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Tag: Anand Mahindra

  • In defence of L&T chairman SN Subrahmanyan

    In defence of L&T chairman SN Subrahmanyan

    MUMBAI: Larsen & Toubro chairman SN Subrahmanyan  who expressed support for 90 hour workweeks for company employees, adding “how long can you stare at your wife?”  has  kicked up a storm. In fact, many would call it a violent typhoon.

    A simple statement like that has become fodder for debates on television which newsrooms, for want of better topics or developments to discuss,  have latched onto. As have so-called social media and celebrity influencers who know that what Subrahmanyan said can attract many more followers to their handles if they take a stand against him. Especially from the younger lot who can be influenced. Stand-up comics  have found his statement perfect to go witty or punny about. Of course, every one can crack up as Subrahmanyan has become every Tom, Dick , Harry, Larry, Jane, Cynthia, and  Joyce’s favourite  whipping boy.

    Respected industrialists like Harsh Goenka and Anand Mahindra have found a lot of fault with what Subrahmanyan  has advocated. They have been pretty vocal about it. But both inherited large corporations. Yes, they have grown them larger. But they did not have to do the grunt work that  Keshub Madhindra and Ramnath Goenka put in. The long hours, the hard toil. (I have no intention of hurting their sentiments. I am sure both Harsh and Anand worked hard too. However, the labour, the pain that an entrepreneur goes through when he’s starting up and growing  his enterprise is different.)

    Subrahmanyan  said what he did as an engineer, and as an excellent leader, what he does to excel. Students at the IITs and other engineering institutes slog their butts off .to get their degrees. That’s probably where Subrahmanyan got his work ethic from.  He works seven days a week – or may be eight, if it was possible to have those many in a week. That’s what’s made L&T a GOAT  in what it does, develop infrastructure and construct anything that’s challenging.  That ability has not come by chance, L&T folks work really hard.

    As do scientists. As do researchers. As do inventors. As do seriously-driven journalists  – online or TV –  who have a mission. As do zillions of GenZ  geeks and nerds or ingenious youth at startups who want to build their enterprises. In the Valley. In Bengaluru. In Hyderabad. 

    As do producers, writers  and online  video editors working in the movies or on television.

    These folks are so  deeply absorbed in the problem they want to solve, or the solution they want to get to, or the product they want to deliver – that time is of no consequence. They are driven. They are passionate. They take ownership of what they do. They are fortunate they love what they do. It is not a nine to five job that they are in.

    BTW, how many of you have family members who are gamers? 

    Do they have a schedule? 

     I rest my case. 

    They love what they do, and many have made millions of dollars out of being professional gamers. Yes, they live in their cocoons and are sometimes maladjusted  to  the so-called fake society. Where superficiality is the norm. 

    Hey, also what Subrahmanyan  said is nothing new.

    Do you remember what  the poet Henry Wadsworth Longfellow had penned almost a  century or so ago : 
    “The heights by great men reached and kept were not attained by sudden flight, but they while their companions slept, were toiling upward in the night.”

    Of course, he did not say that one needs to work seven days in so many  plain words.  But implied in that verse is the clarity that man or woman does not achieve greatness until she or he put their all into what they want to achieve.

    Do I work 90 hours a week? Well, heck I do. When the need arrives, I sleep four to five hours every night. And for months on an end.  Has that harmed or helped me? I love what I do so it does not seem like work at all. So, I guess it only helps me. 

    Lampoon me if you like. Troll me if you must. But I give my thumbs up to Subrahmanyan. 

    Just a little note of caution to  Subrahmanyan:  you could have gone a bit  easy when you spoke about “staring at the wife. “

    There’s a phrase that I keep in mind: “Hell hath no fury like a woman scorned.”

    I won’t ask Subrahmanyan how his spouse  reacted  when he got home that night of the conversation when he referred to “staring at the  wife.” 

    If they are a well-adjusted couple, who understand each other, probably there was no reaction or maybe a laugh from the wife as she gave it back to him playfully. 

    If their relationship is not sorted – like many an Indian marriage is not  (it’s a hollow marriage where the husband sleeps in a room and the wife in another and they quarrel all the time or give each other the cold shoulder) then he would have got hell.  And he might well still be getting it.

     I would like to believe that his  is the first type of marriage mentioned above. After all he is an engineer, and engineers calculate everything they do.

    Both he and his wife are probably having a sound sleep while a large part of corporate India, employees and the media rage  about the  “ninety hour work week” and about “not staring at the wife.”

  • Mumbai Festival 2024 – Celebrate! Discover! Connect! details revealed

    Mumbai Festival 2024 – Celebrate! Discover! Connect! details revealed

    Mumbai:  The Mumbai Festival 2024, poised to illuminate the lively ‘City of Dreams’ from January 20 to 28 unveils the details of the enchanting events and engaging activities. On 17 January 2024 in the presence of a distinguished gathering, Hon’ble minister of tourism and rural development, Girish Mahajan, and Mumbai Festival Advisory Committee chairperson Anand Mahindra together with Government of Maharashtra tourism secretary Jayshree Bhoj disclosed the final venues, shared insights into the event flow, and presented the star-studded lineup of celebrities set to grace this grand celebration.

    The momentous announcement unfolded in the distinguished presence of the Hon’ble minister of education and ministry of Marathi language, Guardian Minister – Mumbai City District Deepak Kesarkar and Hon’ble minister for skills, employment, entrepreneurship, and innovation, Guardian Minister- Mumbai Suburban District – Mangal Prabhat Lodha.

