenues. That hasn’t happened. The idea of digitization was also to allow content creators like us to offer integrated services to the consumers. That too hasn’t happened and the story has really not moved. Broadband access may have improved dramatically, but the participation of cable and DTH sector in that is miniscule.

    public://Uday Image--1_1.JPGDigitisation still remains an unfinished agenda. People should have access to better content at competitive prices, and for good content to get easier distribution avenues

    To put it bluntly, a bunch of people, who have got used to the idea of benefitting from an economy of shortages or scarcity, continue to create scarcities or continue to create conditions of scarcities (of content) and benefit. Fundamentally, it hurts the society and the industry. That is the disappointing side of the distribution business.

    Star could have continued contributing by remaining a stakeholder in the distribution business. Comment.

    While we were a minority shareholder (in Hathway) our ability to influence the business was limited. That is why we decided to get out because we were not shaping the (distribution or the company) agenda. We do have a minority investment in Tata Sky, but, again, our ability to set the agenda of that company is limited.

    Will Star review its distribution business exit or its paring down, now that the government has liberalized investment norms for the DTH and cable sectors?

    Government has allowed (increased FDI in DTH and cable companies) only at a headline level. The problem is that we were restricted even before the FDI investment limits went to 100 per cent. I think the Prime Minister has eased the investment norms facilitating more FDI in this sector, but we are hampered by other regulations. Cross media restrictions, which in any case is a discriminatory piece of regulation, has only blocked a company like Star from investing in the distribution sector more aggressively. This restriction is applicable only to DTH/HITS ventures but not to cable or IPTV, which in itself appears to be an arbitrary measure. And, we don’t want to skirt around regulations to create business entities to be in a business. We don’t want to invest and create a value when our say in a company remains locked. In that sense, our ability to invest more in Tata Sky is still restricted.

    Is the business model in India changing for content aggregators and owners like Star? Has it now boiled down to free-to-air (FTA) vs. pay TV?

    I am glad you asked this question. It is amazing how in this country we indulge in polarized arguments where none needs to exist.  Where does the question on pay TV versus FTA arise? Why should it exist at all? In most other countries, there is a place for FTA and pay TV businesses. The problem starts arising when they start competing with each other and that does not need to happen. In this country, a major part of the broadcasting business that developed in the last 20 years was primarily done by pay TV broadcasters. As access to FTA broadcasting, which is mostly terrestrial, was not open to private broadcasters it remained in the hands of the public broadcaster. Until Doordarshan FreeDish came along.

    Now technology has opened up an opportunity creating a space for FTA and pay TV broadcasting.  I personally believe that the two should and could co-exist in this country — pay TV for those who want to pay and have access to a much diverse and richer range of content and FTA platform for those who don’t want to pay as much for all of it but still want to get some basic content.

    Does it happen vice versa too when pay TV content or channel is brought onto a free platform just to botch up the competitor’s business plans?

    I think that should not happen. My public position has been that we should not take pay TV content onto a free platform (like DD FreeDish) because it not only undermines a pay TV consumer, but also a pay TV platform. In my opinion that is a wrong strategy. I personally started a dialogue between platforms and broadcasters to stop such a practice but it has not been too fruitful. We launched Star Bharat on the FreeDish platform, but it has fresh content.

    Q: Will Star Bharat continue to remain a pay channel also as per media reports?

    Don’t trust everything that you read in the media. However, there is nothing that prohibits a channel being available on DD FreeDish and on pay TV platforms. A whole bunch of channels in the past have done this; almost the entire language news category is on pay TV and FreeDish platforms at the same time. A whole bunch of entertainment channels too have followed that practice. So, what you hear about Star Bharat is simply mischievous.

    Q: Please clarify whether for Star Bharat a consumer will have to pay if available on DTH or cable platforms?

    Yes, a consumer of a DTH service or a cable platform will continue to pay for Star Bharat just as he did for Life OK for the time being. We sought permission from the government saying the channel will be rebranded as Star Bharat and would be offered on DD FreeDish as well. So, the pricing issue remains where it is.  Some people have chosen to find a problem with Star Bharat, while being totally comfortable with their own friendly channels. We are the only ones to have fresh original content for a channel on FreeDish like Star Bharat. Quality of production is high on Star Bharat as we are spending the same amount of money per hour or per half hour that we would have spent on Star Plus, which is a premium channel.

    Q: James Murdoch said in an investor call that Star India is on course for $ 500 million EBIDTA for year 2018 and that cricket bids would have to be disciplined. Do you agree?

    (Smiles) If my bosses have said that we are on course, then I would have to follow the directions. However, those statements were made in a responsible manner as we do have a plan and are working towards the goal. If the Indian economy remains on course, we are on course for all that.

    As far as disciplined bids (for cricket rights) are concerned, of course it was a disciplined bid for IPL. Everybody has seen how close it was where the margin of victory was just three per cent. So, what more can I say in defense? Six years ago when we signed up for BCCI rights (media rights to Indian cricket), we paid Rs. 430 million (per match). At that time critics said Star had probably paid too much. It turns out now that we didn’t and that worked out really well for us. Today that (figure) has become the new normal. Now people are saying we are paying too much for IPL (US $ 2.55 billion for a five-year global media rights) only because 10 years ago it went at a much lower price. But then ten years ago the world was different, India was different and IPL was an untested product.

