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Tag: Applause Entertainment

  • Applause Entertainment to make a series on Mahatma Gandhi

    Applause Entertainment to make a series on Mahatma Gandhi

    MUMBAI: Production house Applause Entertainment will make a series on Mahatma Gandhi. The company has bought the rights to two books by Ramachandra Guha. Actor Pratik Gandhi will play Mahatma Gandhi.

    Applause Entertainment CEO Sameer Nair said, “Ramachandra Guha is a historian and storyteller par excellence, and we are honoured to adapt his classic books – Gandhi before India, and Gandhi – The Years That Changed the World – to screen. We couldn’t think of anyone better than the incredibly talented Pratik Gandhi to bring alive the Mahatma, and his philosophies of peace and love that shook the world. We believe that only a richly layered, multi season drama series will do real justice to Gandhi and to all the great personalities that embed the proud and illustrious history of India’s Freedom Struggle. This is a story of the birthing of modern India for a global audience.”

    Historian Ramachandra Guha said, ‘Gandhi’s work transformed the world, and his legacy still sparks the most intense debates. His life was an epic journey, played out across three great countries: India, England and South Africa. He fought nobly for freedom, for inter-faith harmony, and for the rights of the underprivileged. Along the way he made many friends and not a few enemies too. I am delighted that my books on Gandhi are now being adapted for this ambitious and exciting series being produced by Applause Entertainment. I am confident that it will bring the complex contours of Gandhi’s life and the moral essence of his teachings to viewers across the globe’.

    Pratik Gandhi said, “I deeply believe in Gandhian philosophy and his values that echo simplicity in its purest forms. Personally too, I strive to achieve and imbibe many of his qualities and teachings in my daily life. Moreover, playing the role of Mahatma is very close to my heart ever since my theater days, and now it is a huge honor to yet again essay the role of this legendary leader on screen. I believe it’s a huge responsibility to essay this role with dignity, grace and conviction, and I can’t wait to embark on this journey with Sameer Nair and his team at Applause.”

  • Vidnet’22: Shining a light on the art of OTT filmmaking- What’s different?

    Vidnet’22: Shining a light on the art of OTT filmmaking- What’s different?

    Mumbai: The OTT sector in India has witnessed a massive surge in viewership during the pandemic era with a host of new players and paid subscribers tuning into the online streaming space. With manifold growth across metrics, the sector continues its bull run even post pandemic, even as the next growth wave is expected to come from tier II, III, and IV cities and regional language content.

    To discuss the role of OTT in influencing the content preferences in our country, Applause Entertainment CEO Sameer Nair, and Dharma Cornerstone Agency COO and renowned film critic Rajeev Masand got together for a fireside chat on the ‘Art of Creating Diversified Content and Secret of Mastering Them’ at the Vidnet 2022 summit organised by IndianTelevision.com in Mumbai last month.

    Mumbai-based content studio Applause Entertainment led by CEO Sameer Nair has been betting big on the web series format since its inception in 2017. The company struck gold with several of its recent shows such as Hansal Mehta’s “Scam 1992,” Pankaj Tripathi-starrer “Criminal Justice,” “Hostages” to name a few on various OTT platforms. Nair acknowledges that in the last four to five years the single biggest revolution that has happened in the business of content is via the streaming platforms globally. “TV was always fundamentally limited by its nature- a linear medium with geographic and language boundaries and appointment viewing,” he says in response to Masand’s query of whether he sees OTTs replacing linear television in India ever.

    Nair goes on to say that these being early days for the OTT medium, every operator will go through its fair share of teething troubles trying to find their own business models. Along the way, there will be challenges on how to make content better, to improve storytelling and take our content to other markets and how budgets can be bettered.

    The biggest discovery or learning in the emerging medium has been in the writing. “If you can imagine it, then you can probably shoot it,” declares Nair. “Its not the star cast, it’s not a ‘big name’ director, it’s not a budget- the key lies in the writing. If it’s written well, chances are it may turn out well. After that everything falls into place.”

    The other thing about this business, Nair adds, is that it’s not ‘star-dependent.’ “We have done some 36 series so far and it’s primarily been a collection of ensemble cast,” Nair asserts.

