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Focus creates online edutainment platform for kids

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MUMBAI: While kids are increasingly spending time online there aren‘t many platforms that offer content tailor made for them. It is to fill in this need gap that advertising and digital media agency Focus Circle Group is looking to fill.

Focus has launched Worldoo (worldoo.com), a unique platform that offers a blend of entertainment and education from the most popular content from a kid‘s world of interest, through an interactive experience.

Worldoo, according to Focus, is an ‘Ever-evolving Online Ecosystem‘ for kids in the 6-12 age bracket. The aim of Worldoo is to offer kids an interactive experience.

Worldoo has around 16 content partners including ZeeQ, Cartoon Network, Shemaroo, Sony Pictures and National Geographic. Kids can consume the content from their world of interests and earn virtual currency (Stars) by doing so. Stars are earned depending on the amount of content they consume.

Focus Circle Group MD Monish Ghatalia reveals that the site took two and a half years to create. The company has invested Rs 90 million and is hoping to achieve a break-even in three years.

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“Our promise is to deliver something new, always. So far 600 kids have registered. We have invested Rs. 90 million and expect to breakeven within three years. We have a revenue sharing arrangement deal with our content partners for ads. Worldoo is an audience focused engagement platform for brands on the internet. With conventional activation mediums, it is challenging for brands to reach out to a large chunk of target audiences at a single point, and even more difficult to sustain the engagement,” he explains.

Ghatalia adds, “We are confident that Worldoo will provide an edge for brands, to engage with the right target audience. It offers the right platform for brands to achieve much more than just impressions and clicks. Worldoo creates engaging experiences for kids as it offers activities, interaction and content, all in one place. Our aim in doing content deals was to have content that imparts both excitement and education, all in a single platform.”

There are seven content sources (landmarks) in the site including Game Den that has games segmented by genre. Companies like ZeeQ and Cartoon Network have their own landmark within Worldoo.

Ghatalia adds that the second phase for the company starts in a few months time. That is when it will look to be available on digital devices like the mobile as well. It will also have regional content. By the end of the year it could have 50 content partners. “We are looking to create content on our end as well. There will be comics, stories, games. The vision for us is long term and we want to touch upon diverse aspects that concern kids.”

Turner International India VP ad sales South Asia Juhi Ravindranath commenting on the content partnership with Worldoo said, “At Turner, our aim has always been to push the boundaries and deliver innovative and entertaining content/experience across various platforms. Worldoo is a unique idea and we are happy to partner with Focus in a bid to create the right brand experience for consumers.”

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ZeeQ programming head Aparna Bhosle noted that technology is central to consumption of content. “content consumption is becoming increasingly multi-platform. TV, internet and the mobile phone should together allow greater opportunities to watch your favourite show at any time in any place and on any device. It is keeping this in mind that ZeeQ are excited about partnering with an innovative concept like Worldoo. It is a mechanism through which our shows can be sampled via the internet.”

Shedding light on the ad strategy Worldoo head experience and brand Harsh Wardhan Dave said, “Advertising for kids online has always been restricted to banners, contest pages, micro sites. There is no innovation in this space in terms of customer engagement. The launch of Worldoo is a very proud moment for us, as we fill this gap for brands to think out of the box and create a real life engagement with kids through our digital platform. With all of this we are about digital engagement and not just digital marketing.”

He adds that since Worldoo has a blend of social and engagement, brands can live with kids in Worldoo. Kids can follow brands, make friends with them, get tips from brands etc. Also creatively, they can seamlessly become a part of a user‘s journey as the brand can be present while kids spend their time in their world. For example a breakfast brand can place a bowl of cereals in a Kids Home at Worldoo or a car brand can be driving through the roads of Worldoo and more such tailor made innovations.”

He added that the aim of Worldoo is to reassure parents who are unsure of what their kids are looking at online. “The pre-launch research conducted by IMRB gave us immense confidence that what we are creating is the need of the hour. Kids research told us liked the website as they get so many things in it. They are excited about the various types of games that are there. According to mothers the site has everything that a child needs and so there is no need for their children to go anywhere else. Mothers also feel that it the site is good as only kids will be there.

“So children will interact with other children of their age. Mothers also feel that the point system will give children some business sense, about how to earn for themselves and then spend wisely. 1/3rd of mothers feel that the site is for 13-15 year olds. More than 80 per cent of mothers surveyed feel that Worldoo is an edutainment site. Our research also showed that Google is favourite site for kids followed by Cartoon Network, Facebook, Yahoo and National Geographic”.

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What is interesting about this survey is that two iconic kids brands Disney and Nickelodeon both ranked below National Geographic.

