Category: Viewership

  • Zee Cinema unveils fresh content lineup with ‘Taaza Hai Toh Mazza Hai’ campaign

    Zee Cinema unveils fresh content lineup with ‘Taaza Hai Toh Mazza Hai’ campaign

    Mumbai: Zee Cinema is all set to bring a fully-Taaza movie line-up of the recent superhits with their ‘Taaza Hai Toh Mazza Hai’ campaign for cinephiles jinke seene me hai cinema.

    As a part of this campaign, the best of entertainment and big hits at the box office with performances from Akshay Kumar, Alia Bhatt, and NTR Jr will make TV premieres on Zee Cinema.

    With this, the audience will experience the game-changer film that touched an emotional chord of an entire nation and received tremendous response from the audience with the brilliant “The Kashmir Files” and the high-octane raw action film – “Attack”, starring John Abraham and Rakul Preet Singh.

    Elevating the entertainment quotient is the first-ever collaboration between Alia Bhatt and the visionary craftsman of cinema, Sanjay Leela Bhansali, with “Gangubai Kathiawadi”. One of the biggest female-led films of today’s time, the delicate emotions, immaculate performances, and a great story is what makes the film a must-watch.

    The hits keep on coming! The plethora of fresh top-rated forthcoming titles on Zee Cinema also includes the world television premiere of the glory of Indian cinema and India’s highest-grossing blockbuster SS Rajamouli’s “RRR”. Superstar Akshay Kumar’s “Bachchan Pandey” much-loved action star Tiger Shroff’s “Heropanti 2”, “Jersey” starring Shahid Kapoor, Bollywood’s fearless queen Kangana Ranuat’s “Dhaakad” and many more.

  • ISA issues advisory to its members on broadcasters pulling out of Barc ratings

    ISA issues advisory to its members on broadcasters pulling out of Barc ratings

    Mumbai: The Indian Society of Advertisers (ISA) has issued an advisory to its members in support of Broadcast Audience Research Council (Barc) India TV ratings. 

    In the letter, it said, “It has been brought to our notice that some publishers would be opting out of the Barc rating system.”

    The advisory draws the attention of advertisers to the practice of broadcasters that do not subscribe to the established system of advertisement measurement, which has been jointly agreed upon by all stakeholders – advertisers, agencies and broadcasters.

    The advisory reads, “advertisers may independently assess the situation and make an informed decision concerning such platforms while dealing with advertisements.”

    “In India, TV ratings are being measured by Barc, print by IRS (Indian Readership Survey) etc.” said the letter. “The primary objective of TV ratings is to know the returns on heavy media investments made by the advertisers.”

    Barc is a joint industry body set up to design, commission, supervise and own an accurate, reliable and timely television audience measurement system for India. It currently measures the TV viewing habits of 210 million TV households in the country, using 44,000 sample panel homes.

    “By using audience data, one (the advertisers) can ensure that very little advertising spend is wasted,” said the letter. “As the 19th-century famous quote by John Wanamaker says ‘half the money I spend on advertising is wasted, the trouble is I don’t know which half.”

    The letter further iterates, “The above quote isn’t true when media is measured! Wanamaker’s quote works only when the media audience is not measured.”

  • Much-awaited Hindi GEC ‘Atrangii’ launched by Vibhu Agarwal

    Much-awaited Hindi GEC ‘Atrangii’ launched by Vibhu Agarwal

    Mumbai: The much-awaited Hindi GEC (general entertainment channel) ‘Atrangii’ has been launched on Monday. Backed by Vibhu Agarwal, the channel will feature a programme line-up from 7 pm to 11.30 pm.

    The channel is now available across all pay platforms namely Tata Sky, Airtel, D2H, Dish TV as well as on all cable networks like Hathway, Den and GTPL.

    The eclectic content line-up will also have some of the most-watched shows from OTT platforms and production houses that will be brought to the television screens of the audiences. ‘Atrangii’ is targeted toward engaging with the Hindi speaking market across the length and breadth of the country with a slate encompassing an expansive gamut of genres.

