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#Throwback2020: Linear TV ad volumes on the mend, revenues sluggish

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NEW DELHI: For linear television, 2020 was like a ride to hell and back, owing to the Covid2019-induced lockdown. It was the first time that shoots were canned wholesale, there were no new shows running, and advertising volumes hit abysmal lows. All was not doom and gloom – the industry saw meteoric rise in viewership, initially banking on reruns of old classics like Ramayan and Mahabharat, followed by marquee properties like the IPL, KBC, and Bigg Boss making their way to our screens. While this may have resulted in an uptick in subscription revenues, advertising prospects remained stunted through the year. Here’s a quick overview of how advertising fared on linear television in 2020. 

The maths of it 

The first quarter of FY21 saw the industry incurring huge losses as advertisers pulled out advertising monies as production and supply chains across industries took a big hit.

Average ad volumes per day dipped to 752 hours in April-June ‘20 quarter, as compared to 1,032 hours in January-March ’20, according to TAM data. The ad revenues for broadcasters witnessed a year-on-year decline of 59 per cent in Q1 of FY21, as shared by ICRA. Depending on genres, advertisement revenues were impacted by 25-60 per cent (vis-a-vis pre-Covid average monthly revenues) in Q1 FY21. While news and movie genres were on the lower end of the spectrum, with an average decline of 25-30 per cent in advertisement revenues, GECs and sports channels witnessed a sharp 50-60 per cent reduction in advertisement revenues. 

This was despite a meteoric rise in TV viewership in those months. BARC data reports a nine per cent increase in TV viewership during January-June ‘20 as compared to the corresponding period last year; the growth was led by the news, kids, and movie channels. Understandably, the viewership declined by three per cent for GECs, given the lack of fresh programming. 

The industry started getting back on its feet steadily as lockdown restrictions eased and businesses started moving forward, the IPL and festive season gave it further momentum. The ad volumes in the second half of the year showed outstanding growth. Average ad volumes per day rose by 39 per cent in the fourth quarter compared to average ad volumes of the previous three quarters, TAM data showed. 

Caption– Source: TAM

According to BARC estimates, advertising volumes grew by 10-11 per cent over 2019 during Dussehra and Diwali 2020. Ad volume for Ganesh Chaturthi was up seven per cent over last year. Another study, by TAM, revealed that there were 655 new advertisers who made an appearance on GECs in September-November 2020, as compared to the past two years. This new league of advertisers included names like Facebook, Airtel Payments Bank and WhiteHat Education Technology.

As per ICRA, TV broadcasters saw a strong sequential recovery of 86 per cent in advertising revenue in Q2 FY21. However, it still remained 20 per cent lesser on a year-on-year basis. GECs too regained their popularity. 

As expected, the biggest share of this improving pie landed in the IPL’s kitty. Despite the sponsorship rate for the league going down by 25 per cent, the industry is positive that the league would have made 10-15 per cent more in revenues (https://www.indiantelevision.com/mam/media-and-advertising/sponsorship/eventually-ipl-2020-scored-big-with-advertisers-sponsors-201111) as compared to 2019, clocking around Rs 2,000 crore on TV alone.  Comprehensively, TV broadcasters in ICRA’s sample set reported a 21 per cent year-on-year decline in revenues in H1 FY21. 

On an overall level, the industry has indicated mixed projections for the state of ad revenues for broadcasters in 2020. While Edelweiss has pegged it to grow by 6.5 per cent, KPMG and GroupM are indicating a contraction. 

Talking to Indiantelevision.com in April this year, the industry indicated a negative growth for 2020 (https://www.indiantelevision.com/mam/marketing/mam/covid-19-might-push-traditional-advertising-towards-negative-growth-200428). 

Madison Media and OOH group CEO Vikram Sakhuja said the advertising growth, which was pinned by his firm at around 10 per cent at the beginning of the year, will take a big hit in this calendar year. “We were expecting around a six per cent growth for traditional and around 28-30 per cent for digital media. However, looking at the current scenario, traditional media might observe a negative growth, while digital will also shrink considerably. We will be lucky if we can see a one-two per cent growth this year.”

The rise of new categories

Top ranks of advertisers on television underwent some shuffling as industries dealt with the crisis. As per TAM data, personal care/personal hygiene sector had a 20 per cent share of ad volumes, followed by F&B with 18 per cent share. Education became the only new entrant in the top 10 list of sectors advertising on TV. It was possibly because of the new home education module that people were forced to live with. Ed-tech companies like Byju’s, WhiteHat Jr, and Vedantu advertised heavily on television. 

Source: TAM 

Additionally, Ecom-media/entertainment/social media moved up five positions to achieve the second spot in leading categories advertising on television.

Source: TAM 

Hand sanitisers also registered robust growth and it was reflected in the television ad volumes too. Most of the leading exclusive brands in the year belonged to the category, along with social media, ed-tech, and OTT services. 

Source: TAM 

On the contrary, the FMCG sector that jumped the fence to go digital in 2020 might have taken out some from the TV pie. For instance, India’s largest advertiser Hindustan Unilever spent Rs 1,936 crores in the July-September quarter, 17 per cent less than the corresponding quarter in 2019. While the ad volumes from FMCG brands clung back to pre-Covid levels, it is yet to be seen if the revenues will turn back or not. 

The year saw the television industry in a massive flux, struggling to keep up with the rapidly changing state of affairs. While categories like news remained on a positive incline through the year, GECs suffered losses for the most part of it. In terms of ad revenues, it might be clocking much less than what was forecast at the beginning of 2020, but industry projects fair tidings from the second quarter of 2021. It will be interesting to see how the industry fares in the coming year. 
 

iWorld

Netflix celebrates a decade in India with Shah Rukh Khan-narrated tribute film

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MUMBAI: Netflix is celebrating ten years in India with a slick anniversary film voiced by Shah Rukh Khan, a nostalgic sprint through a decade that rewired how the country watches stories. The campaign doubles as both tribute and reminder: streaming did not just enter Indian homes, it quietly rearranged them.