The content that Worldoo offers includes:
– Games from miniclip, the gamebox, zapak.
– Cartoons from Cartoon Network and Chota Bheem
– Animals and Environment and Conservation from National Geographic and JeffCorwinConnect.
– Movies and Trailers from Warner Bros., Shemaroo, Sony Pictures, Reliance Big Flix.
– Edutainment from ZeeQ,
– Books and Comics include Amar Chitra Katha, Crosswords, Landmark, Dreamland, Britanica Books, Robinage, Champak.
– International destination includes Sentosa.

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Cloud nine in the capital Bharathcloud plugs Delhi into its AI plans

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MUMBAI: Bharathcloud is bringing its cloud closer to power. The Hyderabad-based sovereign AI cloud services provider has opened its Delhi office, marking its formal entry into North India and setting the stage for its next phase of growth.

The expansion comes as India’s digital transformation fuels rising demand for AI-ready cloud infrastructure, driven by wider adoption of artificial intelligence, machine learning, the Internet of Things and data-heavy applications. With the new office, Bharathcloud plans to onboard more than 100 employees in 2026, strengthening its workforce to support customers across government, enterprises, MSMEs and social sectors.

The Delhi presence is expected to sharpen the company’s engagement with organisations seeking secure, scalable and cost-efficient cloud platforms that comply with India’s data sovereignty requirements. It also positions Bharathcloud closer to policy, public sector and enterprise decision-makers in the region.

Founded in Hyderabad, Bharathcloud offers AI-ready cloud infrastructure including Kubernetes-as-a-Service, zero-trust security architecture and multi-level data protection frameworks. Its platform supports AI and ML workloads, blockchain application migration from hyperscalers and distributed data management, with an emphasis on reliability, low latency and operational continuity.

“With the Delhi expansion, we are positioning Bharathcloud to engage more closely with AI-driven enterprises and technology hubs in North India,” said Bharathcloud co-founder Rahul Takallapally. He added that the move would help nurture local cloud and AI talent while accelerating the adoption of secure and resilient AI infrastructure across sectors.

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The company currently operates in Hyderabad, Bengaluru, Mumbai, Kolkata, Lucknow and Chennai, employing over 200 people and serving more than 1,500 clients across manufacturing, healthcare, financial services, IT and media. Aligned with national initiatives such as Digital India and Make in India, Bharathcloud continues to focus on building indigenous AI-cloud infrastructure to support data localisation and the country’s growing appetite for next-generation digital solutions.

With its Delhi office now live, the company is signalling a clear intent: to make sovereign, AI-ready cloud infrastructure not just an alternative, but a mainstream choice for India’s north as well as its tech capitals.

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Meta forecasts up to $135 billion capex in 2026

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CALIFORNIA: Meta Platforms is going all in. The Instagram and Facebook owner has sharply raised its capital expenditure for 2026 to between $115 billion and $135 billion, nearly double last year’s spend, signalling CEO Mark Zuckerberg’s aggressive push toward artificial superintelligence. Investors cheered, sending shares higher, buoyed by robust advertising growth.

Speaking to analysts, Zuckerberg called 2026 a “pivotal year” for Meta, highlighting the focus on delivering highly personalised AI capabilities while reshaping internal operations.

The spend surge is driven by infrastructure costs, higher depreciation from AI data centres, and rising operating expenses linked to compute-intensive workloads. Meta has secured capacity deals with external providers including Alphabet, CoreWeave and Nebius, though capacity constraints are expected through much of the year, according to chief financial officer susan li.

Meta’s fourth-quarter performance underpinned confidence in the strategy. Advertising revenue, still the core engine, jumped 24 per cent year on year to $58.14 billion, up from $46.78 billion a year earlier. Strong ad cash flows helped the company beat earnings expectations and issue a first-quarter revenue forecast of $53.5–$56.5 billion, well above analyst estimates.

Despite the ad boom, capital expenditure surged 49 per cent, contributing to a decline in operating margin as infrastructure costs accelerated. Meta has been able to fund its AI ambitions largely through advertising, which benefits from AI-driven improvements in targeting and campaign automation. New monetisation channels on WhatsApp and Threads, and competition in short-form video via Instagram Reels, have further strengthened the ad engine.

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Meta also projected total expenses for 2026 between $162 billion and $169 billion, reflecting infrastructure costs and rising employee compensation as the company hires aggressively for AI roles in a tight talent market.

“2026 will redefine how Meta works as AI reshapes teams and productivity,” zuckerberg said, underscoring the company’s commitment to superintelligence, a theoretical stage where machines outperform humans across a broad range of tasks.