    Q: Would you agree with Indiantelevision.com’s analysis that Star actually got a good bargain for the $ 2.55 billion it bid for IPL rights?

    I don’t understand why people are so excited about it. Hardly ever a sports media rights been awarded at such a close margin. Why are people asking ‘why has Star paid so much’? Clearly there were a whole bunch of people who were willing to pay and it was evident in the bidding numbers.

    public://Uday Image--2_2.JPGEach media company has its strengths. I respect Zee enormously

    As an aside, my personal view is that BCCI (Indian cricket board) lost a lot of value because of the duration of the contract. If it had been for 10 years, the value would have gone up dramatically. And, I am not just saying so because of the length (of the contract). Had it been for a longer period, per year value too would have increased tremendously —shorter the period, lesser is the flexibility. 

    Q: What are your plans to monetize the IPL property?

    These are still early days, so you have to give us time to think through our strategies, which will unfold in due course. But I certainly won’t share with the media what I am trying to do.

    Whether we have bid high or not will be judged by the fans of cricket. All I know is that IPL’s a very powerful tournament and cricket runs really deep in everybody’s bones in this country. To be successful, you just need to work on intensifying and heightening the experience of cricket further.

    I believe that power of sports is such that you don’t need to give it steroids. You just need to be true to the spirit of the game and make sure that the experience for the fans is evolving continuously.  That is where our strength comes in and I would like to believe that as Star is the company that successfully created a few sports franchises that didn’t exist in the public domain earlier. We should be able to do that with IPL too. With cricket it’s not a one shot affair, it’s a process where you need to continuously evolve and we will work on that.

    Q: Will you continue to work on Pro Kabaddi League too and bring it up to the IPL level?

    We have brought PKL already in the limelight. But to be honest, though PKL still has some distance to travel to reach the levels of IPL, its growth has been phenomenal. When we were looking for franchisees for the inaugural edition, it took Anand Mahindra’s personal charm to get people in. This time round, when we added four new teams, there was a problem of plenty — a large number of top corporate houses and individuals were extremely keen to get associated with PKL. So, clearly people believe in what we are trying to do. Look at the Indian Super League (soccer) story, which is in partnership with Reliance Industries. Except a few loyal pockets in the country, football nowhere figured in the country’s psyche or much in public debates. However, we have managed to turn the passion for football into a serious commitment for fans all over the country.

    Q) Is that why you are picking up another indigenous game kho-kho to try its rediscovery?

    Are we? We haven’t taken a decision on that sport yet. 

    Q) Which media company is the closest competitor of Star whom you respect?

    Each media company has its strengths. I respect Zee enormously.  I think it is very strong on discipline and doesn’t get distracted by what others are doing. It works hard to execute a plan it has. Similarly, other companies have their own strengths.

    This is a business where competition is very dynamic and the power lies in the hands of the consumer. One half hour gone wrong can swing things away from you. As we have such a diverse portfolio, it is not about one competitor. Even if we are the leaders in one segment, in some other part of the business we are facing heat. But the entire business, hopefully, will not face heat from any one competitor.

    Q: So Star is in a dominant position.

    I don’t like the `dominant’ word. Especially because I feel this whole idea of dominance in a business — especially a media business — is a spurious claim. Either it comes from a complete lack of understanding of the business or it’s a mischievous allegation. Simply because there is no one product called Star India. For viewers and advertisers, it is a combination of multiple TV channels and each of those channels consist of large number of shows. You may have a show at 8 pm that is chart-busting and then at 8.30 pm you may have a show that nobody is watching, which usually is the case. A show that was doing really well three months ago can go into a total free fall if one artist is not there or there’s twist in the story-line.

    Take sports, for example, again. You go and get rights of a property for a number of years and after that it goes to the public when anybody else can also bid for the rights and participate. On the digital front, the competition is even crazier. So this argument of anybody building dominance, not only Star, is totally mischievous and spurious.

    Q: Let us rephrase the question. Isn’t it a great feeling to continue being a leader?

    In some parts of the business, we continue to stay ahead and that’s because we work harder. We spend more money on our content and are less focused on profits. We reinvest (in the business) more than probably anybody else in this sector in the country. Media and critics have written for the last five years or so that Star was not making profits in sports after investing heavily in sports content and now people are saying otherwise. We have now started investing in Hotstar, a digital platform. I think the one big difference between us and everybody else, and which gives us leadership and a little more of steadiness, is that we are always trying out new things.

    We have tried to explore new horizons and boundaries. Not all such initiatives have been successful, though. I would like to believe that we have pushed the creative envelope in a responsible way far more than what has been done in the past. Are we trying to future-proof ourselves, as you ask? I wish it could have been possible. But, yes, we are investing in the future.