    Referencing the massive hits and popular web shows delivered by the studio, Masand proceeds to ask Nair about “the process of knowing what’s worth pursuing”. While there’s no such “green light” moment, idea sources can be wide-ranging- from an original script or a book, or a foreign series or movie that they wish to adapt, Nair says. The journey from idea to screen, after a particular idea has been greenlighted is a process that takes time and effort, even before one starts filming.

    Expounding on the studio’s hit vehicle “Scam 1992,” Nair says, “From the moment we bought the book rights from Sucheta (Dalal) to the time the series released, it took three years in the making. And all through this period we were on board, we stayed the course, and that’s what is important- to take it across the line.”

    Over time, most platforms have developed their own particular character, when it came to content, noted Nair in response to a query from Masand on making platform-specific content. He added that when they first started out, it was only about making shows for the audiences and not about which streamer it should stream on. “We don’t have as much of a ‘platform-theory’ as trying to understand what genres to go after, where are programming trends headed and what are people watching more of.”

    Now, of course, we get lots of inputs from platforms themselves because they have so much data, insights and understanding, Nair continues. “I think a lot of this is connected to essentially, ‘social-signalling’,” noting that it’s important to have one’s ears to the ground.

    The other significant thing, Nair points out, is the scale at which you want to take an idea- whether it will be a big-budget show. That’s a decision which is full of risk in their business, considering the show is first created, produced and executed before finding a buyer platform for it. “So we have to be very sure and everything has to be planned in detail- the genre, the writing, the casting, the money we are going to be spending over it etc.”

    In that sense, we complement the platform’s services and aid in their pain point by taking over the complete production and directorial decisions pertaining to a show. This allows them to focus on other things to worry about like, gaining subscribers, increasing paid user base, marketing etc, he adds. The studio usually has a pipeline of 12 to 15 shows lined up in various stages of production, reveals Nair on the company’s plans to expand its content library of shows.

    The kind of content being produced and the price point are the chief issues, according to Nair. And then it depends upon how the entire market dynamics works. Deliberating on the recent Netflix stocks crash, Nair observes, “Using any one player, even if they are the leader, as the bell weather for how the entire industry works may not be the right way to do it. Because different businesses have different models of operation.” Larger players like Netflix and Amazon Prime, he says without naming the giant streamers, have very long investment horizons with long investment cycles and diversified businesses. So that becomes a very different dynamic, as compared to securing only streaming.

    On a macro level, the numbers can only increase hereon, as the OTT market continues to grow, Nair observes. Along the way, there is bound to be discovery of various operable models like ad-supported, subscriber-supported models or lower-end content or upper end content catering to every available market.

    On adapting books and shows, Nair says it makes business sense to adapt a good story. “The reason why great stories exist is because they have been retold. So what we do is re-visualise a good story and adapt it according to our cultural sensibilities, while staying true to the original plot.”

    “Measuring success on streamers is sketchy, one way to go would be to check if the platform is happy with the show’s outcome or performance,” says Nair. “We look at the social noise around it and the audiences are happy overall. Another critical way is the data insights provided by the streamer- they have a lot more information, on new subscribers added, drop-off points etc which give a better clue on a show’s performance.”

    “The way forward for the studio is working with debutantes or first-time filmmakers, we are also finding our way around this evolving landscape of the streaming business. For the industry in India, the language content will become more pan-Indian, and the audience for this content will grow. The onus is on us to make the most of this space,” Nair signs off.

    To tune in to the entire conversation, click on the below link:

  • Applause Entertainment expands leadership team roles

    Applause Entertainment expands leadership team roles

    Mumbai: Content studio Applause Entertainment has announced key organisational realignments in its senior leadership team. Deepak Segal has been elevated as chief creative officer. Prasoon Garg has been elevated as chief business officer.

    Segal will take on a wider role across all content verticals including movies, animation and unscripted. Prasoon Garg will streamline all business, revenue, acquisitions, commercial, legal and operations functions into a single group. He will also actively work on business expansion and diversification.

    Additionally, Priya Jhavar, the creative director of shows like “Scam 1992” and “Avrodh,” is promoted to senior creative director. In this role, Priya will help build, mentor and lead new creative groups, even as she continues to helm the most marquee shows coming in the Applause content slate.

    Devnidhi Bajoria is elevated to head of brand, marketing and client servicing across all content verticals. She will continue her focus on brand building and work closely with all business and creative teams.