    The occasion was further graced by the felicitation of our esteemed partners, including SBI, Signpost, Aerion Group, EaseMyTrip, Bisleri International Pvt Ltd, and Project Mumbai, acknowledging their significant contributions to the success of the Mumbai Festival. This cultural spectacle promises to be a journey into the vibrant heart of Maharashtra, bringing together an array of events, experiences, and renowned personalities. The Mumbai Festival 2024 would showcase the spirit of unity with the theme ‘Everyone’s Invited’ and aims to bring communities together, showcasing the best of Maharashtra’s cultural richness. Attendees can expect a spectacular blend of music, cinema, beach festivities, food fiestas and more. A detailed event lineup has been appended for reference.

    Hon’ble minister of tourism and rural development Girish Mahajan, graced the occasion, sharing his enthusiasm for the festival. He stated, “Mumbai Festival 2024 celebrates Maharashtra’s cultural legacy. The festival provides a glimpse into the magnificence that awaits, and we encourage everyone to join us on this journey.

    We poured our dedication, enthusiasm and passion into creating a never-seen masterpiece that signifies emotions and reawakens connections while honouring the very essence of Maharashtra. We believe that this event will alter tourists’ perceptions about Mumbai and inspire them to discover the richness of our homeland.” he added.

    Government of Maharashtra secretary tourism Jayshree Bhoj said, “In my capacity as the Government of Maharashtra’s tourism secretary, I am ecstatic to see how The Mumbai Festival encourages a community’s creative and cultural exchange. The collective endeavour embodies the spirit of cooperation and diversity, characterising Maharashtra’s rich cultural legacy. My heartfelt appreciation to every participant, partner, and contributor for their unwavering help in making this event a huge success. As we unite to celebrate the diversity and magnificence of our state, let us welcome the celebrations with an open heart.”

    Mumbai Festival Advisory Committee chairperson Anand Mahindra expressed ,”The Mumbai Festival portrays Maharashtra’s amazing and diverse cultural landscape. Every aspect you see, from the performances to the magnificent displays, reflects countless hours of sweat, passion, and commitment to present the incredible richness of Maharashtra. We are thrilled to host a festival that goes beyond limits, and I believe the details revealed today capture the diligence and efforts we’ve put in for an unforgettable celebration.”

    The Mumbai Festival 2024 has its exciting anthem, “Mumbai Ek Tyohar Hai.” This musical sensation, which the talented Remo D’Souza choreographed, has become the city’s heartbeat as people groove to its enticing rhythm. The “Mumbai Ek Tyohar Hai Hookstep Challenge” has taken social media by storm, with influencers and users flaunting their dance moves. Composed by Shamir Tandon, the anthem features the powerful vocals of Sukhwinder Singh, Shankar Mahadevan, Harshdeep Kaur, Falguni Pathak, Avadhoot Gupte, and the captivating beats of The Dharavi Dream Project. As the city embraces the tune with open arms, the anthem has become one with Mumbai’s soul.

    The department of tourism has entrusted Wizcraft Entertainment Agency Pvt. Ltd. to conceptualise and manage the Mumbai Festival 2024.

  • Mumbai Festival unveils spectacular anthem: “Mumbai Ek Tyohar Hai”

    Mumbai Festival unveils spectacular anthem: “Mumbai Ek Tyohar Hai”

    Mumbai: The excitement surrounding the Mumbai Festival 2024 now reaches new heights with the launch of the influencer marketing activity to raise awareness of the festival, the thrilling “Mumbai Ek Tyohar Hai Hookstep Challenge” choreographed by Remo D’Souza, and invited social media users and influencers to create their versions on social media to spread festive cheer and win passes for various activities at the Mumbai Festival.

    With a fantastic lineup of renowned vocalists, “Mumbai Ek Tyohar Hai” features the mesmerising vocals of Sukhwinder Singh, the power-packed voice of Shankar Mahadevan, the soulful melodies of Harshdeep Kaur, the contagious energy of Falguni Pathak, the powerful tones of Avadhoot Gupte, and the rhythmic beats of The Dharavi Dream Project. This collaboration captures the spirit of Mumbai’s cultural diversity by bringing together a wide spectrum of musical talents. The anthem is more than a melody; it celebrates Mumbai’s soul.

    The anthem will become the city’s heartbeat with its throbbing beats and upbeat lyrics. It will echo throughout the streets during the upcoming Mumbai Festival from January 20 to January 28, 2024.

    With the resounding message of “Everyone’s Invited,” the Mumbai Festival seeks to unite individuals from all walks of life to celebrate the festive atmosphere of this cultural event.

    Mumbai EK Tyohar Hai

    Minister of Tourism, Government of Maharashtra Girish Mahajan said, “The Mumbai Festival will reflect the vibrant spirit Mumbai embodies. It will showcase everything Mumbai offers for people from every walk of life. This festival will turn the entirety of Mumbai into a festival that one will never forget. A celebration of this magnitude will only highlight Mumbai’s unique character globally, attracting tourists from all over the world who come to witness the depth of our city’s legacy.”