    Q: Critics and some industry players feel that Star India has become so big that it can challenge the sector regulator too. Comment.

    First, we have not taken on any regulator. We have had some fundamental and limited issues, which became sharper in the new tariff order (of TRAI, the broadcast regulator). Our understanding of the TRAI Act says that the regulator has jurisdiction over distribution/transmission of content, but not the content itself, which in our case can be determined only under the ambit of the copyright law of the country. The law of the land gives every aggrieved person the freedom to go to a court for adjudication. And, that’s what we have done. There is nothing like challenging the jurisdiction of the TRAI.

    Q: Is the India market over regulated compared to some other markets in Asia or the west?

    I would not make such a blanket statement. There are parts of the market that are over regulated and there are parts which are not. All I would like to humbly submit is that there are some parts in the existing regulations — especially those dealing in relationships between distributors and content owners — that are debatable. If the proposed regulations were to come into effect today as they are, any new entrant to the Indian broadcast industry would find it a difficult and expensive proposition.

    Q: What more would you like the government and regulator to do to be a bigger facilitator of doing business apart from what they have already done?

    We don’t have to create a shoe to fit every foot as there are different feet sizes. Similarly, there are different needs for different set of people in terms of content. However, let me make it clear that I am not making a case for smut because Star doesn’t do sleazy content.

    TV is a family medium and we should be mindful of that; Star certainly is. There may be families where kids also watch television along with elders, but there are homes where there are no kids. Hence, the need (for content) of the latter family might be different and mature. So, content creators should be allowed to factor in all such diversities and create a spectrum of content rather than just uniform content in a one shoe-fits- all model. TV is an instrument of change and also a huge driver of employment and wealth creation.

    While agreeing there are areas where some restrictions are needed, I would say policy-makers should allow the whole eco-system to come together and be more flexible. Take, for example, the number of people who are dependent, formally or informally, on the TV industry as a category. That number would be around five million if the whole value chain is taken into consideration. I feel the number can increase manifold.

    Q: How do you see the Hotstar growth story now that it has been launched in the US and Canada?

    I find that space very exciting. It’s a market with an affluent South Asian diaspora with huge appetite for Indian content whether sports or drama or movies. They pay high subscription money presently to watch Indian content on American platforms as the structure for getting access to South Asian content is complicated and expensive. We think with Hotstar we can make a difference by offering people living abroad high quality content and world class experience at prices far more competitive than what they are paying now.

    Q: Does Star have a time frame, say 12 months, to rollout Hotstar worldwide?

    I don’t have a hard and fast deadline. For me it is more important to first build a business, stabilize it and then scale it up. We are not playing a valuation or a stock market game. I would like to build things on a solid foundation. So, to answer your question, I think it is clearly not going to happen in one year’s time.

    Q: How closely is IPL’s monetization linked with Hotstar?

    We have got the global rights for IPL and we will explore internally what trade-offs we can do. We would have to examine whether we can get better business value by offering it (IPL) ourselves or we should license it to other companies. The financial case will influence those decisions.

    Q: Is Star still in the lookout for properties to acquire to fill gaps?

    We are not a big M&A company. In my 10 years at Star India, we have acquired MAA TV and before that Asianet (both companies located in South India).  In this company, my bosses, my colleagues and I like to build things ourselves as that way we can shape the business the way we want to. Such initiatives are also more sustainable and self-sufficient and, remember, we have an exceptionally high quality plan execution team.

    However, I would admit there are always gaps, but you need not fill all of them. Also, there are not many quality assets available in the media space presently.

    Q: What about the regional space? No opportunities there?

    There would always be opportunities, but I don’t think we are considering any (M&A) in the regional language side in the foreseeable future and going deeper in the regional markets. We already have much on the plate.

    Q: Would Star like to review an earlier decision and return to news business in India?

    There is no plan to get back into the (television) news business. Moreover, with my limited understanding, news on television globally faces challenges these days as second on second updates are available on one’s hand-held devices. So, what new proposition can one create for people to come back night after night, 365 days on television, to spend some time watching you? Those who had created a brand on news television and are carrying on can continue to benefit from a legacy habit. But creating new news brands on television is lot more difficult today than in the past. People also have access to news on digital platforms as there is so much news available in one form or the other, including professionally produced and user generated. So, at the moment there are no plans to revisit our decision to exit news business in India.

    Q: Hotstar seems to have a special affinity for Republic TV and is it filling Star’s news need?

    (Smiles) In the same way Hotstar offers Sky News, Republic too is offered to consumers. If others are interested, we will give them a platform too. Don’t read too much into the agreement with Republic TV; it’s a simple distribution arrangement.

    Q: Would you agree that because of the audience ratings game, entertainment is becoming news and news is becoming entertainment in India?

    I would, rather, not get into that argument at all. However, since you have asked, I don’t think TRP(s) is a bad word. In the business that we are in, which is called mass media, if you take out the mass there is no business left. If it is mass media, measurement of the masses comes from ratings. The question is: what all would you do to get ratings? The answer lies in each individual and each company’s value systems. At Star, we have decided that we would do certain things and we would never do certain other things to get ratings. Some other people have defined that differently.