Roll back to 2016 and television still dictated schedules. Viewers waited weeks, sometimes months, for favourite films to appear on prime time. Family-friendly filters narrowed options further, and piracy often filled the gaps. Then Netflix arrived, softly but decisively, carrying a catalogue of international titles rarely seen in Indian theatres and placing them a click away. Old blockbusters and new releases suddenly coexisted on the same digital shelf.

The platform’s real inflection point came in 2018 with Sacred Games, a breakout series that refused to dilute India’s grit for global comfort. Audiences embraced its unvarnished tone, signalling readiness for stories that did not need box-office validation or censorship compromises. What followed was a steady procession of relatable narratives. Competitive-exam anxiety fuelled Kota Factory. College relationships unfolded in Mismatched. Everyday pressures, not grand spectacle, proved bankable.

Language barriers thinned as foreign series arrived with Hindi, Tamil and Telugu dubbing, expanding viewership beyond urban English-speaking pockets. Marketing mirrored the shift. For global releases such as Squid Game, Netflix leaned on regional creators and influencers to localise buzz and make international content feel native.

The library widened beyond fiction. Documentaries stepped out of festival circuits into living rooms. Stand-up comedians found scale. Established filmmakers, including Sanjay Leela Bhansali with Heeramandi, embraced the platform’s long-form canvas. Subscriber numbers swelled to 12.37 million in India, according to Demandsage, and behaviour followed suit. Late-night binges became routine. Friday release rituals loosened. Watch parties turned solitary screens into social events.

Economics demanded adjustment. Early subscription pricing carried a premium aura that deterred many households. Over time, Netflix recalibrated plans to align with Indian spending sensibilities, conceding that accessibility is as critical as content. To extend momentum around marquee titles, the platform also experimented with split-season releases, stretching anticipation and watch time.

The anniversary film, narrated by Shah Rukh Khan, captures the linguistic shift that mirrors the cultural one: from “Netflix pe kya dekha?” to “Netflix pe kya dekhein?” The question moved from recounting the past to planning the next binge. In ten years, Netflix morphed from foreign entrant to familiar fixture, exporting Indian stories abroad while importing global ones home. The remote no longer waits; it chooses, clicks and moves on. In the streaming age, patience is out, playlists are in, and the next episode is always one tap away.

 

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Brands

Delhivery chairman Deepak Kapoor, independent director Saugata Gupta quit board

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Gurugram: Delhivery’s boardroom is being reset. Deepak Kapoor, chairman and independent director, has resigned with effect from April 1 as part of a planned board reconstitution, the logistics company said in an exchange filing. Saugata Gupta, managing director and chief executive of FMCG major Marico and an independent director on Delhivery’s board, has also stepped down.

Kapoor exits after an eight-year stint that included steering the company through its 2022 stock-market debut, a period that saw Delhivery transform from a venture-backed upstart into one of India’s most visible logistics platforms. Gupta, who joined the board in 2021, departs alongside him, marking a simultaneous clearing of two senior independent seats.

“Deepak and Saugata have been instrumental in our process of recognising the need for and enabling the reconstitution of the board of directors in line with our ambitious next phase of growth,” said Sahil Barua, managing director and chief executive, Delhivery. The statement frames the exits less as departures and more as deliberate succession, a boardroom shuffle timed to the company’s evolving scale and strategy.

The resignations arrive amid broader governance recalibration. In 2025, Delhivery appointed Emcure Pharmaceuticals whole-time director Namita Thapar, PB Fintech founder and chairman Yashish Dahiya, and IIM Bangalore faculty member Padmini Srinivasan as independent directors, signalling a tilt towards consumer, fintech and academic expertise at the board level.

Kapoor’s tenure spanned Delhivery’s most defining years, rapid network expansion, public listing and the push towards profitability in a bruising logistics market. Gupta’s presence brought FMCG and brand-scale perspective during a period when ecommerce volumes and last-mile delivery economics were being rewritten.

The twin exits, effective from the new financial year, underscore a familiar corporate rhythm: founders consolidate, veterans rotate out, and fresh voices are ushered in to script the next chapter. In India’s hyper-competitive logistics race, even the boardroom does not stand still.

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MAM

Meta appoints Anuvrat Rao as APAC head of commerce partnerships

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SINGAPORE: Anuvrat Rao has taken charge as APAC  head of commerce and signals partnerships at Meta, steering monetisation deals across Facebook, Instagram and WhatsApp from Singapore. The former Google executive, known for launching Google Assistant, PWAs, AMP and Firebase across Asia-Pacific, steps into the role after a high-growth stint as chief business officer at Locofy.ai.

At Locofy.ai, Rao helped convert a three-year free beta into a paid engine, clocking 1,000 subscribers and 15 enterprise clients within ten days of launch in September 2024. The low-code startup, backed by Accel and top tech founders, is famed for turning designs into production-ready code using proprietary large design models.

Before that, Rao founded generative AI venture 1Bstories, which was acquired by creative AI platform Laetro in mid-2024, where he briefly served as managing director for APAC. Alongside operating roles, he has been an active investor and advisor since 2020, backing startups such as BotMD, Muxy, Creator plus, Intellect, Sealed and CricFlex through a creator-economy-led thesis.

Rao spent over eight years at Google, holding senior partnership roles across search, assistant, chrome, web and YouTube in APAC, and earlier cut his teeth in strategy consulting at OC&C in London and investment finance at W. P. Carey in Europe and the US.

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