MAM

Internet advertising to surpass TV by 2018: PwC report

Published

12 years ago

June 10, 2014

MUMBAI: With laptops, smartphones and tablets becoming a part and parcel of people’s lives today; internet is bound to become an integral part of advertising and marketing.

And if PwC’s Global entertainment and media outlook 2014-2018 (Outlook) is correct then the total entertainment and media spending on digital services is forecast to grow at a 12.2 per cent compound annual growth rate (CAGR) between 2013 and 2018 and accounts for 65 per cent of global entertainment and media spending growth, excluding spending on internet access.

Advertising is leading the way; in 2018, 33 per cent of total advertising revenue is forecast to be digital, compared to 17 per cent of consumer revenue.

However, profiting from the migration by increasing revenue from digital consumers will not just be about the application of digital technology. It will be about applying a ‘digital mindset’ to build the right behaviours, advancing from a digital strategy to a business strategy fit for a digital age, according to the report.

PwC’s entertainment & media global leader Marcel Fenez said, “The bedrock of a strategy fit for the digital age is the digital mindset: getting even closer to the customer – across the entire organisation, and in everything it does. We now see that mindset embedded in many entertainment and media companies. But the industry needs to get even closer to the consumer and adopt more flexible business models. To do this, companies must exhibit three behaviours: forging trust with consumers; creating the confidence to move with speed and agility; and empowering innovation. This will be an important step in monetising the digital consumer.”

Approaching a significant advertising tipping point

Mobile internet penetration will reach 55 per cent in 2018, which will help drive digital advertising to increase its share of total advertising revenue to 33 per cent by 2018, up from 14 per cent in 2009. With internet advertising growing at a 10.7 per cent CAGR (compared to a total advertising CAGR of 4.4 per cent), the industry is approaching a significant tipping point: in 2018, internet advertising will be poised to surpass TV advertising. In 2009, TV advertising was double than that of internet advertising; in 2018, internet advertising will trail TV advertising by just $20billion. Mobile internet advertising is forecast to grow at a CAGR of 21.5 per cent.

Monetising the digital consumer: challenge and opportunity

Spending on digitally delivered content will account for only 17 per cent of total consumer spending in 2018 (excluding spending on internet access), compared to 33 per cent of total advertising spending. However, the growth of ‘24/7 access’ and micro-transactions suggest that the key to monetising the digital consumer is to adopt flexible business models that offer more choices and better experiences. Electronic home video over-the-top (OTT)/streaming and digital music streaming are two of the fastest-growing consumer sub-segments cited in the Outlook, set to rise at annual rates of 28.1 per cent and 13.4 per cent, respectively.

Nine markets driving growth

Nine high-growth markets are powering global entertainment and media revenue. China, Brazil, Russia, India, Mexico, South Africa, Turkey, Argentina and Indonesia collectively are forecast to account for 21.7 per cent of global entertainment and media revenue in 2018, up from just 12.4 per cent in 2009. Also in 2018, China will overtake Japan as the world’s second-largest entertainment and media market, behind only the US.

Fenez added, “What all these markets have in common is a growing middle class boosting spending in entertainment and media. But the similarities stop there. Realising the revenue potential of these markets demands a deep understanding of the local context.Given their intimate local market knowledge, domestic organisations are in prime position to realise the opportunity of the emerging middle class. The optimal approach for international players will most certainly be to collaborate with local partners.”

Advertising is spearheading the migration to digital as it follows eyeballs online:

• Internet TV advertising will double its share of total TV advertising revenue in the next five years. Internet TV advertising revenue from traditional broadcasters will increase from $3.7bn in 2013 to $9.7bn in 2018, and more than double its share of total TV advertising from 2.2 per cent in 2013 to 4.5 per cent in 2018. Traditional broadcasters still dominate and are adapting to the internet video opportunity, creating a significant new revenue stream despite competition from internet rivals.

