ITV

Category: GECs

  • Zee Entertainment one of ‘India’s Best Companies to Work For – ’17’

    MUMBAI: Global content company, ZEE Entertainment Enterprises Limited (ZEEL) has announced that it has been named as one of the top 100 ‘India’s Best Companies to Work For 2017’ as well as the Best Company to work for in the Media Industry, in a study conducted by Great Place to Work® Institute and The Economic Times.

    Speaking on this achievement, Zee Entertainment Enterprises Limited (ZEEL) chief people opfficer Praveer Priyadarshi said, “This prestigious recognition highlights our commitment towards fostering a high performance creative culture across the organization. To achieve our ambitious goals, we will continue to focus on our employees, whom we consider as our most important assets, with the belief that growth will only occur when employees are encouraged to experiment with new ideas, take challenges and perform with pride.”

    The award was accepted by the HR Team led by Priyadarshi, on behalf of Zee, from Bennett Coleman COO Shreejit Mishra.

    At Zee, a conscious effort is put in to attract, nurture and develop world-class talent who will fuel the next level of growth. The people philosophy centres around SAMWAD, which focuses on regular conversations between employees and their managers, and helps build better working relationships within teams. Other notable initiatives are ZEELOMPICS, an employee-recognition programme, where high performers in each role are recognised for their exemplary performance as ‘Heroes’, and ACE, the high-potential development programme to identify top-notch talent from performers in the organisation.

    Furthermore, to build a democratic culture and an environment of trust, the performance of all businesses is shared with employees on a quarterly basis through a webcast led by the MD & CEO, followed by a Q&A session with employees in India. Employees are also groomed to adapt to a dynamic environment through multiple training programmes conducted regularly. These programmes, aimed at employees at all levels, include technical workshops as well as behavioural workshops focused on decision making and execution excellence, and leadership programmers for executives from top Indian business schools.

  • Sony Sab to carry jester poet Tenali Rama series

    NEW DELHI: The wit and humour of jester poet (Vikatakavi) Tenali Ramakrishnan had first been telecast in a serues by T S Nagabharana on Doordarshan in 1990 with Vijay Kashyap playing the title role. It has since come as a series on YouTube.

    A newer version of Tenali Rama will be telecast from 11 July on Sony Sab with some of his stories that are part of popular folklore. The series will be telecast every Monday to Friday at 8.00 pm.

    Tenali Rama will take the audience back in time to the 15th Century and prove that intelligence and presence of mind can be used deftly to solve any problem or to deal with any demanding situation.

    Tenali Rama was a witty poet in the court of King Krishnadevraya. With his acumen and humour, it did not take much time for him to become the King’s favorite. However, his popularity bred contempt in Tathacharya, the head priest of the darbaar, who worked relentlessly to dishonor Tenali. The way Tenali handles tricky situations created by Tathacharya will be a great treat for viewers to watch and they will end up learning from it as well!

    The premise of the show centers around Tenali Rama, played by Krishna Bharadwaj who gets appointed as the poet and one of the eight wise men in the court of King Krishnadevraya, played by Manav Gohil. Tenali Rama always uses his shrewdness and unique methods to solve the craftiest and trickiest of all problems. His swaggering success makes his rival Tathacharya played by Pankaj Berry, supremely jealous and wants to throw him out of the court.

    Some of the other important people in Tenali’s life are his mother, Laxmi played by Nimisha Vakharia, his wife Sharda, played by Priyamvada Kant. Tenali is often stumped by the peculiarities of his mother and wife as his mother is a religious woman who has taken a wow of lifetime silence and his wife is the only one who understands her sign language but interprets it according to her own will, often adding a little spice and drama.

    The show begins with 25-year-old Tenali Rama who is an ultimate procrastinator and too lazy to pursue his dreams, but at the same time he also wants to become rich and famous. An honored saint asks him to go to the village temple and recite a powerful mantra. Tenali does the same and manages to impress Goddess Kali played by Barkha Bisht. Goddess Kali appears in front of him with a bowl of milk and a bowl of curd. She asks him to pick one but Tenali ends up gulping both which leaves Kali fuming. The very astute Tenali reasons by explaining that there is no use of one without the other. She gets impressed by his wit and blesses him saying that he will become a Vaikatavi, a jesting poet in Krishnadevaraya’s court. Later, Tenali Rama leaves for Hampi with a desire to be a part of Krishnadevraya’s court.
     