    Q: You have said in the past media and entertainment industry is not throwing up young talents because of inadequate human resources R&D. Do you still believe so and what has Star done to counter the inadequacy?

    The industry was not geared for creating so much of output as it is today between films and TV. Look at these small shops that have mushroomed all over.  We have been unable to expand the pipeline of training creative talent whether it is at the MCRC or the FTII, for example. In the meantime, requirement has grown manifold.

    I, generally, believe that our ability to compete with companies that are modern, resourceful and global will depend on the (human) resources and talent we create in the country. In a country where formal institutions are not geared to identify and shape new talent, the industry has to do it. I have been an advocate of that for a long time. Though we need to do this collectively as an industry, a beginning has been made by Star. We have created a big academy where we have got a respected name from Hollywood to be based in India to teach.

    Q: What are your thoughts on Made in India content for the world market?

    We are doing some things on that front by creating products that we can take outside India. We have succeeded in that endeavour with few Hindi films like `Neerja’ and ‘Dhoni’.  Hopefully, we will be able to open up that market more. At some stage, hopefully, some of the sports leagues that we have created, especially kabaddi, will be of interest to people outside India.

    public://60371509.jpg

    Technology has created space for FTA and pay TV. The two could co-exist — pay TV for those who want diverse and richer content, FTA for those who want basic content

    However, I don’t see Indian drama in its current form travelling outside India for a long time. Such shows are culturally too specific and too rooted in our family culture. Moreover, our business model is different that works the best when we offer large number of episodes. When you do that, given the monetization model, limited revenue comes from the investments made in a show with huge number of episodes. Until a totally distribution driven business model for premium content comes along, I think Indian entertainment content would not be competing in the global market.

    Q: What’s your perception on linear TV continuing as a medium in India?

    In this country TV will continue for a long time. I am not one of those who believe that linear TV would disappear in five years time and people would go completely digital. First, in a country where the family values are still strong, TV continues to act as glue for the family to get together. I don’t think, and hope, it would change very soon. Second, TV’s biggest comparative advantage comes from it being very affordable. Despite prices of broadband having dropped, if you take into account the cost of data and content, a digital platform is still way more expensive than TV. For anything between Rs 150-Rs 400, people can get more content than they can ever watch on TV.

    Then there is a long tail of households that is still waiting to get into the television world. The question is: can we create innovative price models for different user groups so it’s a win-win for the creative people and the business too? 

    It is also a mistake to think that television is only competing with television. No. TV also competes with digital platforms and people only have finite time to spend watching shows. Again, are we innovating enough? I think we are not innovating enough for TV to be at the cutting edge of competition with digital.

    Q: In terms of management of Star’s Indian operations some structural changes happened two years ago. Are some more in the offing?

    We created a new structure, as you have said, where we pushed decision making further down. I think Star India is, probably, the most decentralized media company in this country. We have different CEOs for sports, entertainment, digital and South Indian markets, and a head for international business. Not only it is fairly deep, but also diverse and aimed towards creating more entrepreneurship.

    Q: Having begun your career as a print media journalist, you have gone on to head Star India, an entertainment company. What would be the achievements over the last 10 years for the company, people and you?

    We have created a healthy and robust company with a bench of high quality talents across all segments of our business. Not only at Star we have encouraged innovation and entrepreneurship, but have created serious consensus on a whole bunch of issues in the industry ranging from content creation to brands. Personally, I take a lot of satisfaction in driving initiatives like self-regulation in content, etc. Above all, it is a matter of huge satisfaction that we have taken initiatives that have gone beyond the remit of a traditional media company like Star — like create and build sports leagues.

    I keep talking about it (various sports leagues) only because it’s only a matter of time before other companies will also get into it and then the transformation would really impact the country. I would like to see the same transformation in India that has been seen in places like parts of Latin America, Africa and Europe where the power of sports has acted as a social glue to create opportunities for people who would otherwise be totally on the margins of society. Being able to be part of such a transformation has been hugely motivating for me all these years.

    Q: Where do you see yourself five years from now?

    I am typically the kind of person who doesn’t forget his background and my base has been in news where I was extremely focused on tonight’s headlines as tomorrow is another day. So, I am very focused on clarity for today without worrying about tomorrow. I believe that one thing leads to another. Honestly, I have never planned my life, but it has been a great ride till now.

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  • Colors reinvents prime-time with ‘Tu Aashiquii’, ‘Ishq Mein Marjawan”s unconventional storytelling

    Colors reinvents prime-time with ‘Tu Aashiquii’, ‘Ishq Mein Marjawan”s unconventional storytelling

    MUMBAI: Love is unpredictable. On one hand, it gives a person the power to create the perfect fairytale, on the other hand, it can destroy everything in its path. Love can liberate or it can perish. Putting the spotlight on bolder and edgier content, Colors is all set to present two extreme shades of love with its upcoming dramas, Tu Aashiquii and Ishq Mein Marjawan.