    Mumbai Festival Advisory Committee chairperson Anand Mahindra said, “As a Mumbai Festival Advisory Committee member, I am delighted to see this seminal cultural event take shape. A product of the collective efforts of Mumbai’s public and private sector stakeholders, the festival will be an unforgettable experience for tourists and Mumbaikars alike. A tribute to the city’s diversity and artistic enthusiasm, the festival showcases Mumbai’s true essence: “Sapno ka Gateway”, a melting pot of countless hopes, ambitions, cultures, and dreams.”

    Commenting on the anthem, composer of ‘Mumbai Ek Tyohar hai’ Music Anthem for the Mumbai Festival – Shamir Tandon expressed, “Mumbai, my birthplace, where dreams find their rhythm and aspirations thrive in the city’s pulse. It’s a vibrant tapestry where relentless dedication fuels ambitions into realities. Amidst a sea of talented musicians, engineers, and artists converging from diverse origins, I found my place within this bustling ecosystem.

    Crafting the “Mumbai Ek Tyohar Hai” anthem for the Mumbai festival was a cherished opportunity, a celebration that resonates with the essence of this cosmopolitan hub. Embracing voices from every corner of the nation in this lively metropolis, we stitched together ‘Mumbai Ek Tyohar Hai,’ an anthem harmonising myriad influences and genres.

    Through a symphony of varied instruments and melodies, we painted a musical canvas honouring the city’s unity in diversity. The resonating beats of the Nasik Dhol, the spirited rhythms of Garba, and the triumphant echoes of Balle Balle mirror the essence of Marathi, Gujarati, and Punjabi cultures interwoven seamlessly within Mumbai’s fabric.

    We welcomed iconic voices like Sukhwinder, Falguni Pathak, Avadhoot Gupte, Harshdeep Kaur, and others, and we captured the soul of their regions in every note. This amalgamation of talent and sonic heritage epitomises Mumbai—a perpetual festival that pulsates with life day and night, earning its title as the city that never sleeps. We have also captured the underbelly of Mumbai with Dharavi Boys rapping what they feel!

    In this anthem, we encapsulated Mumbai’s spirit—a melodic saga that unites myriad cultures into one symphony, echoing the unity in our city of dreams.”

    Award-winning singer and composer Padmashri Shankar Mahadevan said, “Thrilled to lend my voice to Mumbai Festival’s anthem, a rhythmic piece embodying diverse emotions, spirit, and unity. As a proud Mumbaikar, contributing to this project has been a joyous experience. Special thanks to the collective of singers, Sukhwinder Singh, Harshdeep Kaur, Falguni Pathak, Avdhoot Gupte, the Dharavi Boys and Shamir Tandon for infusing true brilliance into the anthem. Music, with its unique power to connect, will resonate through this anthem. I eagerly look forward to the Mumbai Festival, where our collective voices will echo the festive spirit of Mumbai.”

    Excited about the collaboration, Dolly from The Dharavi Dream Project said, “Dharavi, often recognised as the second-largest slum in Asia, conceals a treasure—the continent’s second-largest recycling hub. At The Dharavi Dream Project, our musical compositions draw inspiration from the beating heart of these streets. Our journey has been shaped by the genuine rhythms of Mumbai’s gullies, fostering a deep connection with the community. Through music, we empower the talented youth, transforming these streets into stages of opportunity, paving the way for a brighter tomorrow.”

    As the Mumbai Festival draws nearer, the anthem previews the cultural extravaganza that awaits, ensuring a nine-day celebration that will win over the hearts of tourists and Mumbai residents.

  • Warner Bros Discovery dominates Digital Reinvent Innovation Awards with big wins

    Warner Bros Discovery dominates Digital Reinvent Innovation Awards with big wins

    Mumbai: In a significant achievement, Warner Bros Discovery proudly reveals multiple wins at the esteemed Digital Reinvent Awards 2023. Discovery original series “The Journey Of India,” clinching the distinguished Gold Title for Limited or Anthology series in the ‘Best In Content Creation’ category. Sharing the spotlight in this category, “Money Mafia Season 3” takes home the silver award.

    Amplifying its position as the leader of the factual entertainment space, Warner Bros Discovery also secured the silver title for “The Journey of India” in the category of ‘Documentary or NonFiction Program or Series’. Spanning a wide range of subjects, the series features Amitabh Bachchan as the host and provides an in-depth look at the nation’s progress, influences, and accomplishments on its 75 years of independence. Notable figures who have contributed to the show’s captivating narrative include Anand Mahindra, Kajol, Karan Johar, S.S. Rajamouli, Amish Tripathi, Rana Daggubati, A. R. Rahman, chef Vikas Khanna, Nandan Nilekani and Naina Lal Kidwai.

    Discovery, South Asia head of factual and lifestyle cluster Sai Abishek shared, “We are deeply honored by the success of our Indian originals at the Digital Reinvent Awards 2023. From ‘The Journey of India,’ a heartfelt tribute to India’s remarkable 75-year journey, to ‘Money Mafia,’ we strive to create compelling stories that connect with our audiences through our gripping non-fiction narratives. This recognition fuels our dedication to crafting engaging series that resonate with our viewers.”

    Sai also mentioned, “We extend our gratitude to Black Iris for their collaboration on ‘The Journey of India’ and Vice Media for their contribution to ‘Money Mafia.’ Their invaluable partnership enhances the celebration of this significant achievement.”