    The channel will begin with a show titled Bheja fry at 7 pm, followed by Dil-E-Ghumshuda from 7.30 pm to 8.30 pm. The unheard story of the greatest sage warrior Parshuram will be aired from 8.30 pm to 9 pm. Hara Sindoor, follows the extraordinary journey of a young girl Rani, who stands against the monarchy of the village dictator to liberate the villagers from the shackles of the monarch. This prime-time show will be telecast at 9 pm. The 9.30 pm slot will showcase disruptive, quality content from the web, to be enjoyed by the audiences from the convenience of their homes and that too without any subscription fee with the show titled Bestseller

    From 10.30 pm to 11 pm Parshuram will be repeated. The show Jaghanya will alert audiences, showcasing some of the soul-trembling, heinous crimes that have plagued our society and will air from 11 pm to 12 am.

    Speaking on the launch of the channel, Atrangii CEO and founder Vibhu Agarwal shared, “We are elated to roll out our first Hindi general entertainment channel Atrangii. We have been curating gripping content for the channel for the past couple of months now and we take pride in launching it with four hours of programming. From here on, we aim to further bolster the original content line-up. We have invested heavily in expanding our creative pool, bringing talent both behind and on-screen to put out shows that resonate with the Hindi heartland. Our concerted focus with ‘Atrangii’ is to partner with established production houses and independent creators to showcase content that will give us a definitive edge over currently produced shows in the Hindi GEC space. We aim to emerge as the go-to destination for entertainment across both satellite and digital space.”

  • Michael De Luca, Pam Abdy to head Warner Bros. Pictures Group; Toby Emmerich steps down

    Michael De Luca, Pam Abdy to head Warner Bros. Pictures Group; Toby Emmerich steps down

    Mumbai: Former MGM film executives Michael De Luca and Pam Abdy have been appointed co-chairpersons and CEO of Warner Bros. Pictures Group. They replaced longtime studio executive Toby Emmerich who has announced that he is stepping down as Warner Bros. head.

    Each of the divisions including Warner Bros. Pictures, New Line Cinema, DC-Based Film Production, and Warner Bros. Feature Animation will break into three distinct segments – Warner Bros. Pictures/New Line Cinema, Warner Bros. Feature Animation, and DC-Based Film Production. Each will have its own separate leadership. 

    The decision is part of the company’s new long-term strategy. In the meanwhile, the segments are still managed by the film group, with De Luca and Abdy in charge of day-to-day operations. De Luca and Abdy were MGM Studios’ motion picture group chairman and president, respectively. They decided to leave after Amazon acquired MGM.

    Simultaneously, Toby Emmerich will launch his own production company at Warner Bros. studio, focused on film, television and streaming. Warner Bros. Discovery will finance Emmerich’s ventures and hold distribution rights to films & series as part of an exclusive five-year deal.

    Screenwriter and producer Emmerich has been president and chief content officer of Warner Bros. Pictures Group since 2017. Previously, he served as president and chief operating officer of New Line Cinema. He joined Warner Bros. in 1992 as a dual development and music executive and has worked there for the past 30 years.

    In a statement, Warner Bros. Discovery CEO David Zaslav said, “I have known Toby for many years and have tremendous respect for his vision and ability to create extraordinary cinematic experiences. He has led a best-in-class studio team and was the driving force behind an incredible, diverse collection of films and series. Toby is also an exceptional person and longtime friend to me and to many and I am personally very happy to continue our working relationship. I am thrilled that he’s chosen to remain a part of our Warner Bros. Discovery family with this long-term production deal and look forward to seeing the fantastic stories that he and his team will create for us in the years ahead.” 

    Speaking about his venture, Emmerich said, “It has been an honour and a pleasure to be part of this storied company these last three decades and to lead the world-class Warner Bros. film studio team, and I am incredibly proud of what we have been able to accomplish together. This seemed like the perfect time to transition to something new and I am excited to be pursuing my passion for storytelling in a more hands-on way with my own production company.” 