    “Deepak, Prasoon, Priya and Devnidhi have been an integral part of Applause since its inception, sharing the same vision of growing and scaling the content business to greater heights,” said Applause Entertainment CEO Sameer Nair. “With newer roles at business, creative and marketing, and with the support of a diverse team of colleagues who share a common passion for creative excellence, we look forward to expand our content hub & spoke model with ambitious, audacious and disruptive stories from all over the world.”

  • Locomotive Global aims to build scale with a strong slate in India: Sunder Aaron

    Locomotive Global aims to build scale with a strong slate in India: Sunder Aaron

    Mumbai: Ask Locomotive Global Media managing director Sunder Aaron what he believes is the best media market in the world and his answer comes with no hesitation. “Without a doubt it’s India. There is no bigger market, no greater challenge and no more incredible opportunity for creators than to be in India right now,”  Aaron asserts. “China can’t compare to our relative ease of doing business and reaping profits, while Europe just feels quaint, small and slow compared to what is happening here.”

    The company, which is based in LA, California and India, is aggressively building a slate of premium scripted series which are firmly rooted in Indian storytelling, and yet aim to deliver global quality shows to be enjoyed on streaming platforms around the world. “We believe that our content should be grounded and authentic to India, and in making that our objective with every script, exceptional stories will naturally blossom and find an audience all around the world,” he shares, adding, “If top shows can emerge from Korea, Spain, Israel, then it’s only a matter of time before we crack that code also. I want one of our shows from India to be the first on Apple TV+ or even to get a Primetime Emmy award!”

    Locomotive Global is collaborating with Gurinder Chadha’s Bend It Films and Sameer Nair’s Applause Entertainment. It is also working on a project for Amazon Prime Video that is in advanced stages of scripting, confirms Aaron, who only revealed that it is a horror series. The production house has also partnered with Endemol Shine India for another series that is currently under wraps. In 2020, it acquired the screen adaptation rights to the book “The Making of Star India” by Vanita Kohli-Khandekar. “The ‘Making of Star India’ is a terrific book and we’re setting that project up. I expect to talk more about it in the coming months. We’re also looking to acquire the rights to remake a French show, a British show and a couple of US shows,” says Aaron.

    Locomotive Global is also set to complete its first Indian original series “Rana Naidu” in early 2023. The series will feature actor Rana Daggubati who will appear alongside his uncle Venkatesh Daggubati and will stream on Netflix. The series is an adaptation of the acclaimed show “Ray Donovan” that airs on the US network Showtime.

    The company is looking to create high quality written content that can be developed into hit series. It’s also working with the top talent in the industry, for example, “Rana Naidu” is helmed by Karan Anshuman (showrunner and director) and also Suparn Varma (director). “When you talk about a web series, it is a writer’s medium and we love working with writers and showrunners. We have a very fruitful partnership with Karan Anshuman and are talking to a couple of other established showrunner talent for our scripted series projects,” Aaron tells.  

    Locomotive Global is expanding its team in the subcontinent with senior producer level hires who are practiced in producing film and television. Most recently, it announced the hires Laura Mishra as associate producer and Nikhil Ahuja as finance controller. “As a production company, we are also bringing a lot of technical production ability as those are necessary when you’re building a team from the ground-up.”

    Last year in October, Chicken Soup For The Soul Entertainment acquired a majority stake in Locomotive Global. Its investment will allow the production company to explore more projects. “The reason we got involved with Chicken Soup For The Soul Entertainment is that we wanted that global resource. There will be an infusion of funds that will come in stages and we will have the ability to make more stuff. If we’re successful we’ll have access to more funds. That’s the intent,” remarks Aaron.

    Indian OTTs spend about $500 million in original content production in 2021 according to London-based research firm Omdia. Netflix and Amazon Prime Video were among the top spenders on content. This number is expected to grow further as more global streamers like HBO Max, Apple TV+ among others start investing in local original content. Aaron’s single-minded focus is to create content that appeals to a global audience. “We have an objective as content creators to create global quality content. That’s why, the platforms I typically expect to work with are Netflix, Amazon Prime Video and Disney+ Hotstar. If you create something as a producer, I want it to be something that people will see around the world.”

    When queried if Indian original content will travel like Korean or Spanish shows, Aaron notes, “Indian quality of content and technical production is world-class. We just have to get the writing in place and believe me we are getting there. I hope that one of my shows or some of my shows are able to achieve that.”