    The Digital Reinvent Renovation Awards, held virtually on 1 December, 2023, recognised outstanding achievements in streaming entertainment. Acknowledging the exceptional contributions of individuals and organisations reshaping the digital entertainment landscape, the ceremony positions Warner Bros Discovery as the frontrunner in the infotainment space.

  • I am passionate about building businesses that have scale: Aditya Pittie

    I am passionate about building businesses that have scale: Aditya Pittie

    From being a young man who had to Google about downlinking and uplinking and did not know how a satellite signal works a decade ago to an entrepreneur at the helm of a media conglomerate, IN10 Media Network and Pittie Group managing director Aditya Pittie has come a long way. Anand Mahindra- and Pittie-promoted IN10 Media has television (Epic TV), OTT platforms (Epic On and Docubay), and production house (Juggernaut) in its kitty.

    Pittie finds his passion is creating value and wealth and building scale.  “That’s why I am interested in multiple businesses, not just any particular business. I am passionate about business, and building businesses that have scale, that gives employment to many people. That is what drives me,” says Pittie during a virtual fireside chat with Indiantelevision.com group founder, CEO and editor-in-chief Anil Wanvari.

    Here he talks about his and his and his father’s association with Patanjali, Aastha and Sanskar television channels, the distribution business and how he ventured into the world of broadcasting. He is very clear about where he wants to position himself in the broadcast business when he says: “I realised that it is better to be part of a smaller genre but have a better market share, rather than be part of a big genre and have an insignificant market share.” Excerpts:

    Describe your journey with Patanjali.

    Our relationship has gone stronger over the years. We have a lot of common values in terms of how business can be used to create value for society at large. We have been connected to him since the seeding of the idea and therefore we share the long-term vision and we continue to be part of that journey in some way or the other.

    Your father had gone to Haridwar and seen him there and invited him to Mumbai and conducted the very big Yoga gathering some 14 years ago.

    That was much before Patanjali. At that time, Swamiji was spreading the knowledge of yoga across the country to as many people as possible and obviously through television. He used to come live on Aastha channel. He was able to create the awareness of how simplified yoga can be done by people in their homes and the value it can add to the health, not just from a weight-loss point of view but from general mental health. So that is the time when my father went to Haridwar first and did yoga camp with him and was impressed with the vision that this man had that we decided to be part of the journey.

    Aastha and he became a big name after that.

    TV played a big role in his popularity. A lot of people don't know this: Swamiji is actually one of the very people in this country who have travelled to every single district by road. Lot of people think his popularity came from TV, which he does. But he has physically conducted big yoga camps with millions of people in the country. I don't think anybody has done this kind of large yoga camps of this scale ever in the history of the country. So his ground connection with the people is so strong; that is where the whole idea or philosophy of Patanjali comes from. It is for the real people that would not have access to real quality products in a market where brands used to mark up their products by creating brand perceptions, sometimes by compromising the underlying value of products. When he travelled across the country, he realised that there was a big gap in that. And he wanted to give better value products to consumers. That was the mission. I think while television was an important part of his popularity, a lot of people don’t know that he really worked hard. Almost seven-eight years he travelled to conduct yoga camps in every part of the country.

    You had a good starting point in a way. Your dad, Acharyaji and Swamiji. Acharyaji was extremely good at Ayurveda. Your father was a good entrepreneur. He was into real estate. Then you came in and expanded the business. Tell us about that. 

    I worked with my father for eight – nine years after my graduation. After that I thought of building my own identity and business. That is when the idea of selling Patanjali in super markets came about. That time Patanjali was a Rs 700-800-crore company. They were not present in any of the supermarket chains. And there was a lot of noise around how modern retailers eventually were going to have a larger share going forward. And I was very intrigued by that. So I thought it was a good business opportunity to build from scratch. Before that, while we were part of the Patanjali journey, I was not involved in any of the management decisions or business of Patanjali. It was completely a new business for me. Luckily, Swamiji supported and gave me an opportunity to see if there is an interest among the retailers. Then the first retailer I went to was Reliance. While they liked the idea of Patanjali they were very supportive of the fact that as an entrepreneur I had to build a business. That’s how the journey started. We piloted with five Reliance outlets in Mumbai first. I still remember I used to make the invoices myself and take order sheets from merchants, just to understand how the business is done on the ground. Then Patanjali grew and we started contributing 10 per cent of Patanjali’s overall business.

    So there is a logistics side to the business, there is construction and there is Patanjali distribution and you came to the media business.

    Real estate is my father’s business. I am not actively involved in the business any more. Over the years we build a lot of capabilities at the backend. We designed solutions that specifically catered to supermarket chains. Dealing with chains was not as easy as dealing with the unorganised sector. We created solutions for the brand to increase market share in supermarket chains. We have a large warehousing network. Now we have started looking for other clients who require this kind of logistical reach and service. Our biggest client continues to be Patanjali.

    Are you open to distributing other companies’ products?

    We are very selective. I have just done a deal with an American company for their beauty brands; they are non-competing with Patanjali. I also have some companies that use only our warehousing logistics. It is sort of a complex structure we have now. We are trying to find our feet on what exactly we would be when we go forward.

    What actually inspired you to get into the media?