    Senior vice-president & Head, Channel SAB and MAX cluster of channels Neeraj Vyas said: “India has a compelling tradition of both written and oral folklore. Our epics are treasures that teach life-lessons via stories. Tenali Rama was a legendary poet of the 15th century who has remained immortal; his wit being admired and relevant even in today’s times. With Tenali Rama’s adaptation on SAB, we intend to offer a restored and renewed version of this classic chronicle.”

    Contiloe Pictures CEO Abhimanyu Singh added: “Tenali Rama is a show full of wit and humour. Krishnadevaraya’s kingdom was the richest during the Medieval times and we have taken utmost care to show this opulent kingdom with rich sets, costumes and tradition. Tenali Rama is a classic comedy made on a grand scale and we are very confident that the audience will like it.”

    Star Cast Details:
     

     

    Tenali Rama – Krishna Bharadwaj                       
    Chinnadevi – Sonia Sharma
    King Krishnadevraya – Manav Gohil
    Thirumalamba – Priyanka Singh
    Tathacharya – Pankaj Berry
    Mantri Timmarasu – Jiten Mukhi
    Laxmi – Nimisha Vakharia
    Dhani and Mani – Sohit Vijaysoni and Sanny Kishan
    Sharda – Priyamvada Kant
    Goddess Kali – Barkha Bisht Sengupta

  • Big Magic’s ‘Khaki Ek Vachan’ depicts heroic deeds of police force

    MUMBAI: Big Magic a variety entertainment channel has been engaging viewers with its compelling and clutter breaking content through its multi genre shows. The channel is all set to lure its spectators by adding a crime show under its hat named as ‘Khaki Ek Vachan’. Produced by the talented Homi Wadia, it is a show which is inspired by real life crime stories and the deeds of the honorable police system for our nation. Slated to start from the 10 July, 2017, it will be aired every Monday to Friday at 8:30pm.

    Just like its name, Khaki Ek Vachan will portray the government officials as the true heroes of our country who sacrifice their life for safety of the common man. Each episode of the show will highlight the journey of the loyal officers and portray real crime and corruption stories which are brought in the court of justice by the police officials.

    The show creates a ripple of hope among people that even a speck of good in our police department can provide even handedness and can take down foes mightier than the mightiest of them all.

    The talented ace actor Aman Verma who has entertained the viewers with his exceptional acting and anchoring skills will be seen hosting the show.

    The upcoming series will be driven by a marketing promotion bustle to reach out to its target markets through its various persuasive campaigns across television, radio, digital and on-ground activation.

    Commenting on the launch of the new show, the spokesperson from Big Magic said, “Khaki Ek Vachan is a unique offering which pays tribute to the hardworking police officers of our nation. Through its compelling storyline, the show will showcase the deeds and real life stories of the officials who fight for justice. The concept will reinstill civilians’ faith in the police system.”

    Big Magic is available across all DTH platforms such as Tata Sky, Airtel, Videocon, Dish TV, Reliance Digital TV along with all cable operators including Hathway, DD Free Dish, Incable, Digicable, DEN, 7 Star, ABS, Siticable, Star Broadband and GTPL among others.

  • Sony Pictures IMS acquires majority stake in ad network Httpool

    MUMBAI: IMS Internet Media Services (IMS), a subsidiary of Sony Pictures Television Networks and one of the largest digital ad sales and media buying companies in Latin America, has announced it has reached an agreement to acquire a majority stake in Httpool, an international cross channel ad network, with a presence in Central and Eastern Europe and Asia.

    Subject to regulatory approval, the deal will create one of the largest digital marketing and ad sales companies in the industry, with a combined operation supporting more than 6000 agencies and brands worldwide, and exclusively representing Twitter, LinkedIn, Spotify and more than 5000 global and local publishers across 30 countries in Latin America, Central and Eastern Europe, and the Asia Pacific regions.

    This alliance includes acquisition of Httpool India that was founded in 2010 and has offices in Mumbai & Delhi, working with over 300 brands and executing over 2500 campaigns annually, across all channels of digital advertising. This partnership with IMS will give Httpool India access to a diverse range of products and technologies from enriched markets, as well as knowledge sharing of best practices, that will not only expand their portfolio but also help in their endeavor to change the dynamics of Indian digital advertising.