    Moving away from conventional methods of storytelling, the shows will test all known boundaries and perceptions of love through the eyes of its protagonists. While Tu Aashiquii, a musical saga driven by selfless love, will feature actors Ritvik Arora (as Ahaan) and Jannat Zubair (as Pankti) in the lead, Ishq Mein Marjawan will be a deceptive love story with actors Arjun Bijlani (as Deep) and Aalisha Panwar (as Aarohi) essaying central roles.

    Produced by Guroudev Bhalla Productions, Tu Aashiquii will air at 7:00 PM while Ishq Mein Marjawan, produced by Beyond Dreams Entertainment, will air at 7:30 PM on Colors . Both shows will premiere back-to-back on 20 September 2017.

    On bringing forth these unique concepts said Colors programming head Manisha Sharma said, “As the early prime time viewership is on the rise, COLORS is reinventing the prime-time slot at 7PM and 7:30PM with two new edgy and youthful love stories. Set against a musical milieu, Tu Aashiqui is a story where the female protagonist, Pankti is a victim of her mother’s materialism and Ahaan, our hero wants to save her against all odds. The other show, Ishq Mein Marjawan, is a revenge drama with a biggest twist. The viewers will keep wondering who is the murderer – Deep or Arohi? We believe both these shows will add variety to the Colors bouquet of offerings along with shows like Shakti…Ek Ehsaas Ki, Udaan and Karmphaldata Shani. The narrative of both shows are quite pacy and engaging keeping the discerning viewers in mind. With this, we are also taking one of the longest running shows on Indian television, Sasural Simar Ka to the 5:30PM time band. Bhaag Bakool Bhag, Kasam tere Pyaar Ki and Savitri Devi College and Hospital are also being shifted to the early prime band.”

    With the music industry as its backdrop, Tu Aashiquii is a rebellious love story where relationships and emotions withstand the power of money. The show chronicles the lives of Pankti (Jannat Zubair), caught in a web of greed woven by her mother Anita (Gauri Pradhan). Fate brings her to the doors of an affluent Jayant Dhanrajgir (Rahil Azam), but its Ahaan’s (Ritvik Arora) love which brings her indeterminable hope. Pankti’s struggles bring a purpose in Ahaan’s life, empowering him to follow his dreams and become a great singer. Produced by Guroudev Bhalla Productions, Tu Aashiquii is a selfless musical saga of sacrifice, fame and self-inflicted failure driven by a mother’s greed. Along with Ritvik Arora and Jannat Zubair in lead roles Tu Aashiquii will feature strong character actors like Gauri Pradhan, Rahil Azam, Sachin Sharma and Himangshi Choudhary in pivotal roles.

    Guroudev Bhalla Productions founder and producer Guroudev Bhalla said, “Tu Aashiquii is a tale about two lovers, Ahaan and Pankti, who find solace in each other while everyone around them is motivated by greed and power. The show – through the lens of Ahaan questions the myopic and traditionalist views of the society, thereby highlighting the difference between being free and being liberal. We have engaged in a lot of research to create a musical extravaganza that will appeal to audiences; the varied emotions that the characters’ experience will tug at their heartstrings. Tu Aashiquii is our second project with Colors after Udann, and we hope that we continue to strengthen our association with the channel.”

    Shot extensively in the hills of Shimla and Manali, Ishq Mein Marjawan is a deceptive love story between its protagonists, Deep Raichand (Arjun Bijlani) and Aarohi Kashyap (Aalisha Panwar), built on a foundation of lies, treachery, and malevolence. While their love for each other is undeniable, it is upheld by broken dreams and betrayal. Even as Deep leaves Aarohi heartbroken and destroyed with incurable wounds, he beguiles Aarohi further with nowhere to go, except towards vengeance. Shot extensively in Shimla and Manali and produced by Beyond Dreams Entertainment, Ishq Mein Marjawan is an unconditional love story veiled by complexities, manipulations, and betrayal. Along with Arjun Bijlani and Aalisha Panwar in lead roles, the show will feature Tuhina Vohra, Mihir Mishra, Arjun Aneja and Vineet Raina as key characters.

    Speaking about the show, producer Yash Patnaik of Beyond Dreams Entertainment said, “Ishq Mein Marjawan aims to showcase how betrayal is a facet of untameable love. We strive to present various untouched elements of love, and the extent of damage one can withstand for love.

    Producer Mamta Patnaik further added saying, “With unpredictable twists and turns, and intrigue, we are looking forward to enrapturing viewers with a love story like none other! While this is our first association with Colors, we hope that Ishq Mein Marjawan will be a stepping stone to a long-standing partnership.”

    To promote both, Tu Aashiquii and Ishq Mein Marjawan, Colors has devised an extensive integrated marketing campaign incorporating different mediums and touchpoints. The channel will also promote both shows across digital and social media platforms with engaging campaigns to generate positive conversations amongst the target audience.