• Mobile advertising will overtake classified internet advertising in 2014. Global mobile internet advertising revenue is forecast to leapfrog classified internet advertising to become the third-largest internet advertising channel with revenues of $18.9bn in 2014. But after four particularly strong years, driven by the launch of a range of tablets, the annual rate of mobile revenue growth is falling back to the levels seen prior to their introduction. Advertisers now must do more than simply migrate large-screen banners to handhelds to sustain such growth.

• Digital consumer magazine advertising revenue is much larger than digital circulation. Global digital consumer magazine advertising revenue will be $12.4bn in 2018, rising at a 17.6 per cent CAGR; digital circulation revenue will be just $5.7bn in the same year. This compares to a decline of 3.9 per cent CAGR for consumer magazine print advertising revenue. Currently advertising is centered on magazine websites, but, as digital circulations increase, electronic editions will become increasingly popular for advertisers.

• Digital out-of-home (DOOH) advertising revenue will see significant growth in fast-growth markets. DOOH advertising is driving overall OOH advertising growth globally at a CAGR of 16.2 per cent. However, in certain fast-growing markets, DOOH advertising revenue is forecast to grow even more rapidly, with CAGRs in excess of 30 per cent. China is set to become the largest DOOH advertising market in the world by 2017.

Success in making money from the digital consumer can be found in offering choice and better experiences

• Subscription TV will not be daunted by the rise of OTT as it grows across global markets. Global subscription TV revenues (excluding licence fees) will grow at a CAGR of 3.5 per cent over the next five years to $236bn in 2018. This growth demonstrates that subscription TV is in a healthy position, assisted by the initiatives it has implemented to counter the impact of OTT and other disruptive influences.

• Box office resilience underscores the continuing popularity of cinema. Global box office revenue will exceed revenue from physical home video in 2014 and grow to $45.9bn by 2018, from $36.1bn in 2013, a 4.9 per cent CAGR. In many growth markets, cinemas are being built to cater to the growing middle class.

• Digital newspaper payments are taking off, but won’t prove transformational. Digital newspaper circulation revenue grew by 66.2 per cent through 2013. But although individual publishers report improved fortunes, few are hailing a transformation. Digital circulation will make up just 8 per cent of total circulation revenue globally by 2018.

• Rising digital consumer revenue may be driven by 24/7 access. Two of the best-performing consumer sub-segments use a model in which consumers pay for round-the-clock access: digital music streaming revenue will grow at a 13.4 per cent CAGR, and electronic home video OTT/streaming will rise at a 28.1 per cent.These growth rates will not only offset a slow-moving non-digital consumer market, but may also point the way forward for other segments.

• Global electronic home video revenue will exceed physical home video revenue in 2018. Globally, the total combined revenue from OTT/streaming services and broadcasters’ video on demand services will grow at a CAGR of 19.9 per cent. This will overtake physical home video revenue (the sale and rental of DVDs and Blu-ray discs) in 2018.

• Digital recorded music revenue will surpass physical recorded revenue in 2014. Global total digital recorded music revenue of $10.18bn will exceed physical recorded music revenues of $10.17bn for the first time in 2014. Greater service appeal for consumers will improve sales and by 2018, the year-on-year decline in total recorded music revenue will be just -0.1per cent.

• All-you-can-read subscription services are yet to take off but will be transformational. While they are still to gain traction, users of subscription services and aggregators will soon reach critical mass. With growing magazine circulations will come rising circulation and advertising revenue.

• Internet gaming is widening gaming participation and micro-transactions are helping to grow revenues. Internet gaming (including social gaming) has opened markets previously considered lost to piracy, with the business model enabling greater freedom and choice in how much gamers pay. China is the second-largest market for internet gaming ($4.2bn in 2013).In 2017, Russia will overtake Germany to become the seventh-largest market for internet gaming. Micro-transactions will help grow total video games revenues to $89.0bn (6.2 per cent CAGR) in 2018 and total console games revenues to $31.9bn (4.9 per cent CAGR) in 2018.