    “This acquisition will enable IMS to develop some of the highest-potential geographies across Europe and Asia, and create a truly global company. IMS and Httpool together can offer an end-to-end solution in digital marketing campaign delivery, helping partners with our deep knowledge of local markets, and empowering local publishers, advertisers and 1000s of digital professionals and entrepreneurs,” said IMS CEO Gastón Taratuta.

    “With the coming together of IMS and Httpool, we enhance our digital offerings to include superior services for ad targeting and delivery. Moreover, this allows SPN to augment its service offerings to an already robust list of advertisers. This initiative will go a long way in helping us grow our digital business,” said Sony Pictures Network India CEO NP Singh.

    “We have always been committed to providing cutting edge technology and media products along with exceptional services with access to best practices, and joining the Sony-IMS family enables us in taking this ambition forward. Integration of Sony’s eminent presence in the country and Httpool’s expertise will further elevate the digital advertising experience for all our partners and provide us with a platform to create a greater impact in an exhaustive market like India. This association will not only help Httpool India to showcase our expertise but also fuel our growth to help expand our proprietary solutions across the market,” added Httpool India MD Sunny Nagpal.

    “Httpool and its team established an amazing international position, developed complementary ad technologies and share the same entrepreneurial values as IMS. By joining forces, the two groups can make a lasting impact on the broader digital ecosystem through continuous innovation, openness, creativity and partnerships,” Taratuta added.

  • Mastiii claims to give better cost vs RoI for advertisers

    MUMBAI: Mastiii has emerged as the topper in BARC week 24 and 25. Now, it is taking forth to advertisers its viewership strength claimed to be 238 million with Mastiii super prime time.’ This move claims to bring a more Cost vs ROI-conscious approach for advertisers.

    SABgroup CEO Manav Dhanda revealed, “97% of the Mastiii super prime time audience is also viewing Hindi GEC.” He claimed that their prime time was better than several prime time shows of some Hindi GECs.

    “The music genre reaches out to over 406 million viewers on an average monthly basis of which Mastiii commands 59 per cent share in the 2+ segment making it an important part of advertisers’ brand marketing portfolio,” he said.

    “Audience loyalty makes Mastiii slot of 8:30am to 10:30am a great opportunity for targeted advertising, along with their other high-reach mix of TV channels,” Dhanda added.

  • GST: TV prod biz bemoans lack of clarity and increased paperwork

    MUMBAI: Minister of information and broadcasting M Venkaiah Naidu, writing for a business newspaper, opined: “At the midnight of June 30, India will make a tryst with history by heralding the much-awaited GST regime and turning a new leaf in the annals of the country’s taxation system.”

    “There might be some teething problems initially, but, in the long run, GST will help both the traders and consumers as it will cut down red tape — there will be no inspector raj, harassment by taxmen or check posts at borders. The officers will have no discretionary powers. It will ensure transparency, reduce inflation, bring down prices, improve ease of doing business, create a level-playing field, increase tax compliance and help achieve higher economic growth.”

    The aim of the Goods and Services Tax (GST) — one nation, one tax — may be lofty, but clearly many segments of the media business don’t seem to agree with Naidu’s optimism — at least in the short term. And, television and film production houses are one such category.

    Executives at production houses feel accounting and operational processes would definitely escalate, thus needing more staff in a largely insecure business environ, although most are hopeful that irritants would iron out in the long run.

    “Accounting and operational processes would increase to a large extent. I am sure we would learn, adjust and settle down in the new system,” said Swastik Production producer Rahul Kumar Tewary. Although, he feels there wouldn’t be much impact on the television industry owing to a new indirect taxation regime that GST seeks to usher in, he explained, “The producers will claim additional tax from the broadcasters who, in turn, will recover it from the advertisers.”

    In fact, a uniform tax system will help the largely unorganised industry become organized and, according to Tewary, it will “benefit the content makers and producers” who will get more input credits under GST as there will be no distinction between service tax, entertainment tax and VAT. However, the paperwork will definitely increase. Neela Telefilms director Asit Modi admitted paperwork will be a “big problem”, especially when shooting outdoors as then production houses will have to file “three (tax) returns in a month.” His worry is compounded by the fact that more paper work would warrant employing more human resources in the presently financially insecure production business.

    Still & Still Media Collective founder Amritpal Bindra pointed out some big impacts of GST. Dubbing increased tax filings a “clerical impact” of GST, he said, “Administrative hassle in the beginning will lead to a simplified tax structure substituting multiple taxation in the long run.”