  • Zee Anmol tops Hindi GECs across genres as Star Bharat climbs

    Zee Anmol tops Hindi GECs across genres as Star Bharat climbs

    BENGALURU: Zee Entertainment Enterprises Limited or Zeel’s FTA Hindi GEC channel – Zee Anmol, at the second place in Broadcast Audience Research Council of India (BARC) weekly list for top 10 channels across genre, topped the Hindi GEC channels in that list.

    Zee Anmol garnered 821.210 million weekly impressions in week 36 of 2017 (Saturday, 2 September 2017 to Friday, 8 September 2017) in BARC’s list of top 10 Channels Across Genre: All India (U+R): 2+ Individuals. Zee Anmol had obtained 778.876 million impressions in BARC’s weekly list across genres for week 35 of 2017 (the previous week) and hence gained in viewership in week 36.

    Star India’s newly-renamed FTA GEC — Star Bharat — climbed up to third spot in the weekly list of top 10 channels across genres with 678.781 million weekly impressions. Star Bharat was relaunched on 28 August 2017 and in its very first week under the renamed avatar, (and BARC week 35 of 2017), Star Bharat attained rank eight in BARC’s top 10 channels across genre list with 531.083 million impressions.

    The pole position in BARC’s across genres top 10 channels list was yet again held by the Sun TV Network’s Tamil flagship GEC Sun TV, however with lower weekly impressions of 968.3564 million in week 36 as compared to the 1,009.285 million weekly impressions in week 35. Because of the fall in Sun TV’s weekly impressions in week 36, the gap between the top 2 channels in the across genres list –Sun TV and Zee Anmol has narrowed considerably.

    Three channels from Star India, two channels from The Sun TV Network, Zeel and Sony Pictures Network India (SPN) and one channel from Network 18 (or Viacom 18) made it to the top 10 channels across genre list in week 36 of 2017. From the market’s perspective, seven Hindi GECs’, two Telugu GECs’ and one Tamil GEC made it to the weekly top 10 channels across genre list for week 36 of 2017.

    Zeel’s flagship Hindi GEC Zee TV was placed fourth 667.948 million impressions in week 36 – the channel had been ranked fourth in week 35 with lower weekly impressions of 642.612 million. Star India’s flagship Hindi GEC Star Plus was ranked fifth in week 36 and 35 with 628.518 million weekly impressions and 626.212 million weekly impressions respectively.

    Viacom 18’s flagship Hindi GEC Colors was ranked sixth in week 36 of 2017 with 588.154 million weekly impressions, followed by the Sun Network’s flagship Telugu GEC Gemini TV with 532.878 million weekly impressions at seventh place.

    SPN’s flagship Hindi GEC Sony Entertainment Television was eighth in week 36 of 2017 with 522.701 million weekly impressions followed by the same network’s women focused Hindi GEC Sony Pal with 500.173 million weekly impressions at ninth place.

    Star India’s flagship Telugu GEC was tenth the top 10 channels across genre in week 36 of 2017 with 492.482 million weekly impressions.

  • Star Bharat debut ratings and reach impressive

    Star Bharat debut ratings and reach impressive

    MUMBAI: Well, Star India seems to be on a roll these days. No sooner had the euphoria dimmed after it outwitted others with a masterstroke $ 2.56 billion global bid for India’s premier cricket league IPL, it’s now time to savour the success of  rebranded-cum-rechristened channel Star Bharat, which is rubbing shoulders with category leaders in terms of ratings and reach — and that too within a short period.

    On 28 August 2017, Life OK was revamped with a new name, logo, tag line and, of course, a lineup of fresh original shows. It debuted on free-to-air DTH platform DD FreeDish with its parent having successfully bid for a place after coughing up a shade over Rs. 160 million. That Star Bharat continues to be available on other cable and DTH platforms could be another masterstroke.

    Now sample the data collated by audience measurement organization BARC India. In week 36, Star Bharat took the second position in the GEC category garnering 669588 (000s) Impressions and 378234 (000s) Impressions, respectively, in the urban+rural and rural markets. The two-week old channel’s reach too had gone up by 15 per cent from week 35-36, while the ratings or impressions grew by 29 per cent.

    In contrast, in week 34 of BARC India, Life OK (the earlier avatar of Star Bharat) was placed at 10th spot in the urban+rural market with 328571 (000s) Impressions, while  in the urban market it did slightly better at sixth position with 213162 (000s) Impressions.

    Cometh week 35 of BARC India. After an overhaul in name and programming, Star Bharat in its first week of operation climbed to the fifth spot in urban+rural market with 519743 (000s) Impressions. It also made an entry in the rural market at the fourth spot with 278785 (000s) Impressions and in urban market occupied the sixth position with 240958 (000s) Impressions.

    An independent observer of the TV industry, having seen many a channel strategy gone awry, admitted that Star’s planning and research regarding distribution and programming does seem to be working. Primarily the FTA platform approach, though audience data provided to indiantelevison.com regarding Star Bharat doesn’t specify whether the viewership and reach is coming from DD FreeDish or elsewhere.