Related Topics:Internet Advertising PwC Report TV advertising

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Netflix India names Rekha Rane director of films and series marketing

Streaming giant bets on a seasoned marketer who helped build Amazon and Netflix into household names

Published

3 weeks ago

February 9, 2026

indiantelevision.com Team

MUMBAI: Netflix has put a proven brand builder at the helm of its films and series marketing in India, naming Rekha Rane as director in a move that signals sharper focus on audience growth and cultural cut-through in one of its most hotly contested markets.

Rane steps into the role after seven years at Netflix, where she has quietly shaped how the platform sells stories to India. Her latest promotion, effective February 2026, crowns a run that spans brand, slate and product marketing across originals, licensed content and new verticals such as games.

A strategic marketing and communications professional with roughly 15 years’ experience, Rane has spent much of her career building technology-led consumer businesses and new categories, notably e-commerce and subscription video on demand. She was part of the early push that introduced Amazon.in, Prime Video and Netflix to Indian homes, then helped turn them into everyday brands.

At Netflix, she most recently served as head of brand and slate marketing for India from March 2024 to February 2026, leading teams across media and marketing for global and local content portfolios. Before that, as manager for original films and series marketing, she led IP creation and go-to-market strategy for titles including Guns and Gulaabs, Kaala Paani, The Railway Men* and The Great Indian Kapil Show, spanning both binge and weekly-release formats.

Her earlier Netflix roles covered product discovery and promotion in India and integrated campaign strategy to drive conversations around the content slate, product awareness and brand-equity metrics.

Before Netflix, Rane logged more than three years at Amazon in brand marketing roles in Bengaluru. There she handled national and regional campaigns for Amazon.in, worked on customer assistance programmes in growth geographies and contributed to the go-to-market strategy for the launch of Prime Video India.

Her career began well away from streaming. At Reliance Brands in Mumbai, she worked on retail marketing for Diesel and Superdry. A stint at Leo Burnett saw her work on primary research for P&G Tide, mapping Indian shoppers’ paths to purchase. Earlier still, at Orange in the United Kingdom, she rose from sales assistant to store manager, running a team and owning monthly P&L for a retail outlet.

The arc is telling. As global streamers fight for attention in a crowded Indian market, executives who understand both mass retail behaviour and digital habit-building are prized. Rane’s career sits at that intersection.

For Netflix, the bet is simple: in a market spoilt for choice, sharp marketing can still tilt the screen. And with Rane now leading the charge, the streamer is signalling it wants not just viewers, but fandom.

Brands

Orient Beverages pops the fizz with steady Q3 gains and rising profits

Kolkata-based beverage maker reports stronger revenues and profits for December quarter.

Published

3 weeks ago

February 9, 2026

indiantelevision.com Team

MUMBAI: A fizzy quarter with a steady aftertaste that’s how Orient Beverages Limited, the company that manufactures and distributes packaged drinking water under the brand name Bisleri closed the December 2025 period, as the Kolkata-based drinks maker reported improved revenues and a healthy rise in profits, signalling operational stability in a competitive beverage market.

For the quarter ended December 31, 2025, Orient Beverages posted standalone revenue from operations of Rs 39.98 crore, up from Rs 36.42 crore in the previous quarter and Rs 33.53 crore in the same quarter last year. Total income for the quarter stood at Rs 42.24 crore, reflecting consistent demand and stable pricing across its beverage portfolio.

Profit before tax for the quarter came in at Rs 3.47 crore, a sharp improvement from Rs 1.31 crore in the September quarter and Rs 0.39 crore a year ago. After accounting for tax expenses of Rs 0.79 crore, the company reported a net profit of Rs 2.68 crore, nearly three times the Rs 0.99 crore recorded in the preceding quarter.

On a nine-month basis, the momentum remained intact. Revenue from operations for the period ended December 31, 2025 rose to Rs 117.66 crore, compared with Rs 106.95 crore in the corresponding period last year. Net profit for the nine months climbed to Rs 5.51 crore, more than double the Rs 2.18 crore reported in the same period of the previous financial year.