    Further, on the newly appointed co-chairpersons and CEO of Warner Bros. Pictures Group, Zaslav said, “Michael and Pam are supremely talented creative leaders with a proven track record of success. We are thrilled to welcome them both to our Warner Bros. Discovery family, and look forward to seeing them take this nearly century-old iconic studio to even greater heights of excellence in film.”

    With a global box office collection of $5.57 billion in 2018, Warner Bros. Pictures Group achieved its most successful year ever under Emmerich’s leadership.

    Films such as “Aquaman” – the most popular DC Superhero film ever and Warner Bros’. second-biggest title of all time – “Fantastic Beasts: The Crimes of Grindelwald,” “Ready Player One,” “The Meg,” “Rampage,” “A Star is Born,” “The Nun,” and “Crazy Rich Asians,” helped Emmerich fuel this success. Also, the studio in 2019 delivered the highest-grossing R-rated film of all time, DC’s “Joker,” which grossed $1.08 billion worldwide and won two Academy Awards, as well as the horror sequel “IT Chapter Two.”

  • Landing pages are bonafide methods of marketing: MK Anand

    Landing pages are bonafide methods of marketing: MK Anand

    Mumbai: The landing page is the first channel where the TV viewer lands when anyone turns on the set-top box, which has become a bone of contention in the news broadcast industry. On one side, there are its critics who have criticized its influence on news ratings that are a currency for negotiating with advertisers. On the other hand, there are its advocates who believe that it is merely a marketing tool.

    The latter view is held by Times Network managing director & CEO, MK Anand, who unflinchingly states that “Landing pages are bonafide methods of marketing.”

    Times Network has been instrumental in securing the order by Telecom Disputes Settlement and Appellate Tribunal (TDSAT) which recognised the landing page as a legitimate tool for promotion, allowing the broadcasting industry to continue using it.

    News broadcasters have argued that channels are paying ‘astronomical sums’ for placement on the landing page. The cost of placement on the landing page amounting to several crores cannot be matched by the revenue potential of the news genre that is heavily reliant on advertising.

    Broadcast Audience Research Council (Barc) has attempted to mitigate the impact of the landing page on TV viewership in the past. In September 2020, it introduced algorithms into its data validation method to mitigate the impact of landing pages on viewership data across all genres of channels.

    More specifically, after an extensive review by the Barc oversight committee, it improved or replaced its existing method based on symptomatic statistics with a method that directly uses inferential statistics.

    The viewership data for individual news channels have once again become available after a ‘ratings dark’ period of 18 months and with-it complaints about the accuracy of the ratings. Barc is unable to completely exclude landing page data from its viewership estimates.

    Can the news broadcast industry come to a resolution on the landing page issue? Industry leader MK Anand responds to questions by Indiantelevision.com.

    Do you agree with the view that landing pages are a marketing tool? If yes, should Barc include a disclaimer on news channel data that has been influenced by landing pages?

    Landing pages are bonafide methods of marketing. Every product you purchase has some element of promotion in it. Do we need disclaimers to know that the toothpaste we use has been promoted?

    Does the landing page significantly influence ratings even after Barc’s efforts to mitigate its impact? How much does it influence advertiser spending as they consider looking at 13 weeks’ data to plan budgets? Barc itself is looking at four-week rolling average data for all genres.

    Landing pages provide the viewer with a window to watch when he puts on the set-top box. It does not automatically convert to viewership unless the viewer has spent more than a minute on the channel. This means the content has to be compelling enough. Imagine you put your TV set on and a blank screen comes on and you have the remote in your hand. Would you keep watching the screen for one whole minute or more?

    News broadcasters claim that the landing page leads to un-competitiveness in the news genre as bigger marketing budgets and not content is influencing the ratings which are a representation of authentic TV viewership. Do you agree with this claim?

    That’s a spurious argument. As explained above, viewership is registered only if the viewer continues to stay on the channel. Also, there is nothing unauthentic or otherwise about promoted viewership. These are arguments put forth by players who are unwilling to or unable to spend and compete. This campaign against landing pages is just another form of protectionism.

    What can news channels do to resolve the landing page issue? Should the industry collectively bar itself from using landing pages?
    In a free market, competition takes care of such issues. Collective behaviour is akin to cartelisation.