    TG: HSM, 2+
    Top 10 Channels pre re-branding and post:

    public://barc_3.jpg
    Top 10 Hindi GECs in week 36:

    public://barc1_3.jpg

    Here the equation becomes interesting. According to information collated by Indiantelevision.com, a 10-second ad rate for Star Bharat is presently estimated at around Rs 10,000, whereas Life OK commanded a higher price in the range of Rs 30,000-40000/10 seconds.According to the BARC India data, the four-week average for Life Ok (Week 31-34) was 345621 (‘000s) Impressions.However, the average for weeks 35-36 shows a growth of 72 per cent in the viewership of Star Bharat with figures of 594666 (‘000s) Impressions.

    “The (sponsorship) rates will pick up once the ratings come. At present, it is just two weeks data. If there is stability in the ratings over the future weeks, there is a possibility that Star Bharat may increase its ad rates. Right now the marketing buzz and hype is pushing the channel, but after a few weeks it will not only stop, but may even out too,” a senior media planner told Indiantelevision.com, adding that the channel, as also the advertising world, will have to wait for at least “four to six weeks” to fairly evaluate the viewership data.
    Old shows  such as ‘May I come in Madam’, `Sher-E-Punjab Ranjeet Singh’, ‘Ghulam’ and `Chandrakanta’ have been taken off the air by the channel management of Life OK/Star Bharat, though crime series ‘Savdhaan India’ continues on Star Bharat. The channel in its new avatar has unveiled a content line up that is aimed at living up to the brand’s philosophy of ‘Bhula ke darr, kuch alag kar’ (forget the fear of the unknown and do something different).

    So, Star Bharat now flaunts shows like `Om Shanti Om’, `Kya Haal Mr. Panchaal’, `Nimki Muhkiya’, `Saam Daam Dand Bhed’ and `Ayushman Bhav’.

    Reach ‘000s for week 35 and 36

    public://barc2_3.jpg

    Star has three other channels on the DD FreeDish platform including Star Utsav, Star Utsav Movies and Star Sports First. The last one, which debuted earlier this year, again is a new FTA offering of sorts that has been riding the kabaddi league wave.Indiantelevision.com tried to reach out to Star India for its comments, but could not elicit a response till the time of writing this report. However, if we get some comments on Star Bharat from the channel owner, it’d be updated.

    The big question is: will this rebranding and repositioning strategy work for Star Bharat? To use a cliché, only time will tell… oops, sorry, BARC India will tell.

    ALSO READ :

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    Star Bharat to be available on DD FreeDish as b’caster’s fourth FTA offering

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  • ZEEL to unveil new look of Zee TV on 15 Oct

    ZEEL to unveil new look of Zee TV on 15 Oct

    MUMBAI: Subhash Chandra-led ZEEL is all set to unveil a new look of  its Hindi general entertainment channel Zee TV, from 15 October.

    Sources close to the development confirmed to Indiantelevision.com that, on 15 October, the network will present Zee TV in the new avatar with a new orange logo and tag line — ‘Aaj Lihkenge Kal.’

    Indiantelevision.com tried to reach out to the Zee TV deputy business head Deepak Rajadhyaksha but did not get any response till the time of filing this story.  

    The network revealed the logo at Zee Rishtey Awards 2017 on the successful completion of 25 years. The awards show will be telecast on Zee TV on 15 October.

    As per Indiantelevision.com information, there will not be major changes in the programming line-up. The channel is soon to launch its new offering Dil Dhoonta Hai.

    Produced by Nitin Vaidya under Dashami Creations, Dil Dhoonta Hai  is a love story of a Maharashtrian boy and a Punjabi girl, who eventually get married. Shivya Pathania (the female lead) will now be seen playing a Punjabi housewife opposite the famous Marathi TV actor Stavan Shinde (the male lead), who is making his Hindi TV debut with this show.

    The show will be aired from 21 September from Monday to Friday at 1030pm. Also, the channel is all set to launch its flagship dance reality show Dance India Dance. 

  • Sony pulls off ‘Pehredaar Piya Ki’, aims at developing viewer interest in upcoming shows

    Sony pulls off ‘Pehredaar Piya Ki’, aims at developing viewer interest in upcoming shows

    MUMBAI: Sony Entertainment, after facing flak for its show ‘Pehredaar Piya Ki’ and Broadcasting Council’s fiat to shift it, has pulled off the show altogether. The council had also earlier asked the channel to run it with a scroll, reading that it does not promote child marriage.

    After being shrouded in controversies and days after Broadcasting Content Complaints Council (BCCC) directed it to shift the show in late night slot from prime time, Sony has finally taken the call to discontinue it.

    Launched on 17 July, the show attracted the audience’s ire over its content, which showed a nine-year old boy into a marriage with an 18- year-old woman. The show was slammed for being “regressive”, with many viewers accusing it for “promoting child marriage.”

    Two weeks ago, the BCCC directed the channel to move the show from 8.30 pm to the 10 pm slot but now, effective from 28 August, 2017, the channel has stopped telecasting the show.