    Unscripted series are also seeing popularity on OTT platforms, however, Aaron said he doesn’t think he would be up for creating unscripted shows as it does not fit his expertise. The format that he’s personally interested in is the half-hour dramedy. He says, “The half-hour format is underexploited in India with platforms veering towards 40 minutes plus episodes. I believe platforms and viewers would like the frothiness and quickness of a half-hour episode format and a lot of stories can be told in that half-hour format. I’d like to do a sketch comedy show and it is something I’m working on with a particular director in India.”

  • ‘Rudra’ records highest viewership ever on Disney+ Hotstar

    ‘Rudra’ records highest viewership ever on Disney+ Hotstar

    Mumbai: Ajay Devgn’s “Rudra – The Edge of Darkness” recorded the highest viewership for any drama on Disney+ Hotstar and has been trending at number one spot since its release on 4 March, announced the streaming platform. The crime thriller is directed by Rajesh Mapuskar and features Devgn in the lead role.

    “It’s overwhelming to see the response everyone has been sending our way for ‘Rudra: The Edge of Darkness’. It makes me happy to see the love everyone has showered on my digital debut. A big thank you to my audiences for their warm words and wishes. I hope to continue exploring and entertaining everyone with characters like Rudra,” said the actor.

    “We are delighted by the phenomenal response our viewers have shown to Rudra! The show has had a record-breaking opening weekend,” said Disney+ Hotstar head content and Disney Star HSM entertainment network head content Gaurav Banerjee. “The incredible acting talent of Ajay Devgn has been backed up by a fabulously crafted storyline. Rudra has given us confidence that the market for high quality storytelling is massive!” 

    Produced by Applause Entertainment in association with BBC Studios India, “Rudra – The Edge of Darkness” is available to stream in Hindi, Marathi, Tamil, Telugu, Kannada, Malayalam, and Bengali.

  • We’ve renewed most shows for next seasons: SonyLIV’s Ashish Golwalkar

    We’ve renewed most shows for next seasons: SonyLIV’s Ashish Golwalkar

    Mumbai: SonyLIV is planning a strong content slate for 2022 with the returning seasons of its popular franchises such as “Undekhi,” “Scam,” “Maharani,” “Gullak,” “Rocket Boys,” “Avrodh” and more. The OTT streaming service is also planning to release new series helmed by filmmakers Vikas Bahl, Imtiaz Ali and Subhash Kapoor.

    “This financial year is looking very exciting for us and we’re planning a strong content slate from the beginning of March this year to the end of March next year,” said Sony Pictures Networks India head content – Sony Entertainment Television and digital business Ashish Golwalkar. “Most of our shows have, fortunately, done well for us so they’re coming back for a second season. Some of them are genre defining shows such as ‘Scam’ and ‘Rocket Boys’. We’ve also renewed all our shows with Applause Entertainment including ‘Scam’, ‘Your Honor’, ‘Undekhi’ and ‘Avrodh’. All the shows that TVF have done for us are also returning including ‘Gullak’, ‘College Romance’, ‘Cubicle’, ‘Shantit Kranti’, ‘Girls Hostel’. So, we’ve renewed most of our shows for subsequent seasons.” 

    According to Golwalkar, the platform looks at 30-day viewership metrics, social media chatter and other indicators to take the call to renew a show for a new season. The video-on-demand platform’s latest show “Undekhi” was recommissioned almost immediately after the pandemic and will begin streaming on 4 March. Many of the shows that were launched in 2020 are looking at a delayed release due to the disruption of the pandemic.

    “’Undekhi’ was one our first shows that we dropped and the subscriber base then and the subscriber base today have a huge difference,” observed Golwalkar. “While I don’t think we are trend setters in any way, I can say that we’re very committed to our content lens and create shows that are engaging, slightly cerebral and very native in their appeal. We are also committed to our mission of telling stories of India.” By no means are we trend setters in any way. All I can say is that we are very committed to our content lens. We create shows that are engaging, slightly cerebral and very native. We are committed to our mission of telling stories of India.  

    On the regional piece, Golkwalkar said, “’Shantit Kranti’ season one did very well for us and you can expect a season 2. This year you’ll see at least five to six very good Marathi shows from us coming on SonyLIV.” 

    The platform is also strengthening its regional content library by acquiring popular South language films. “Increasingly the way people consume content is changing and they’re becoming language agnostic. And we believe that there is a lot of scope to explore content within the regional languages of India,” he added.  