    What can Barc do to resolve the landing page issue?
    Barc should continue to report what India watches on TV channels that employ bonafide and legal means of content development & distribution.

  • TV Adex likely to grow by 13% in 2022, says ZEEL ad sales chief Ashish Sehgal

    TV Adex likely to grow by 13% in 2022, says ZEEL ad sales chief Ashish Sehgal

    Mumbai: Despite the threat of inflation, which is already hurting the fast-moving consumer goods (FMCG) category, which accounts for around 40 per cent of the television advertising market, Zee Entertainment Enterprises (ZEEL) chief growth officer – ad sales, Ashish Sehgal expects the TV Adex (TV advertising exchange) to grow by 13 per cent in 2022.

    He said that so far this year, due to the declining impact of Covid-19, the growth stood at 10 per cent. However, this was not the case last year due to the pandemic restrictions. He expects local brands, which were absent from the market for the last couple of years because of Covid-19, to make a strong comeback.

    “In January due to Covid-19 the TV Adex went down a bit, but from February the Adex started to grow. Due to the IPL, things have been good since February. Entertainment, cinema and even news have enjoyed a good run. Elections benefit the news industry in the first quarter,” he added. “The TV Adex should have grown by 10 per cent over the previous year so far. By 2022, it should grow by 13 per cent.”
    He proceeds further by adding that inflation is mainly hurting FMCGs. “Even in auto, the activity is growing now. New launches will happen. Telecom is advertising. BFSI has been quite active over the past six months. BFSI may slow down in July and August but in the upcoming festive season it should pick up. When the LIC IPO came, LIC advertised. I see other companies in insurance and banking following suit in terms of the same activity. The new D2C startups are bringing in a lot of money. E-commerce ad spends from the likes of Flipkart and Amazon will only grow in 2022.”

    When asked about startups experiencing funding slowdown and potential impact on ad spending he said that they will shift money from cricket to less expensive avenues like entertainment. “Companies will pump in money into the entertainment category. Earlier, they were putting money into cricket but now they are diverting money into cheaper genres like entertainment. Of course by the time the funding slowdown hit startups the IPL ad deals had already been done. Also, the IPL ratings were down but the deals are signed now. IPL made more revenue than last year.”

    Speaking about the same, he added, “but cricket might get impacted by startups shifting track going forward. These startups are also advertising in print. You have to remember that D2C startups cannot stop advertising otherwise their customer acquisition strategy will get affected. They are looking at cheaper options and are aiming to rationalise their ad spends better.”

    Sehgal feels that the English genre is likely to benefit from the New Tariff Order (NTO) because the ad pie is small. The subscription revenues now are important for them. “As far as music is concerned the genre is benefiting from free-to-air (FTA) viewership. Infotainment is in the same boat as English but it is slightly better off because there is not much content on OTT. So their ad revenue situation is better.”

    According to ZEEL, from his perspective, entertainment accounts for around 65 per cent of revenue, but cinema is also growing. “We have the largest cinema library as well as the largest number of cinema channels. Tentpole properties are very important for the topline. In cinemas, a lot of movie premieres are lined up, which was not the case last year. This will propel ad revenue.”

    Talking about the importance of regional channels, Sehgal said that the major ad revenue growth for ZEEL is happening here, whether it is in the South, Punjabi, Oriya, Bangla or Marathi. “They all are contributing to the growth. They can tap into the local retail brands. Their contribution was subdued for the last two years due to Covid-19. Now, they are back in business and so they are advertising now.”
    Simultaneously, he mentioned the OTT as an addition to TV not eating the TV’s pie. “Today advertisers use the TV for reach and OTT for re-targeting. The AVOD (advertising-based video on demand) consumers are similar viewers to TV. The kind of content being watched on OTT AVOD is the same that airs on TV first.

    Explaining ZEEL’s strategy for ad solutions, he said that the company’s branded solution team has created an Ad funded program. “In some shows, brands get integrated which allows them to be present within the content. In addition, ZEEL helps brands through influencer marketing where characters from shows become influencers for brands. Commercials are created.”