    Pointing out that high taxation (28 per cent) on movie tickets priced over Rs. 100 would be a challenge for the industry, Bindra explained teething pains as paving the way for “transparency, unique management, discipline and good corporate governance in the industry.”

    The reason for his relaxed attitude towards GST? “We have been trying to pay more people through cheque and also insisting on raising relevant invoices so that our partners could pay taxes in their individual capacities. Unlike the norm of 90-120 days payment cycle in the industry, we make sure the vendor is paid within 30 days after raising an invoice,” Bindra explained.

    Some executives are approaching the new system differently. Contiloe Pictures COO Anup Vijai is looking at the new tax regime in two parts — commercial and compliance. “There is a cost perspective and the other is process compliance,” he remarked, “We are a production house that is subjected to service tax. When we raise an invoice for a TV channel, we add service tax separately. We believe that GST would lead to reduction in costs, but are unclear on the process of filing the new tax.”

    Some other production house leaders complained about the new tax regime, nevertheless. Hats Off Production founder JD Majethia said that more funds would get blocked as they would have to pay the actors in advance and, according to him, things such as makeup, food and vanity van, covered under GST, would become expensive.

    “Under GST, the cost of food provided to actors could be set off, which is good. But, if we ordered from hotels (outdoor catering), it may be dearer under the new regime,” Majethia said. He expected the situation to be prevalent for a couple of years, but hoped GST would boost economy.

    Another production house executive chided the government for “poor marketing” of the new tax system. Paperback Films co-producer Pradeep Kumar found GST to be beneficial, but was unhappy about its marketing and lack of a thorough awareness and literacy drive about GST.

    “GST may hurt because there will be a penalty for delayed or missed payment of GST,” he said, adding, “We would have to ensure that vendors and caterers, etc raised invoices by the end of every month so that we are in a position to do the taxation process in the next ten days.” He also described a surge in tax from 10 to 15 per cent as “tax terrorism”, saying that GST may simplify taxation in the long run, but an increase in the quantum is a “liability”.

    Whoever said `no pain, no gain’ probably had GST in mind and for the media industry and production business, in particular, it seems to be quite true. The long-term simplification of a multiple taxation regime brings along pains in the form of short-term uncertainties as India is still largely a cash-economy and formal invoices and a process-driven system a rarity.

    ALSO READ:

    http://www.indiantelevision.com/regulators/ib-ministry/gst-benefits-come-with-daunting-compliance-increased-paperwork-say-sector-stakeholders-170628

    http://www.indiantelevision.com/dth/dth-operator/under-gst-taxes-on-cable-dth-entertainment-services-to-come-down-170523

  • KBC’s new season crosses 19.8 mn registrations

    MUMBAI: The fervour and popularity of Kaun Banega Crorepati (KBC), hosted by the biggest superstar Amitabh Bachchan, can be seen from the number of entries received this year.

    The whole nation went into a frenzy from the moment the first announcement was made by Big B himself on micro blogging website. Within minutes of registration lines opening, fans of the show hauled to various platform in anticipation to get a chance to be on the hot seat.

    With entries crossing 19.8 million, this season broke records of previous ones making it a maximum number of registrations made in the history of Kaun Banega Crorepati. And that’s not all! Over 51 lakh entries were received on last day, making it highest single day registration.

    Talking on the development, Sony Entertainment Television EVP and business head Danish Khan said, “The record breaking registration numbers reinforces the immense popularity KBC enjoys in our country. Year after year, the show celebrates power of knowledge with the biggest superstar of India — Amitabh Bachchan. With these astounding numbers, we are extremely bullish for this season which will be a six week, Mon-Fri season.”

  • Return of Rebel 2 & PK return Sony Max to top 10 prog list across genre

    BENGALURU: The airing of The Return of Rebel 2 across Hindi Movies (Urban+Rural), Hindi Movies (Urban) and Hindi Movies (Rural) and PK along with Son of Satyamurthy in the Hindi Movies (Urban+Rual) and Hindi Movies (Urban) markets saw Son Max re-enter the Top 10 channels across genre All India (U+R): 2+ Individuals list for week 24 –(Saturday, 10 June 2017 to Friday, 16 June 2017). After the tenth season of the Indian Premier League (IPL 10) which commenced in week 14 of 2017, this Sony Pictures Network channel had had a small hiatus from BARC’s lists across genre for one week – week 23. Sony Max was placed at ninth rank in the list with 460.016 million weekly impressions in week 24 of 2017.