    Its highly anticipated “Scam 2003: The Curious Case of Abdul Kareen Telgi” is also expected to release on the platform this year. “We’ve almost finished the writing and we’ll begin shooting by the end of March,” said Applause Entertainment head of content Deepak Segal. “The only detail we can share is that Scam 2003 is not a continuation of season one but is a completely new story,” revealed Golwalkar.

    “We look for longevity in our shows where we know that something like ‘Rocket Boys’ will be relevant even 50 years from now,” said Golwalkar.

  • Zee5, Applause announce latest collaboration with ‘Bloody Brothers’

    Zee5, Applause announce latest collaboration with ‘Bloody Brothers’

    Mumbai: After the launch of “Kaun Banegi Shikharwati” and “Mithya” (premiering on 18 February), streaming platform Zee5 has announced its third project “Bloody Brothers,” as a part of its multi-show partnership with Applause Entertainment. The upcoming show is the Indian adaptation of British mystery thriller “Guilt.”

    Directed by Shaad Ali and produced by Applause Entertainment in association with BBC Studios India, the six-part series will premiere on Zee5 next month.

    “Bloody Brothers” is headlined by Jaideep Ahlawat and Mohd Zeeshan Ayyub. The cast includes Tina Desai, Shruti Seth, Maya Alagh, Mugdha Godse, Satish Kaushik and Jitendra Joshi. 

    The series revolves around the lives of two brothers, Jaggi and Daljeet. While the elder brother Jaggi enjoys the comfort of a wealthy and seemingly perfect life, the younger one Daljeet struggles to survive running a vintage book shop cum café. Their life spins out of control when a tragic accident occurs and distrust starts enveloping their lives, creating a rift between them and everyone around. The series builds with some edge-of-the-seat plot twists and turns.

    “We are happy to further enhance Zee5’s slate with premium and quality content that will resonate with viewers,” said Zee5 CBO Manish Kalra. “In ‘Bloody Brothers’ we have explored the realm of dark comedy, with a stellar star cast in an unconventional setting. The focus has been to experiment with genres, narratives and multi-layered characters for increased authenticity and resonance. We are looking forward to viewers’ reaction to this content, which is through our partnership with Applause Entertainment.”

    “With ‘Bloody Brothers’ we add another captivating story to our content slate. It is a story of two brothers who must stick together to fight through a challenging situation,” commented Zee5 CCO Hindi originals Nimisha Pandey. “Jaideep and Zeeshan are an absolute delight as Jaggi and Daljeet. I am extremely happy to have partnered with Sameer, Applause and BBC Studios India on this series packed with unexpected plot twists and black humour. The show cannot be boxed in one genre and that is one of the many fascinating things about it. We are very excited for the viewers to experience this tale.”

    “Even as we gear up for the launch of ‘Mithya,’ we are delighted to announce our third collaboration with Zee5. With a show packed with powerful performances and a riveting plot, we are happy to continue creating unique, popular and distinctive entertainment for our audiences across the globe,” added Applause Entertainment CEO Sameer Nair.

  • Disney+ Hotstar to premiere ‘Rudra – The Edge of Darkness’ on 4 March

    Disney+ Hotstar to premiere ‘Rudra – The Edge of Darkness’ on 4 March

    Mumbai: Disney+ Hotstar has released the second trailer for “Rudra – The Edge of Darkness.” The six-episode series starring Ajay Devgn in the lead is slated to go live on 4 March in Hindi, Marathi, Tamil, Telugu, Kannada, Malayalam, and Bengali.

    The show is an India rendition of the British series “Luther.” Directed by Rajesh Mapuskar, the series is produced by Applause Entertainment in association with BBC Studios India. The show features a stellar cast including Raashi Khanna, Esha Deol, Atul Kulkarni, Ashwini Kalsekar, Tarun Gahlot, Ashish Vidyarthi, and Satyadeep Misra in pivotal roles.

    “In Rudra – The Edge of Darkness, we are excited to bring a riveting thriller with one of India’s most loved actors, Ajay Devgn. Sameer Nair and his amazing team, Applause have helped deliver a show that we hope you will enjoy” said the head of content for Disney+ Hotstar and Disney Star HSM entertainment network Gaurav Banerjee.