    Sehgal believes the number of pay television channels consolidation will stay the same, as the number of non-premium channels is not growing. The only new channels are in the FTA space. “Everybody has their space. In an unexplored market, a new pay channel might be launched which we did in Punjab two years back, but not otherwise, channels will sustain. FTA will also sustain as the viewership is different. Advertisers use FTA channels as there is no other medium to reach that consumer.”

    He also noted that news will do well as it has a wide reach from pay to FTA. “In metros, event development led people to switch to news channels even on direct-to-home (DTH). News is a unique genre, from metros to rural the audience is available, for advertisers news has separate FTA space. Also, for the upcoming 2024 general elections, the government (in the next four to six months) will start pumping in money. The news genre will certainly fetch the majority of this fund. The state elections are an addition to this genre.”

    “The four big networks including ZEEL adhere to the ad cap guidelines and they do not violate them. For ZEEL it tends to be 12+2,” he concluded.

  • Kevin Pietersen Talks about the IPL’s Final Week

    Kevin Pietersen Talks about the IPL’s Final Week

    This season of the Indian Premier League witnessed some high voltage clashes as debutantes Gujarat Titans and Lucknow Super Giants began to entertain us.

    Gujrat Titans bagged the most wins so far compared to others. The team won 10 out of 14 matches and has successfully lived up to the hopes of its fans.

    On it, the Former England Captain – Kevin Pieterson – also mentions that the Hardik Pandya led team will be tough-to-beat in this IPL playoffs.

    It’s worth noting that Gujrat Titans’ continuing wins have become a matter of concern for opponent teams.

    And that makes Kevin Pieterson stay more confident about Gujarat Titans.

    “Gujrat Titans are Difficult to Stop”

    The legendary England Batman adds more words to appreciate the continuing success of the Gujrat Titans. The team equips a winning attitude, making them so good at getting things done pretty well on the ground.

    Beyond a doubt, it is going to be tough to break Gujrat Titans – he added. Kevin Pietersen even compares their performance with Shane Warne’s Rajasthan Royals, who have won the 2008 IPL championship.

    Keving thinks the Gujarat players also adopted a winning attitude for the game and won the trophy with a wonderful mentality in the end. A similar reflection can be viewed in Gujrat Titans this time.

    Few Other Good Names Covered in the Winning list of Kevin Pietersen

    Apart from Gujrat Titans, Kevin Pietersen firmly believed in Royal Challengers Bangalore in its match  against Lucknow Super Giants.

    Delhi Capitals were few other big names in the Kevin List but unfortunately they failed to qualify in the next stage of the league after losing by five wickets against Mumbai Indians.

    Neither Delhi Capitals nor Mumbai Indians were lucky enough to play in the playoffs.

    However, Rajasthan Royals have showcased some of the best moves this time and will get a second chance of making it to the final.

    Kevin Pietersen mentions that despite the fact that Chennai Super Kings is also a tough competition, their winning chances were already less this season. They might have won 4 trophies so far, but their transition didn’t have that magic this time and went out in IPL Season 2022.

    Wrapping up

    The four teams Gujarat Titans, Rajasthan Royals, Royal Challengers Bangalore and Lucknow Super Giants have successfully made it to the playoff.

    But in the end, Titans made direct entry to the finale to compete with Royals who have been riding their luck through the group stage so far. But as Hardik Pandya led Gujrat Titans are favorites to lift the trophy this season.
     

  • Guest Column: How multi-channel marketing strategy works post pandemic

    Guest Column: How multi-channel marketing strategy works post pandemic

    MUMBAI : With Covid-19 behind us and all restrictions easing up, it is hardly surprising that things are returning to pre-pandemic levels. It is critical to recognise that businesses and organisations are prepared for such huge changes since, as we all know, we are not returning to the way we used to run our operations. Now that the market has opened up, there is enormous potential for marketers from all sectors to capitalise on these changing trends; organisations never expected to adjust into hybrid working so rapidly. According to McKinsey, firms have accelerated and been digitised in the last two years. It was expected to take it upto 2025, but they hastened it up by three years.