    The Broadcast Audience Research Council of India (BARC) list of top 10 channels for week 24 has seen some shakeups and exits vis-à-vis the previous week (week 23).Since the past few weeks two Balaji Telefilm’s soaps on competing channels have given each other a tough fight in the ratings battle on Hindi GEC. For a few weeks the infinite length family drama Kumkum Bhagya on Zee Entertainment Enterprises Limited (Zeel) flagship Hindi GEC Zee TV  had taken the ratings lead backed by strong viewership in the Hindi GEC (Urban+Rural) and the Hindi GEC (Urban) markets. However, as Balaji Telefilm’s second season of the finite length supernatural series Naagin 2 on Viacom 18’s Hindi flagship channel Colors approaches its closure, it has retaken the lead in the ratings tables in these markets over the past few weeks.

    Cricket, of course has always been close to the heart of all Indians, and hence the presence of Star Sports 1 Hindi and DD National that broadcast the recently concluded ICC Champions Trophy 2017 in which India was one of the finalists, though a losing one.

    While the top five channels from the Week 23 list have retained their rank and order,albeit with altered ratings in week 24, Zee Anmolclimbed up one rank to the sixth place while pushing its older peer channel Zee TV down to seventh place in week 24 from its previous week’s sixth rank. The Sun TV Network’s Telugu flagship channel Gemini TV maintained its eighth position of week 23 in week 24 while Sony Max and Colors (which also re-entered the list) pushed out DD National and Star Sports 1 from the top 10 channels list.

    Please refer to the list below for BARC data for top 10 channels across genre for weeks 23 and 24.

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  • ZEEL to globally strengthen its ‘largest Indian entertainment’ brand identity, says Amit Goenka

    Internet is significantly changing the way we consume entertainment — AR and VR are becoming commonplace. Over 60% of the world’s population is ‘digitally connected’ today. Content companies and advertisers are swiftly adapting to the new reality and redefining their strategies to stay on the top of the game. ZEEL’s international presence makes it one of the largest Indian entertainment brands and it wants to make the brand stronger, going forward. ZEEL CEO – international business Amit Goenka discusses the group’s plans and strategies in the company’s annual report:    

    How do you think the digital market will evolve and at what stage is India in that evolution process?

    Internet is dramatically changing the world as we know it. Over half the world now uses Internet, and technologies like AR and VR are fast becoming commonplace. Internet has already become an integral part of everyday life for most of the world’s population. Over 60% of the world’s population now owns a mobile phone and is ‘digitally connected’ and we will see a proliferation of this trend going forward. With increasing online content consumption, media businesses, content companies and advertisers are also rapidly adapting to the new reality and redefining their strategies accordingly to stay ahead and stay relevant.

    Given that Internet penetration in India is still under 40%, there is a significant growth potential

    for digital content consumption. We see the growth momentum across digital increasingly

    coming from smaller towns and rural areas, as urban areas get saturated. Businesses, across

    the board, will have to look at innovative ways to reach and capture the rural market given its

    propensity to consume content in vernacular languages and lack of comfort with English.

    What is ZEEL’s strategy for digital business?

    As an entertainment content company, it remains extremely important for us to be present where

    our consumers are, and so having a digital presence remains integral to our strategy for

    future growth.

    We launched the first Over-The-Top (OTT) platform in India in 2012 – dittoTV, our aggregator

    SVOD offering for live TV. We re-launched it last year at a strategic and disruptive price of ` 20 per month. We also partnered with leading telecom operators for both distribution and payment, which has been a successful move for us. OZEE, our free-to-consumer AVOD platform, has been showing excellent traction and is a leader in engagement metrics. With the launch of our global OTT platform Z5, we will consolidate our SVOD and AVOD offerings. It will be the single destination for all our content.

    How do you see competition from local players like Hotstar, Voot and international players like Amazon Prime and Netflix?