    “We are truly excited to be part of Ajay Devgn’s digital debut at such an ambitious scale with Rudra – The Edge Of Darkness,” said Applause Entertainment CEO Sameer Nair. “It’s been a terrific experience working on this unique narrative together with an amazing cast, crew and our production partners, BBC Studios. At Applause, we believe in the power of stories and storytelling, and with Rudra, we take forward our creative partnership with industry leader Disney+ Hotstar, and hope to continue entertaining audiences across the globe.”

  • Voot Select enters Karnataka with its first Kannada original

    Voot Select enters Karnataka with its first Kannada original

    Mumbai: Video-on-demand service Voot Select is all set to enter the Kannada market with its maiden Kannada language series ‘Humble Politiciann Nograj’ releasing exclusively on the platform on 6 January 2022.

    Produced by Applause Entertainment in association with Firstaction Studios and Danish Sait, ‘Humble Politiciann Nograj’ is written and directed by Saad Khan. Sait will be seen in the title role. The 10 episodic original is a satirical comedy based on the popular and critically acclaimed Kannada film with the same name.

    The character Nograj enjoys a strong following in the Kannada market owing to its journey from being a voice on the radio to making it to the silver screen. By introducing it to the digital ecosystem Voot Select aims to ride on Nograj’s fandom to broaden its base and win over viewers from the region. 

    To ensure the widespread promotion of its first Kannada original Voot Select will leverage Viacom18’s television network presence with special integrations on Colors Kannada’s ‘Nannamma Superstar’ and on Colors Kannada Cinema’s Talk Show. In addition to local activations in the Karnataka market that will target consumers the series will also be promoted through social media activation and a robust influencer marketing programme.

    Viacom 18 head – SVOD & international business Ferzad Palia said, “At Voot Select, we have been constantly growing our content offering. The release of our first Kannada original reinforces our commitment to cater to audiences across the country and serve them entertainment in a language of their choice. ‘Humble Politiciann Nograj’ is the first in a robust list of regional originals that will drop over 2022. Over the next 12 months, we will significantly dial-up our regional language roster, while we continue to strengthen our Hindi, international, sports & kids offering.”

    ‘Humble Politiciann Nograj’ is filled with unexpected twists and turns to depict the corrupt and chauvinistic Nograj’s journey from being an MLA to vying for the most prestigious post in Karnataka, that of the chief minister. Ace comedian Danish Sait will be seen as Nograj, a conceited and self-serving civil servant. The funny political potboiler will also star Prakash Belawadi, Vinay Chendoor, and Disha Madan in pivotal roles.

    “The art of taking something serious and turning it around with a dash of humour is a difficult thing to do. We approached writing the script keeping in mind that if our jokes are funny on paper, it would mostly translate to the visuals as well. The different shades of ‘Humble Politiciann Nograj’ as a zany character shine through his eccentricity. Danish is a thinking actor and embodies Nograj with ease and comic finesse. Also, the genre of our show touches on political satire, and since all our characters are fictitiously funny, we are confident that it will leave our audiences entertained,” stated director Saad Khan.

  • #Retrace2021: How streaming wars re-shaped the global M&E industry in 2021

    #Retrace2021: How streaming wars re-shaped the global M&E industry in 2021

    Mumbai: Beginning with the blockbuster M&A deal between Discovery and AT&T in May which created the world’s second-largest media company by revenue after Disney, intensifying streaming wars reshaped the global media and entertainment industry through 2021. At the heart of this transformation was the mindboggling demand for content.

    According to research led by European economic consultancy Frontier Economics manager Clive Kenny, OCC (Online Curated Content) providers directly invested $25.7bn (Rs 1.8trn) in OCC content worldwide in 2019, including original and licensed titles. This sum is likely to soar to $61bn (Rs 4.3trn) by 2024. Significant increase in content investment in the pipeline includes: The Walt Disney Company’s plans to invest $14bn-16bn (Rs 985bn-1,126bn) per year in global OCC content by 2024; ViacomCBS’s plans to ramp up investment in OCC content to $5bn (Rs 352bn) in 2024; WarnerMedia’s parent company, AT&T’s, pledge to invest $4bn (Rs 282bn) in HBO Max in the three years through 2022; and, Netflix will spend $28bn (Rs 1.97trn) a year by 2028.