    The pandemic has already demonstrated the necessity of multichannel marketing, which multi-channel marketers were aware of. It has considerably increased the use of digital channels. What makes multichannel marketing so crucial in today’s market is using diverse marketing techniques and platforms to contact and engage with a wide range of customers in a number of ways. The primary goal of multichannel marketing is to guarantee that the message reaches the target audience regardless of whatever devices they use.

    The following are some strategies to consider while developing multichannel marketing strategies:

    1. Leverage Data

    Information is one of the most powerful tools accessible to marketers. Multichannel marketing generates a vast quantity of consumer data cache. Even if a message does not convert or produce an average or mediocre outcome, it nevertheless generates data. This never-ending cycle of developing and enhancing messages and content is the foundation of true multichannel marketing. Previous data and analytics may also be used to get information about what customers want at each touchpoint. Analyze the data and detect trends in your multichannel marketing initiatives to help you target customers more effectively.

    2. Hybrid channel to elevate campaign

    The most difficult problem for any multichannel marketing plan is determining the best mix for a campaign, and strategies to begin with research. Identifying the channels to produce the best outcomes in terms of client involvement. Few channels risk oversaturation and missing out on a greater number of prospective consumers, while many channels exhaust resources and create a gap in the customer experience. Multichannel marketing must be utilised to generate important and beneficial consumer experiences at every connection, rather than simply having a balanced number of channels.

    3. Real connection with clients

    The Covid-19 pandemic has caused a significant change in remote work for organisations all around the world. Working remotely has many benefits, but it has also increased isolation and digital weariness, resulting in digital overload. Savvy marketers have long recognised the significance of building genuine connections with their consumers, which means breaking through the digital clutter and reintroducing the customer to the actual world. Tangible and observable objects provide a sensory experience that digital interactions cannot provide.

    The only constant is change, and as a marketer, you should be aware of it and be prepared to adapt to new difficulties and modify on the run. Multichannel marketing is critical for every marketer aiming to connect customers in a significant way. An effective multichannel marketing strategy necessitates a focus on how channels should perform independently. The goal is to convert targeted audiences into customers through improved interactions; interacting with consumers across numerous channels at various touch points means more opportunities to engage and convert consumers into customers.

    The author is Arun Fernandes, Founder-CEO, Hotstuff Medialabs

  • UK based broadcaster BBC plans to build ‘digital-first’ focused services

    UK based broadcaster BBC plans to build ‘digital-first’ focused services

    Mumbai: UK pubcaster BBC director-general Tim Davie shared his plan to build a “digital-first” British Broadcasting Corporation (BBC). The plan will see the broadcaster prioritising its apps and websites over traditional broadcasting channels, said in a company statement.

    In the statement, BBC revealed closing its children-focused channel CBBC and art-skewing BBC-Four including slashing 1,000 jobs over time while putting more investment into digital services like iPlayer.

    Davie also said, “Quite simply, the success of our online services is the success of the BBC over the next five years. Each needs to be in the top two or three in their market in the UK, with our online services growing globally too.”

    Elaborating on iPlayer he said, “Today, iPlayer reaches less than 50 per cent of BBC viewers on average per week. Our ambition is to grow this to 75 per cent. We’ll do this by re-allocating significant amounts of money every year into video that delivers on iPlayer, across a broad mix of genres.”

    “We will propose to Ofcom to expand boxsets and archive, to have more BBC series available on demand. And we want to ensure that news and current affairs is as important to iPlayer as it is on broadcast, which means new on-demand content and formats to build new audience habits.”

    “We will continue to personalise iPlayer to make it much more relevant to every age group and different parts of the UK.”

    While speaking about budget slashing he said, “What we are laying out today is a £500 million plan for the next few years. This is made up of two things: £200 million a year of cuts which are necessitated by the two-year licence fee freeze. This represents the majority of our £285 million a year challenge by 2027-28. £50 million of this £200 million is already baked into our current budgets. The rest is delivered by stopping things and running the organisation better where we can. Then there’s a further £300 million a year which is about moving money around the organisation and delivering additional commercial income. This means that we are not just cutting money everywhere but making choices where to invest.”