    The industry is still at a nascent stage. Though the digital consumption has grown significantly

    over the last couple of years, most of the players are still experimenting with different monetisation models. At this point, the entry of new players, especially the international ones, to my mind, is expanding the market size and popularising the category. Players have raised significant funds and are investing in content creation. These are also exciting times for users who are being wooed across the board with a plethora of choices and are getting to experiment with different genres of content. We do see this trend settling down in the future and expect a

    degree of consolidation in the industry. This will also lead to players finding their own content

    niche in which they would want to operate. We have our own strategy in place and are geared to create a distinct positioning for ourselves despite the cluttered market.

    What would make your digital product stand out from the others?

    Content is the key to attract a sustainable viewer base across any platform. Our experience and understanding of content and consumer certainly gives us a natural edge. The content viewing pattern on digital platforms is different from television and we are tweaking our content strategy accordingly to suit these needs. In addition, a rich viewing experience aided by a highly intuitive UI (user interface) across multiple languages is one of our key focus areas. Also, given our spread of channels across languages and geographies, a strong recommendation engine would help users to seamlessly navigate content suiting their needs.

    Do you think digital will take away share of advertising from television?

    I think both would complement each other. In a market like India where television penetration

    will continue to grow for years, it will remain the primary medium of entertainment for majority of the population. Digital allows content consumption on the move and is adding to the overall video consumption. Even in evolved markets like the US, television advertising is still growing despite the increasing share of digital. While we see growth in both the mediums, digital will grow at a higher rate over the next few years in India.

    Could you give a brief overview of ZEEL’s international business?

    There are two parts of our international business – the first part caters to the Indian and South Asian diaspora and the second part, caters to the foreign audience in their native languages. As far as the diaspora is concerned, I think we have reached most of the countries with sizeable Indian population. The endeavour here is to offer more channels and expand our distribution reach.

    We started targeting foreign audience having affinity for Indian content in 2008, and have significantly expanded our presence in the last eighteen months. I think this journey has just begun. Currently, we are offering content made for Indian market, dubbed, subtitled or repurposed as per the requirements of a country. We have 13 channels in this category and as we learn more about the needs of the audience, we will gradually make content for some of those markets.

    How would you describe your international journey so far?

    ZEEL forayed into the international business in 1994 with the launch of Zee TV in the Middle East & Pakistan. Following that, we commenced operations in Europe (UK) in 1995, Africa in 1996, US in 1998 and lastly APAC in 2004. Having reached Indian diaspora in all significant markets, we started targeting markets with a liking for Indian content. This journey commenced with the launch of Zee Aflam in MENA region. Our international presence makes us one of the largest Indian entertainment brands and we want to make this brand stronger, going forward.

    What are the factors you consider while launching a channel for non-Indian audience?

    The proposition to launch a new channel begins with identifying markets where a content gap

    exists and we can leverage the strength of our library to offer differentiated content. This involves extensive research to understand the market dynamics including learning about consumer preferences, competition and market size amongst others. This is a lengthy process and only a few of the markets meet our criteria for launch. We are happy that most of our launches targeted at the non-Indian audiences have been received well. Our channels in the Middle East – Zee Aflam and Zee Alwan – have been performing well for a long time. One of our recent launches, Zee World, consistently ranks amongst the top three channels in the South African market.

  • HistoryTV18: #BossWomen to tell stories of Indian women

    NEW DELHI: #BossWomen, a weekly video series showcasing the stories of extraordinary Indian women, has commenced telecast on HistoryTV18.

    The programme is part of a first-of-its-kind digital collaboration with disruptive tech-media platfvorm The Better India.

    The first episode is on with the story of India’s first ever female detective Rajani Pandit,.

    The aim is to collaborate to create and celebrate positive, inspirational, lesser-known, role model worthy women of India.

    The Better India founder CEO Dhimant Parekh said: “It’s really exciting for us at The Better India to partner with HistoryTV18 Channel and launch this unique new series #BossWomen. This partnership has led to a disruptive storytelling format in digital media, and we together aim to celebrate the triumphs of these lesser-known Indian women.”

    History TV18 Vice President & Head Marketing Sangeetha Aiyer added, “HISTORY TV18 has successfully metamorphosed itself into a robust digital platform through powerful story telling tailor-made for mobile-age. This is in line with our guiding philosophy of following the eye balls, no matter the medium. Through this partnership, we hope to exploit synergies and provide even greater value to our digital audiences.”

    To be hosted every Tuesday, stories of un-sung women heroes sourced from across the country, #BossWomen will put the spotlight on women leaders who are ‘change-makers’ in their personal and professional spaces.