    Driven by tech, worldwide changes in viewers’ media consumption habits in the context of more genres, newer formats, and platform choices are here to stay and grow further, and the scope for this growth is immense. The importance, as well as the urgency of sourcing content to satiate this rather ravenous appetite for entertainment, will continue effecting similar shifts in the sector going ahead. The equation will balance out between global giants wanting to create worldwide media behemoths and (comparatively) ‘local’ players striving to maintain their individuality and independence in the market.

    Here’s a look back at some of the biggest industry deals that made news in 2021. Even though not driven by the streaming wars, the $5 bn acquisition of Yahoo (formerly Verizon Media) by Apollo Global Management finds a place in this list for being the culmination of Verizon’s persistent efforts to establish itself in the online media space.

    AT&T and Discovery: Announced in May 2021 through an all-stock transaction called the Reverse Morris Trust, the AT&T, and Discovery merger deal aimed at giving rise to a content powerhouse to be led by Discovery president and CEO David Zaslav. The merged entity will bring together brands like Warner Bros., HBO, Discovery, DC Comics, CNN, Cartoon Network, HGTV, Food Network, the Turner Networks, TNT, TBS, Eurosport, Magnolia, TLC, Animal Planet, and ID.

    The emphasis on the D2C aspect of the business was clearly spelled out in the official statement which read “the new company will compete globally in the fast-growing direct-to-consumer business, bringing compelling content to D2C subscribers across its portfolio, including HBO Max and the recently launched discovery+.”

    Televisa and Univision: In April, Mexican and Latin American media giant Televisa and US Hispanic network Univison merged their media, content, and production assets to create a global Spanish-language powerhouse. The combined entity Televisa-Univision will be led by Univision CEO Wade Davis. It will have the largest Spanish-language library of owned content, serving two of the world’s largest Spanish-speaking markets the US and Mexico.

    According to the Television Business International, the “merger was designed to enable the new company to address what it believes is the relatively nascent global Spanish-language streaming market. The pair said that the Spanish-language market, which represents around 600 million people globally, and an aggregate GDP of about $7 trillion, is significantly underserved from a streaming perspective relative to other major markets. They cited the stat that fewer than 10 per cent of the Spanish speaking population currently use an OTT video product, compared with the English language market where nearly 70 per cent of the population has at least one streaming service.”

    The deal brought together Televisa’s four free-to-air channels, 27 pay-TV networks channels and stations, Videocine movie studio, Blim TV SVOD service, and the Televisa trademark with Univision’s assets in the US including the Univision and UniMás broadcast networks, nine Spanish-language cable networks, 61 television stations, 58 radio stations in major US Hispanic markets and Puerto Rico, and digital assets, notably the recently launched AVOD streaming service PrendeTV.

    TF1 and M6: With a view to providing a “French response to the challenges from global platforms” Groupe Bouygues and RTL Group announced the $4bn merger of leading French commercial broadcasters TF1 and M6 to form a new “French total video champion” in May. The resulting entity will bring together the strengths of the companies’ D2C streaming businesses operating under the brand names MyTF1 and 6play.

    Said the companies, “This market where linear TV remains a powerful media is undergoing a structural transformation with a strong shift towards on-demand consumption. The combination of these two players, of the know-how of their employees and of their strong brands, would allow the new group to invest more and to step-up innovation. The proposed merger is critical to ensure the long-term independence of French content creation and to continue to offer diversified and premium local content to the benefit of all viewers.”

    Amazon acquires MGM: In the same month, global tech giant Amazon acquired Hollywood studio MGM for $8.45 Bn. MGM is behind classics such as ‘Gone with the Wind’, and ‘Rocky’, the famous Bond franchise, ‘Singin’ in the Rain’, ‘12 Angry Men’,  as well as popular reality TV shows like ‘The Voice’ and ‘Shark Tank’.

    Amazon has been ramping up its content spend to stay competitive amidst the fare being churned out by Netflix and Disney. “The real financial value behind this deal is the treasure trove of IP in the deep catalogue that we plan to re-imagine and develop together with MGM’s talented team,” said Amazon Studios and Prime Video SVP Mike Hopkins. 

    Fox Entertainment buys MarVista: With an aim to develop content for its digital outlets including the ad-supported streaming platform Tubi, Fox Entertainment closed the year with acquiring MarVista Entertainment in December. Founded in 2003, MarVista specialises in production for digital platforms. Having created an average of 80 titles across different genres, the studio boasts a content catalogue of over 2500 programming hours.