    He also said that the plan is not to simply deploy flat savings targets across every department but to act more deliberately. “Focussing resources on frontline areas where we can maximise the value we deliver to those that pay for us.”

    Davie is clear that the future is digital. “The market challenge is clear. Though broadcast channels will be essential for years to come, we are moving decisively to a largely on-demand world. Today around 85 per cent of the time people spend with the BBC is with linear broadcasts. Too many of our resources are focused on broadcast and not online. And less than 10 per cent of our usage is signed in, so we can’t offer a properly tailored service, unlike all our global competitors. If we do not respond faster to these changes we will cede too much ground to those who are not driven by public service values.”

    “The vision is simple: from today we are going to move decisively to a digital-first BBC. We have a chance to do something that no-one else is doing: build a digital media organisation that makes a significant positive impact, culturally, economically and socially. A global leader driven by the search for truth, impartiality, outstanding creativity, and independence.”

    So what will happen to linear broadcast with the enhanced focus on digital? “As we move money into digital, we will inevitably have to spend less on linear distribution. But we will do this with great care – our big channels will be popular for the next decade, at least, and they are incredibly powerful.”

    Davie added: “We do plan to stop scheduling separate content for Radio 4 Long Wave, consulting with partners, including the Maritime and Coastguard Agency, ahead of the closure of the Long Wave platform itself. 5Live on medium wave will also close no later than December 2027, in line with a proposed industry-wide exit from the platform.”

    “Over time we expect to consolidate and share more content between services, and expect to stop broadcasting some of our smaller channels on linear. This will include services like BBC Four, CBBC and Radio 4 Extra. But we won’t do this for at least the next three years because for the moment they are still delivering value to millions of viewers and listeners, at low extra cost.”

    He further said that when it comes to network TV, the UK pubcaster will reduce the volume of hours commissioned a year by around 200. “We’ll still offer thousands of originated hours and a very broad range, but fewer hours will mean we are not constantly thinning programme budgets.”

    “We will focus our money where we are distinctive and more uniquely BBC. We will make tough choices about titles which may be performing on linear but are not doing enough to drive viewers to on-demand. A number of them will be cancelled this year. Importantly, higher-impact content will attract more investment from third parties to make our money go further.”

    “And while we will continue to play a vital role in classical music in this country, we must be realistic about the resources we use. We will continue to support the classical music sector, invest in Radio 3 and improve our educational impact. However, we will look to reduce licence fee funding in our performing groups – preferably by looking for alternative sources of income where possible.”

    In terms of news one of the things he mentioned was that putting digital first applies just as much to its international news services. The world service he pointed out is critical to the BBC, and its growing digital reach means bigger impact with audiences, more brand value for the BBC and the UK, and bigger opportunities for commercial growth.

    “Broadcast services will continue to play a vital role but unfortunately the licence fee settlement means that we cannot offer every service on all the platforms we do today. So we propose to move some of our broadcast radio and television services off linear where digital provides the better future route to audiences. This builds on the model we’re already using in Latin America and parts of Europe. Of course, we will protect broadcast services where that’s likely to remain the best way of reaching people in the long term.”

    He said that the government’s commitment to extend its £94 million annual funding for the world service for a further three years is very welcome. But he also noted that UK licence fee funding for the world service, which has been around £254 million in recent years, is now running at over £290 million including world news – a level that is unsustainable following the licence fee settlement.

    “We will set out plans in the coming weeks for how we will initially reduce licence fee spending on the World Service by around £30 million by the start of 2023/24, while protecting the full breadth of languages.”

    “At the same time, our strategic review will identify the right longer-term model for a digital-first world service and lay out a strong case for more investment from the government over the coming years. This case for a strengthened world service is compelling but we can only expect UK licence fee payers to fund so much.”

    One of the challenges in digital is that on the tech front there is work to be done. “Around 30 million UK adults come to BBC online on average per week, and 200 million globally on digital platforms. We are now up to over 45 million UK accounts, with over 25 million signed in monthly. But we have much work to do to be a leading-edge player in functionality, user experience and data.”