    In an official statement, channel stated: “We are pulling off our programme, Pehredaar Piye Ki, from television. While we understand that the decision to end this serial will be disappointing to those whose creative energies are vested in it, namely, its crew and cast, we (as a channel) are convinced that we will be better served by focusing instead on developing viewer interest in our upcoming, new shows.”

  • Sony nets 11 KBC sponsors, ad inventory almost sold out

    Sony nets 11 KBC sponsors, ad inventory almost sold out

    MUMBAI: Five days from now, when Kaun Banegi Crorepati (KBC)  fans tune into the iconic Amitabh Bachchan-hosted long-running millionaire game show)  on Sony Entertainment Television (SET) from 9 pm to 10:30 pm, they will come across quite a few innovations.

    For one, they will notice that KBC in its ninth season has been shortened to just 35 episodes with each one having a duration of between 50-60 minutes of content.  

    Then they will observe that lifelines that are provided to contestants  – when they are stumped by the quiz question put to them by Mr Bachchan – are refreshingly different.

    Instead of phone a friend,  they will be able to video a friend. A new lifeline Jodidaar (companion) has been introduced – wherein the participant can bring along a partner to join him/her on the coveted hot seat. The iconic large-sized cheques are also being replaced with digital currency which will be  transferred directly into the winner’s account via Axis Bank, keeping in mind prime minister Narendra Modi digital financial  transaction directive.

    Of  course, the show will air Monday to Friday of each week. And it’s coming on air three years after it was aired the last time in 2014.

    Produced  by the ever so loveable team of Siddharth ‘Babu’ Basu and Anita Kaul Basu for Sony Pictures Networks India (SPNI),  an interesting twist has been introduced in the KBC narrative, which is likely to add a lot of excitement and drama for both participants and viewers.

    A jackpot question, which will make the contestant richer by a mouth-watering Rs 70 million – should he or she answer it correctly after he has gone past the 15 quizzing rounds successfully and won Rs 10 million – has been brought in. This will be an all or nothing deal, wherein the quizzer’s remaining lifelines will terminate. Should the contestant fail to answer the jackpot question, his or her earnings will evaporate from Rs 10 million to Rs 3,40,000.

    Says SET  EVP and business head Danish Khan: “We wanted to make KBC  pacier, with innovations being thrown in so that viewers stay engaged. People don’t have too much patience. They want a lot of action packed into one hour.”

    The  team has also paintstakingly worked on contestant selection. Says Khan: “The aim is to live up to the promise of celebrating the common Indian and his/her exemplary contribution to the society.”

    Bachchan will also invite real-life-heroes in special episodes which are to be aired every Friday. These individuals will not only be given an opportunity to play the game, but also be provided a platform to reach out to the country in support of their cause. Among the contestants who are slated to take part include  Indian women’s cricket heroes Mithali Raj and  Harmanpreet Kaur.

    Sony Pictures Networks India CEO NP Singh points out:   “KBC truly does go beyond the ordinary to touch the lives of people from all walks of life. This show has always exemplified attainment via the power of knowledge.”

    Kaun Banega Crorepati will bring the game closer to  viewers by taking the engagement a notch higher. Jio – which is title sponsoring KBC this year – subscribers can participate daily in the Ghar Baithe Jackpot Jeeto contest and stand a chance to win a Datsun redi-GO car every day. For the first time ever Jio subscribers will have the opportunity to ‘Play Along’ with the on-air game and match their knowledge with the contestants on the hot seat.

    KBC, like earlier years, has managed to appeal to a wide array of sponsors even before the show has gone on air. Which speaks volumes for its pedigree.

    11 of them, including Vivo, Jio, Ching’s, Datsun, Raymond, Axis Bank, Akash Tutorial, Big Bazar and Quick Heal have signed on the dotted line.

    “The complete inventory has been sold out. This is one of the best seasons we have had so far because we have been completely sold out before the start of the show,” says SPNI network sales president Rohit Gupta.

    Gupta revealed that only five per cent of the air time has been kept aside for advertisers wanting to get on board as the season progresses and the show gathers momentum and grows its viewership.

    “We might sell this during the Diwali  festive season to get a higher premium,” he says.

    Gupta refused to go into detail about the amount of revenues and the ad rates that have been pegged this year.

    Says he:  “Comparing  this season and the last one would be unfair as this time the number of episodes is different. But you can say that the ad rates have gone up by 15-20 per cent this year.”

    According to industry experts, Gupta and his  sales team have priced a 10 second TV spot at ₹3.5 lakh to start with, which is a growth of 20 per cent over what it was when KBC went  on air in the last season.

    Says Singh:“The new avatar you are seeing for KBC  has been guided by audience insights. The show truly does go beyond the ordinary to touch the lives of people from all walks of life. It  has always exemplified attainment via the power of knowledge.”

    Adds Big Synergy creative producer Siddharth Basu: “The huge number of registrations for a crack at the hot seat is one pointer to the enormous anticipation for the show. Along with much-loved features of the classic format, viewers can look forward to expect the unexpected this season, a turbo-charged version, with novel features, engaging contestants, and vibrant conduct by the host who’s the most – Amitabh Bachchan.”

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