    “With these key strategic advantages, acquiring and investing in MarVista aligns perfectly with Fox Entertainment’s long-term vision for streaming and diversifying our in-house capabilities and infrastructure, as we expand our portfolio,” said CEO of Fox Entertainment Charlie Collier.

    The deal was most recently in the series of Fox’s attempts this year to bolster its streaming and digital capabilities. It follows the September acquisition of celebrity-focused news outlet TMZ from WarnerMedia and the launch of Studio Ramsay Global, a production entity focused on culinary and lifestyle programming with restaurateur Gordon Ramsay.

    RTL Group and Talpa Network: The merger of RTL Nederland and Talpa Network assets was announced in June this year with the intention of creating a strong Dutch cross-media group across TV, streaming, radio, print, and digital, as well as to the benefit of audiences and the Dutch creative industry. The plan spelled out a “clear ambition to further expand Videoland” –  the leading Dutch streaming service with one million paying subscribers.

    According to the agreements, Talpa Network will contribute its TV, radio, print, digital, e-commerce, and other assets to RTL Nederland and will receive a 30 per cent stake in the enlarged RTL Nederland in return.

    In addition, Talpa Network’s content units (Talpa Concepts, Talpa Entertainment Producties) – which are not part of the deal – and RTL Nederland will enter into a content agreement for newly developed formats for linear TV channels and for the streaming service Videoland.
    The annual content spend of the combined group amounts to more than €400 million.

    ZEEL-SPNI merger: The Zee Entertainment Enterprises Ltd (Zeel) and Sony Pictures Networks India (SPNI) mega-merger announced in September combined the two media giants’ linear networks, digital assets, production operations, and programme libraries to create one of India’s largest media and entertainment entities (close to $2 billion in revenue) in terms of market share.

    In an investor call, Punit Goenka, managing director, and chief executive officer of the merged entity, revealed that it will target overall growth with a focus on sports and digital. As part of the deal, Sony agreed to infuse $1.6 billion cash which will enable the merged entity to accelerate its digital platform and significantly invest in premium content including sports.

    Both SPNI and Zeel had been on the lookout for a partner that could bring in mutual synergies, while minimising clashes, to fend off competition amid growing consolidation in the media and entertainment industry.  With this, the Zeel-Sony merged entity will compete in the market with market leader DisneyStar India, Viacom18-RIL, and the only standalone, player Sun TV Network. Given their relative strengths in scripted, factual, and sports programming, respective distribution footprints across India, and iconic entertainment brands, the combined company will try to meet the growing consumer demand for premium content across entertainment touchpoints and platforms.

    Under the terms of the definitive agreements, SPNI will have cash balance of $1.5 billion closing, including through infusion by the current shareholders of SPNI and the promoters (founders) of Zeel, to enable the combined company to drive sharper content creation across platforms, strengthen its footprint in the rapidly evolving digital ecosystem, bid for media rights in the fast-growing sports landscape and pursue other growth opportunities.

    Content Partnerships: While there were fewer major acquisitions happening in India, multi-year content partnerships between streaming platforms and mainstream production houses emerged as a significant trend through 2021. Under the Netflix India and Excel Entertainment deal inked in September, the Ritesh Sidhwani and Farhan Akhtar-owned production house will produce a variety of stories under its series banner Excel Media & Entertainment for Netflix members in over 190 countries.

    More recently streaming platform Zee5 entered into a strategic partnership with content and IP studio Applause Entertainment, a venture of Aditya Birla Group for a multi-show association. The two content companies will collaborate to create a robust original content slate of new Zee5 originals in Hindi to entertain viewers across the globe.

    Apollo acquires Yahoo (formerly Verizon Media): The $5 bn deal involving Private equity firm Apollo Global Management’s complete acquisition of Yahoo (formerly Verizon Media) from Verizon was announced in September this year. The group’s assets including titular Yahoo properties and the TechCrunch, AOL, Engadget, and RYOT brands encompass around 900 million monthly active users globally under the umbrella brand which is currently the third-largest internet property, per Apollo’s figures.

    Even though not driven by the streaming wars, the acquisition is significant for being the culmination of Verizon’s years-long strive to establish itself in online media, specifically adtech. It was preceded by the telco’s $4.4 bn acquisition of AOL in 2015 and Yahoo in 2017 for $4.5 bn.