    “We’ve already begun investing more in product development, with an extra £10 million this year. From 2025 we expect to be investing up to an additional £50 million per year, transforming our level of personalisation and our use of real time data, and making our services as easy to use as possible.”

    “In news, we will fully roll out and continuously improve the new News app as a signed-in experience. We will grow our live news pages and transform the quality, prominence and impact of local news.”

    “In sounds, we will continue to improve our on-demand music offer. We will showcase some of the best non-BBC podcasts from British creators and host more of our podcasts on sounds first, before distributing more widely. We want to deliver local and network news better across Sounds and ensure we are securing distribution in connected cars.”

    He concluded by saying, “This is our moment to build a digital-first BBC. Something genuinely new, a Reithian organisation for the digital age, a positive force for the UK and the world. Independent, impartial, constantly innovating and serving all. A fresh, new, global digital media organisation which has never been seen before. Solely driven by the desire to make life and society better for our licence fee payers and customers in every corner of the UK and beyond. They want us to keep the BBC relevant and fight for something that in 2022 is more important than ever. To do that we need to evolve faster and embrace the huge shifts in the market around us.”

    “I believe in a public service BBC for all, properly funded, relevant for everyone, universally available, and growing in the on-demand age. This plan sets us on that journey.”

  • Disney Star registers FIR against piracy group Tamil Rockers, Tamil MV, Tamil Blasters and Pikashow

    Disney Star registers FIR against piracy group Tamil Rockers, Tamil MV, Tamil Blasters and Pikashow

    Mumbai: Disney Star has registered a FIR (First Information Report) against piracy groups Tamil Rockers, Tamil MV, Tamil Blasters and Pikashow on Wednesday at the Bengaluru cyber cell.

    The case has been registered under Information Technology Act 2008 under Section 66, Copyright Act 1957 under Section 63 and 65 and IPC (Indian Penal Code) 1860 under Section 420 against R Kumaravel and R Radhakrishnan. As per the report accessed by Indiantelevision.com, R Kumaravel resides in the Yelahanka suburb of Bengaluru city.  

    While Tamil Rockers, Tamil Blasters and Tamil MV are illegal piracy websites, Pikashow is a third party standalone mobile application that facilitates the free access to content from all major broadcasters and OTT platforms. It has over 12 million downloads.

    Disney Star noticed that its Hotstar Specials such as Rudra: The Edge of Darkness, Bigg Boss Ultimate (Tamil), Human, Parampara, Escaype Live and Anupama: Namaste America, its movie library such as “Tadap”, “Kaun Pravin Tambe”, “Atrange Re”, “Hum Do Humare Do”, “Sanak”, “Badhaai Do”, “12th Man”, “Taanakkaran”, “Maaran”, “Bheemla Nayak” and “Bheeshma Parvam” were being leaked by these piracy groups. Its linear TV content from channels Star Plus, Star Gold, Star World and Star Sports was made available on the Pikashow app. The company tried to register a case with the Tamil Nadu cyber cell unsuccessfully for three months finally taking the decision to file the report with Bengaluru cyber cell.

    The piracy group sources their content directly from theatre/OTT platforms and releases it on the internet. They distribute content through torrent, third party cyberlockers, user-generated platforms and offshore servers.

    The group initially focused on leaking content in Tamil, Telugu and Malayalam but of late they’ve expanded their rogue operations to include other languages such as Hindi. The cumulative traffic on these websites is estimated to be 64 million. Theatrical movies and OTT content are the biggest victim of such piracy groups. All theatrical releases are made available on these illegal websites within 24 hours of release. They are able to create new mirror domains to avoid internet service provider (ISP) blocking.

    In March last year, an investigation by the crime branch of Faridabad revealed the operations of Boss IPTV that was distributing illegal set-top-boxes (STBs) through various vendors after a police complaint was filed by live TV platform Yupp TV. The company was allegedly stealing TV signals from various Indian and international broadcasters & offering them via its platform.

    As major media companies increase their presence on the internet as a means to distribute its content, the crackdown on illegal piracy groups continues.