The consolidated numbers told a similar story. For the December quarter, consolidated revenue from operations stood at Rs 45.06 crore, while profit after tax came in at Rs 2.06 crore. For the nine-month period, consolidated revenue touched Rs 133.57 crore, with net profit of Rs 4.49 crore, underscoring the group’s improving profitability trajectory.

Operating expenses remained largely controlled, with cost of materials, employee benefits and other expenses broadly aligned with revenue growth. The company continued to operate within a single reportable segment beverages simplifying its cost structure and reporting framework.

The unaudited financial results were reviewed by the Audit Committee and approved by the Board of Directors at its meeting held on 7 February 2026. Statutory auditors carried out a limited review and reported no material misstatements in the results.

In a market where margins are often squeezed by input costs and competition, Orient Beverages’ latest numbers suggest the company has found a reliable rhythm not explosive, but steady enough to keep the fizz alive.

MAM

Washington Post CEO exits abruptly after newsroom cuts spark backlash

Leadership change follows layoffs, protests and a bruising battle over trust.

Published

3 weeks ago

February 9, 2026

indiantelevision.com Team

MUMBAI: When the presses are rolling but patience runs out, even the editor’s chair isn’t safe. The Washington Post announced on Saturday that its chief executive and publisher Will Lewis is stepping down with immediate effect, bringing a sudden end to a turbulent two-year tenure marked by financial strain, newsroom unrest and public backlash.

Lewis’s exit comes just days after the Bezos-owned newspaper announced sweeping job cuts that triggered protests outside its Washington headquarters and a wave of anger from readers and staff. While newspapers across the US are grappling with shrinking revenues and digital disruption, Lewis’s leadership had increasingly come under fire for how those pressures were handled.

The Post confirmed that Jeff D’Onofrio, a former Tumblr CEO who joined the organisation last year as chief financial officer, has taken over as CEO and publisher, effective immediately. In an email to staff, later shared by reporters on social media, Lewis said it was “the right time for me to step aside.”

The leadership change follows the announcement of large-scale redundancies earlier this week. While the Post did not officially confirm numbers, The New York Times reported that around 300 of the paper’s roughly 800 journalists were laid off. Entire teams were dismantled, including the Post’s Middle East bureau and its Kyiv-based correspondent covering the war in Ukraine.

Sports, graphics and local reporting were sharply reduced, and the paper’s daily podcast, Post Reports, was suspended. On Thursday, hundreds of journalists and supporters gathered outside the Post’s downtown office in protest, calling the cuts a blow to public-interest journalism.

Former executive editor Marty Baron described the moment as “among the darkest days in the history of one of the world’s greatest news organisations.”

Lewis defended his record in his farewell note, saying “difficult decisions” were taken to secure the paper’s long-term future and protect its ability to publish “high-quality nonpartisan news”. But his tenure coincided with growing scrutiny of editorial independence at the Post.

Owner Jeff Bezos faced criticism for reining in the paper’s traditionally liberal editorial page and blocking an endorsement of Democratic presidential candidate Kamala Harris ahead of the 2024 US election. The move was widely seen as breaking the long-standing firewall between ownership and editorial decision-making.

According to a Wall Street Journal report, around 250,000 digital subscribers cancelled their subscriptions after the paper declined to endorse Harris. The Post reportedly lost about $100 million in 2024 as advertising and subscription revenues slid.

While the wider newspaper industry continues to battle declining print advertising and the pull of social media, some national titles have stabilised. Rivals such as The Wall Street Journal and The New York Times have managed to build sustainable digital businesses, a turnaround that has so far eluded the Post despite its billionaire backing.

As Jeff D’Onofrio steps into the role, the challenge is stark, restore confidence inside the newsroom, win back readers who walked away, and prove that one of America’s most storied newspapers can still find its footing in a brutally competitive media landscape.