    The Sanskar opportunity came to us very organically. When the opportunity came, we thought that the product was really strong. Aastha and Sanskar had 95 per cent of market share in the genre at that time. Our family – though not an orthodox Marwari family – was a pretty religious family. And the family found the opportunity to have Sanskar in our portfolio and to be able to be part of the journey as a good decision. And that’s how we got into the media business, specifically in Sanskar. When I started out, the first thing I did was to google about downlinking and uplinking. Until that time, I did not know how a satellite signal works. That was almost 10 -12 years ago. Sanskar was a very different, unique business model. It wasn’t the typical broadcast business where you invest in programming and then monetise through ad sales. Most of the programming on the spiritual genre was given by the content owners for free, because they want reach. In fact, they pay you to use your platform. It was a great experience. We ran it for five years and sold it to Swamiji for a very good return. That’s how we got interested in the media business. Then we looked at starting other spiritual channels. That’s how Shubh TV came along. And during that time, I had met Anand a couple of times. That’s how the journey of Epic started. The primary objective of the relationship was to make sure that Epic as a brand, which was loved by millions, was able to survive and continue in a viable way with critically acclaimed products, something Anand was proud of. When I researched on the channel, I realized that the product was very strong and definitely worth putting some time to make it work. And that’s how my partnership with Anand started. That’s how we started building Epic again.

    So you also have invested in the channel, right?

    Yes, there is an arrangement where I am also a shareholder.

    With Epic what did you feel was right and what did you feel was wrong? And what did you do go about correcting it?

    The product was just very ahead of its time. Mahesh Samat is a very seasoned media professional. He ran big companies. A lot of people don’t know this: Mahesh is a consumer guy. He understands what a consumer wants in general. Some of the content he created is still our flagship ones. They did a lot of things right. The timing of TAM going away and BARC coming in, etc., and the fact that the content was slightly ahead of time, something the mass audience in India at the time did not accept as Mahesh would have thought. That’s the challenge they have faced. The opportunity was obviously the fact that there was strong brand affinity. While the viewership was low, it was loyal. My research found that in niche products you have less absolute viewership, but you have relevant one. For example, the number of people watching English news is far lower than mostly all genres. But the reason why they get so much traction and advertising is because brands want that TG and affinity require English news for that. With such strong positioning and niche, I felt in the long term it would definitely reap some value. That was the base concept behind my conviction that Epic can be turned around. Then we did the repositioning and changed the distribution strategy. We did multiple things to ensure that we stay on course and on our path to profitability.

    In terms of distribution what did you change? Did you get on to more DPOs?

    Epic was always a pay channel. When you launch a new channel you have to incentivise DPOs and cable operators to carry your channel. When I took over Epic had certain deals in the market with DPOs, which I felt was not ideal, and which we then turned around in a couple of years. This year Epic will be subscription-positive from a distribution point of view for the first time. So we went from being a pay channel that incentivises our DPOs and cable operators to carry the channel to becoming a net-positive subscription earner.

    From being a man who did not know what uplinking and downlinking to a media entrepreneur, you have come a long way. What next?

    My passion is creating value and wealth and building scale.  That’s why I am interested in multiple businesses, not just any particular business. I am passionate about business, and building businesses that have scale, that gives employment to many people. That is what drives me. In Epic and in my partnership with Anand Mahindra I felt that there was an opportunity for a young guy like me to really live up to that dream of wanting to create that opportunity for others.

    So you took up Epic four years ago when you were 32. What did you learn about the business?

    Honestly, I had the luxury of having people around me who had an equation that was not limited not just to work. I worked with them like they are my friends. We have a very democratic approach to finding solutions to challenges that epic faced. We used to always ideate. It was a collective effort. One of the things was to reposition Epic. While it was intended to be a GEC, somewhere in the programming it became a knowledge-based product. People started perceiving it as an infotainment channel. Even in the market, some of the brands started calling it an infotainment channel when it always was in the GEC space. I realised that it is better to be part of a smaller genre but have a better market share, rather than be part of a big genre and have an insignificant market share. That is why I felt that it would be smarter to be moving to infotainment which is what people perceived it to anyway. And that’s why the decision to rebrand the logo the reposition the channel from GEC to infotainment came about.

    It is a smart decision, because GECs’ carriage fee is much higher.

    Carriage fees are one part of the GEC. But content is the key. To get significant market share in GEC, you need a certain amount of capital. Otherwise you cannot compete in that space. At that time Epic was loved because to make it into a GEC would have compromised the value and brand identity of Epic and what it stands for. So the objective was not only to make it viable but also to keep the essence of Epic as a brand alive and to make sure that people who love continue to get that content. It wasn’t just about viability; we had to find the right fit. That’s why infotainment was the right fit. We do about 150 hours of original programming. We acquire a lot of programming as well. We have 600 hours of our own IP, all episodic programming. People love watching them multiple times.

    How was the advertisers’ reaction?

    Infotainment genre is pretty stagnant when it comes to advertising. In the infotainment genre there is a lot of brand integration. A lot of FCTs are done just based on ratings. We have been focusing a lot on content and trying to find brands to plug into the Epic positioning.

    What is the journey ahead for Epic? You launched Epic+ HD.

    A lot of our viewers have wanted an HD version of the channel for a very long time. We want to have a separate channel and programming line-up for Epic+ HD as and when we decide to launch it. 

  • We are in the race to build a niche product, not to increase user numbers: Aditya Pittie

    We are in the race to build a niche product, not to increase user numbers: Aditya Pittie

    “We are not in the race of having x million DAUS or MAUS or active users. We are in the race of building a niche product.” IN10 Media Network managing director Aditya Pittie is pretty much clear about where he wants to position the network’s OTT business in an ever-growing market. Anand Mahindra- and Aditya Pittie-promoted IN10 Media has a bouquet of varied media offerings such as television (Epic TV), OTT platforms (Epic On and Docubay), and production house (Juggernaut).