Market watchers said investors appear comfortable with Meta’s high-stakes strategy, noting that generative AI returns may take time, but the company’s advertising cash flows are strong enough to absorb heavy spending. The outlook contrasts with Microsoft, which also ramped up capital expenditure but saw shares fall amid modest cloud growth.

Meta is charging full throttle into 2026, betting big on AI while keeping the ad engine roaring — and the world is watching.
 

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Spotify paid out over $11bn to music industry in 2025; eyes artist-first push in 2026

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SWEDEN: Spotify paid out more than $11bn to the global music industry in 2025, cementing its position as the single largest annual payer to music creators in history and setting the stage for a renewed push to help artists break through in an increasingly crowded market.

“I’m proud to share that, last year alone, Spotify paid out more than $11bn to the music industry,” said Charlie Hellman, head of music at Spotify, in a note published on the Spotify for Artists blog. The figure marks a year-on-year increase of over 10% from 2024, significantly outpacing growth across other industry income streams.

Independent artists and labels accounted for half of all royalties paid out during the year, reinforcing the platform’s growing role as a revenue engine beyond major labels.

“Big, industry-wide numbers can feel abstract,” Hellman said, “but that growth is showing up in tangible ways.” He pointed to a structural shift in music economics, noting that there are now more artists earning over $100,000 a year from Spotify alone than were ever stocked on record-store shelves at the height of the CD era.

Despite what Hellman described as “rampant misinformation about how streaming is working today”, Spotify now contributes roughly 30 per cent of recorded music revenue worldwide. In 2025, Spotify’s payouts grew by more than 10%, while other industry income sources expanded by closer to 4%, making the platform the primary driver of industry revenue growth.

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That growth, Hellman said, is ultimately fan-led. More than 750 million people globally now pay for music streaming across all platforms each month. As audiences expanded, Spotify also raised subscription prices. With nearly two-thirds—almost 70%—of its revenue paid back to rightsholders, rising platform revenues translated directly into higher payouts for artists.

“The other third is our fuel,” Hellman said, referring to Spotify’s retained revenue. That capital is reinvested into product innovation designed to convert more listeners into paying subscribers and deepen fan engagement.

The challenge, however, is visibility. With more than 100,000 new songs released every day, emerging artists are competing not only with each other but with the entire recorded history of music. Spotify’s priority for 2026, Hellman said, is helping new artists “cut through the noise and form real connections with fans”.

A key pillar of that strategy is artist storytelling. As artificial intelligence floods the internet with content, Spotify is betting that human context will become more valuable, not less. The platform is expanding features that explain who artists are, what inspires them, and how songs come together.

An upcoming feature, SongDNA, will allow fans to explore the creative networks behind tracks—such as Addison Rae’s collaboration with Luka Kloser and Elvira Anderfjärd—and trace those links into wider catalogues, including Kloser’s work with Ed Sheeran and Anderfjärd’s with Alec Benjamin.

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Video is another focus area, with Spotify leaning into authenticity over polish. Live takes, rehearsals and behind-the-scenes studio moments are being positioned as fan-building tools. For pop group Katseye, early backstage Clips on their Countdown Page helped drive momentum ahead of the release of Beautiful Chaos.

Trust and identity protection form the second pillar. Spotify is preparing new systems for artist verification, song credits and identity protection to counter impersonation, scams and low-quality AI-generated content designed to siphon royalties.

“AI is being exploited by bad actors,” Hellman said, adding that protecting authentic creativity is critical to maintaining trust among listeners and rightsholders.

Human editorial curation remains central to Spotify’s discovery engine. While algorithms personalise listening, editorial playlists offer cultural signals that can change careers. Leon Thomas, for example, landed on playlists such as RADAR and RNB X after pitching through Spotify for Artists, reaching listeners in more than 180 countries.

In 2026, Spotify plans to introduce new editorial programmes aimed at sustaining momentum for emerging artists, alongside greater visibility for the editors themselves through video and storytelling.

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Live music is the final frontier. Spotify has already helped generate more than $1bn in ticket sales through its partners by matching artists with their most engaged fans. New tools launching in 2026 are designed to convert streams into sold-out rooms.

“You’ve built communities, taken risks, and kept going even when the path felt uncertain,” Hellman said. “It’s our job to make sure Spotify works as hard as you do.”

With unprecedented competition colliding with unprecedented opportunity, Spotify is placing a clear bet: scale alone is not enough. The next phase of streaming, it argues, will be won by those who help artists turn attention into careers.

And in 2026, Spotify wants to be the loudest ally in the room.

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