    During a virtual fireside chat with Indiantelevision Group founder, CEO and editor-in-chief Anil Wanvari, Pittie asserts that Epic On and Docubay are not driven by number of users. They are rather driven by time spent, organic tractions, etc. Instead of increasing the number of users, the aim is to build a niche product as a vertical player. That is the OTT strategy the company is following. He is also bullish about Juggernaut, which is going to be one of the company’s key businesses going forward. He says that having an asset like Juggernaut will definitely be a big value addition. “We have the probably largest order book in the industry right now with more than 11 shows confirmed for production,” he states.

    Here he dwells at length on the network’s OTT business, strategy, etc.

    Excerpts:

    After the successful entry into the broadcast business, you launched Docubay. Tell us about it.

    Docubay came about because of our love for factual entertainment. We were very interested in documentaries and we believed that as a genre it is the most popular in the world. Prominent OTTs like Amazon have a good library of documentaries. A lot of people across the world enjoy watching them. Then we thought: why don’t we look at a dedicated platform for documentaries. Then we thought of going global, instead of making India-centric. Today, Docubay is a very powerful product; the experience of watching documentaries on Docubay is far superior than any other platform. And we don’t call our subscribers. We call them members, because the idea is to build a community. That’s why it has the tagline of ‘one tribe, many stories.’ The message is that there are many things to explore in this planet, but we are all one tribe. That is the message of Docubay. We just went live on Roku in North America.  And we are one of the very few companies – in the smaller media networks segment – in India that has its own OTT technology in-house. We spent almost a year and a half in building that technology. As an organisation we are really proud of both our OTT products.

    How are Epic On and Docubay faring in terms of pricing and number of subscribers?

    As regards the KPIs and metrics, Epic On and Docubay are not driven by number of users. They are driven by time spent, how many organic tractions, etc. We are not in the race of having x million DAUS or MAUS or active users. We are in the race of building a niche product.  The pricing of Epic On or Docubay is far higher than any of the horizontal or generic OTT. We are very clearly a vertical player. We have very specific offering and then charge a premium for that offering. That is the model we are working on. By no way we try to fret about how many users we have or how faster our user base is growing. We are not hungry just to drive traffic. We wanted quality traffic. Some of the conversion rates that we have in terms of install vs number of people who are subscribing is probably one of the best in the industry. Those are the kind of models we try to work on. Stickiness, higher paying members who are looking for a specific service as opposed to getting everybody to come on the platform and give what they like. That is not our strategy.  

    Since you are not looking at metrics, what is your business game plan to monetise?

    Profitability in the media business is about how much content you want to put out. We have a business plan in place. We believe in a direction we want to take. Going forward, 15 to 20 years from now, when OTTs become mainstream, there will be a big market for vertical OTTs where people will subscribe and pay you a premium for the kind of content you create and curate for them, which is dedicated to the genre they prefer focusing on. So the differentiation is that in horizontal you have all kind of content under one umbrella, whereas vertical is slightly more focused on niche. That is the base model behind our OTT strategy. There are various other vertical OTT players all over the world. They have less number of users, but very viable business model.

    But here you have entered a global space. So are you competing with Curiosity Stream?

    Curiosity Stream has a lot of short-form content and docu-series. Docubay is a feature platform. We only do films. We carry content that has minimum duration of 20-25 minutes. The product offering thus is very different. Theirs is a very knowledge-based, and about science, research, etc. On the other, we give perspective for you to form your own opinion. That is how the documentary genre should be. If you look at the content at Docubay you will realise that they give perspective but let you form your own opinion about the topic. While they are in some degree competition to us, we believe that we are a completely different platform than Curiosity Stream. And we don’t necessarily consider them to be a competition.  

    What is the thinking behind having own production company and forging partnership with Applause?

    I think we need to separate the Applause Entertainment deal from us being in production. While they are connected they are two separate business models. We were able to foresee last year that the demand for content for OTT platforms is going to skyrocket. Unfortunately, good content creators who understand what kind of content works for OTTs are limited in our industry. There are only a handful of players that are able to create good quality content. As an organisation we have created so many hours of content for our broadcasting business. We felt that we could leverage that knowledge and expertise to build successful production business for other platforms. In terms of scale, we felt that the business can be large enough to justify our resources, time, and energy. That’s why we hired Samar Khan to lead our production business for OTT. And Code M was a super-hit (which came on ZEE5 and Balaji).

    And we have the probably largest order book in the industry right now. We have more than 11 shows confirmed for production, with an order book of over Rs 100 crore for the next one year. Juggernaut is going to be one of our key businesses going forward. We are really excited about the ability to create content at scale. Samar and his team have really worked hard to build our good talent of writers and convince OTT platforms that we have the ability to deliver solid products. I am really excited about the Juggernaut business. Having an asset like Juggernaut in our portfolio will definitely be a big value addition.

    You work for local OTTs or big international ones like Amazon, Netflix, etc.?

    I won’t be able to divulge specific contract details because that will be breach of confidentiality with them. We have one or two shows with every Indian platform. We are obviously in conversation with international OTT players. While Samar has a very big pedigree of content creation, Juggernaut as a company is new. So we are building some traction. Our aim is to deliver some hits this year and then start working with OTTs like Netflix, Amazon, Hulu, HBO Max, etc. at some point as well.

    What genre is Juggernaut positioned in?

    We have seen the success of Code M and Samar as a content creator has been very good at certain shows, but we don’t want ourselves to be restricted to that. Content creation is a collective effort. Success in content creation happens by bringing the right people together for the right type of project. So we are not focussed on just doing thriller shows, fiction or non-fiction. The idea is to create good content that is in demand by platforms. OTT is such a fast-feedback medium. It is not like television. You come to know the feedback – whether it works or not – the same day of launching the show. And there is so much data. The platforms specifically know what they want, what kind of content works, and in which region. So rather than focusing on a particular genre like thriller or non-fiction, etc., we want to focus on knowing what works with audiences, learning from experiences in creating good content, working closely with the platforms, leveraging our relationships to pre-empt what kind of concepts and stories are going to work down the lane and prepare our content bank to cater to that need. That’s the broad strategy we are looking at. You can see that we are creating shows across genres.  

  • Ekta Kapoor, Karan Johar, Anand Mahindra to receive Padma Awards

    Ekta Kapoor, Karan Johar, Anand Mahindra to receive Padma Awards

    MUMBAI: This year’s Padma awardee list is out. And it has quite a few worthy individuals on whom the Home Ministry is conferring various Padma Awards  – right from Padma Vibhushan to the Bhushan to the Shri.

    TV Czarina Ekta Kapoor, family drama producer and director Karan Johar, actor Kangana Ranaut, singer Suresh Wadkar, sitarist Manilal Nag, folk musician Anwar Khan Mangniyar, Gujarat theatre artist Yazdi Naoshirwan Karanjia, folk singer Shanti Jain, folk singer Madhu Mansuri Hasmukh, Sambalpuri lyricist Mitrabhanu Gountia, puppetry artist Yadla Gopalarao, musician Madan Singh Chauhan, Info Edge founder  Sanjeev Bikhchandani, Surya Roshini chairman Jai Prakash Agarwal, singer Adnan Sami and Sarita Joshi have been conferred the Padma Shri for their distinguished contribution in the fields of art and business.

    Anand Mahindra and TVS group boss Venu Srinivasan are two industrialists who are to be conferred the Padma Bhushan for their distinguished service of a high order to the nation and society.

    Boxer Mary Kom is being recognised with the highest civilian honour – the Padma Bhushan. Others who have been listed to receive the same award include: Sushma Swaraj, Arun Jaitley, George Fernandes, Mauritian Anerood Jugnauth, Channulal Misra and Vishveshateertha Swamiji Pejavara Adhokhaja Matha Udupi.

    The awards will be given away later this year.

  • Epic TV launches OTT, sets million subs target

    Epic TV launches OTT, sets million subs target

    MUMBAI: Aditya Pitte modestly says he does not have much experience in mainstream television. But, the lead distributor of Patanjali’s products loves to listen and learn, and play catch-up quickly. Over the years, he has been doing a lot of listening. And, learning and doing well at the TV business.

    So much so that he took over Sanskar TV, ran it for around five years, turned it around, before handing it over to Swami Ramdev in 2015. Encouraged, he launched another spiritual channel Shubh TV a couple of years ago. And then, the big plunge into the mainstream came in September 2016 when Anand Mahindra told him to head Epic Television, which he and Mukesh Ambani had floated with former Disney India CEO Mahesh Samat. Ambani was exiting, and Mahindra told him to take charge as managing director.

    He hired fresh talent, rejigged the programming and relaunched Epic as an infotainment channel with newer edgier programming. The tactic seems to be working, as the new Epic Channel has been striking a chord with audiences, and has seen its share among its demographic rising. However, what’s keeping him occupied is the launch of the channel’s app on 14 August. Launched with both, iOS and Android versions, it is available on both the iTunes and Google Play stores and has been getting traction with more than 100,000 downloads till date.

    Epic On is available as a free and paid version. In its free version, it offers selective shows, the first episode of all shows, and an exclusive seven day catch up window of series such as Devlok with Devdutt Pattanaik, Raja Rasoi Aur Andaaz, Umeed India and Indipedia. Subscription fees have been pegged at Rs 60 for a month and Rs 500 for a year. The international sticker prices have been kept at $1.99 a month and $19.99 a year.

    “We believe that consumers today value quality content and are willing to subscribe to platforms which consistently deliver premium original content that is different in its offerings from the normal fare being dished out en-masse,” says Epic Channel programming head Akul Tripathi. “This trend in consumer behaviour is only going to strengthen; creating a robust foundation for platforms committed towards consistent quality programming.”

    Epic On has close to 500 hours of content on launch which is constantly being expanded daily. Tripathi says a lot of thought has gone into the user interface (UI) to allow for intuitive specific cross searches between genres and content types. Also, content has been bunched into addictive and suggestive groups to provide users with the kind of content they prefer to view. The app also has a download feature for fans who can download their favourite shows and watch these on the go.

    The core of the Epic On OTT solution was created by Bangalore-based Saranyu Technologies while a digital team is being put together inhouse for updates.

    Pittie is looking at a million-strong subscriber base in the next 12 months across the globe with a focus on India, Australia, Singapore, followed by Canada, the US and the UK.

    The target audience: the new digital millennials. Explains Tripathi: “The early adopter for the app would be the Epic fans who have long appreciated our content and are eager to access it on demand for catching up on missed episodes and to earmark their favourite ones for repeated watching. Moving forward, we believe that anyone who wishes to know and experience India in an engrossing and interactive manner will definitely engage with the app.”

    And, one of the routes the 30-something Pittie is taking to help get to that million-mark is signing up with telcos everywhere to make Epic On easily accessible to their subscribers. “We have some way to go,” he says. “But I am reasonably happy with the results which can only get better from here. Step by step.”

    It’s this optimistic outlook which could well end up taking Epic On into the fast lane.

  • Epic to reposition as an infotainment channel; Sehwag show announced

    MUMBAI: It’s making an epic shift. Epic TV which saw the departure of its founder and MD Mahesh Samat for Disney last year, is now positioning itself as an infotainment channel, broadening its programming from just mythology and history and adding a wide array of original content across various genres.

    Promoted by Samat along with investments from Anand Mahindra and Mukesh Ambani, the channel began by showcasing some of the most well produced programmes in India. But it failed to get commercial traction courtesy distribution issues and the fact that a mass of Indians prefer soaps and drama series as compared to the Hindi GECs a compared to the original and unique Indian programming it offered.

    Aditya Pittie – one of the largest distributors for the Patanjali group – came in to manage and run the channel as a director last year and has since been working on its relaunch.

    Says Pittie: “The infotainment genre is a content driven destination colonized by international players and syndicated programming with infrequent home-grown shows available. There is an evident and growing discrepancy in what is available and what popular sentiment demands. In this divide is the opportunity that Epic is best positioned to capitalise on.”

    Pittie has been in conversation with various producers to shore up the content on the Epic. Viewers can expect programming bouquet to be expanded to include a mix of non-fiction content that aspires to imbibe the diversity of India. And a regular calendar of commissioned programmes that that explore, discover and inspire pride are slated to be rolled out.

    Amongst the first includes a show hosted by the swashbuckling former Indian opening batsman Virender Sehwag, who continues his form through social media and cricket commentary.

    “This is the first TV show that Sehwag is hosting and he is a perfect fit for the Epic brand,” explains Aditya. “We Indians, as people, are very emotional. So, instead of treading the predictable path of logic-driven sterilised content, the content showcased on Epic is just like India – an honest portrayal of the passions and emotions that make us who we are.”

  • Droom to sponsor MTV Dropout reality show, founder to mentor entrepreneurs

    MUMBAI: From Bill Gates to Sachin Tendulkar, people who have become some of the most iconic figures in our country have achieved what they have only because they had strong vision, resilience and courage to back their passion in achieving that vision. In keeping with the same spirit, Droom, India’s pioneering online automobile transactional marketplace has now become the title sponsor for MTV Dropout, India’s first start-up reality show that seeks to find out India’s next big entrepreneur. Sandeep Aggarwal, Founder – ShopClues & Droom is a Chief Mentor to the participants throughout the show, along with the founders of two other Internet startups.

    Droom, the marketplace for buying and selling new and used automobiles, has four formats i.e. B2C, C2C, C2B and B2B, and three pricing formats – Fixed Price, Best Offer and Auction.

    Aggarwal, who is known to be among the most prolific investors and entrepreneurs in the Indian e-commerce and entrepreneurial environment, is often considered a maverick when it comes to taking tough decisions, showing resilience and building scalable businesses. Once a globally top ranked Wall Street Internet analyst out of Silicon Valley, Aggarwal gave up his comfortable job and a luxurious lifestyle to give fire to his entrepreneurial dreams and create India’s first managed marketplace-ShopClues – in 2011. Since, in his various roles as an angel investor or mentor, he has always strived to extend a helping hand to entrepreneurs with great ideas, ‘grit in their teeth and fire in their belly.’ MTV Dropout is another such venture which aims to finds out India’s next prolific business ideas through the concept of a reality show.

    Call for entries from applicants across the country has started. The auditions for the show will be held in Mumbai in the month of May to select the final candidates who will then be divided into teams and judged on the parameters of Drive, Strength of Idea, Planning and Attitude.

    Aggarwal said, “During the show, I would try to pass on the trust and the good faith that was bestowed on me and provide whatever experience I have gained into enriching the decisions of the participants to fulfill their dreams. The show has been structured in such a way that it tests all the skills of the participants required to emerge as prospective entrepreneurs and business leaders. From food trucks to corporate events, the participants would need to show their all-round skills, resilience and tenacity apart from continuously working on their individual business ideas. I wish them all the best and look forward to see some great business ideas and interactions on the show soon!”

    MTV Dropout will expand the narrow and negative connotation of the word ‘dropout’ to refer to people who have not accepted the pressures of the system but succeeded by pursuing an alternate, non-conventional idea with belief and pride. It invites entries from prospective entrepreneurs as well as ideas rejected in the VC stage to test their mettle in front of the experienced panel of mentors.

    Droom MTV Dropout will consist a series of episodes and the teams in the final will present to globally-renowned industrialists, investors and iconic economic personalities such as Ratan Tata, Anand Mahindra, Raghuram Rajan, Ronnie Screwala, Anil Ambani and Azim Premji. These stalwarts will select the one winning team that has the potential to revolutionize the business exosphere of India and further helm its start-up journey to a world of endless possibilities!