Tag: Corona

  • AB InBev taps Netflix for global beer marketing blitz

    AB InBev taps Netflix for global beer marketing blitz

    MUMBAI: The world’s largest brewer has struck a sweeping marketing deal with Netflix that will see AB InBev’s beer brands woven into the streaming giant’s programming and live events across dozens of countries.

    The partnership, announced today, marks an unusually broad collaboration between the Belgian-Brazilian brewing behemoth and the entertainment platform. AB InBev will integrate its portfolio—including Budweiser, Corona, and Stella Artois—into Netflix content ranging from British crime series The Gentlemen to South Korean cooking competition Culinary Class Wars.

    AB InBev global chief marketing officer Marcel Marcondes described streaming as “an occasion where beer and entertainment come together,” arguing the deal would create “deeper experiences with consumers” during culturally significant viewing moments.

    The arrangement extends beyond traditional product placement. AB InBev brands will feature in co-marketing campaigns, limited-edition packaging tied to specific shows, and digital promotions. The brewer will also advertise during Netflix’s live NFL Christmas games next year and collaborate on coverage of the 2027 Women’s World Cup.

    Netflix has already tested the waters with AB InBev properties. Mexican beer brand Cerveza Victoria recently sponsored the streaming service’s broadcast of the Canelo Álvarez-Terence Crawford boxing match.

    “The popularity of our titles allows us to pierce the cultural zeitgeist in ways few others can,” said Netflix chief marketing officer Marian Lee. The streaming service has increasingly courted advertising revenue as subscriber growth plateaus in mature markets.

    The deal reflects AB InBev’s push to reach younger consumers who increasingly favour experiences over traditional advertising. The brewer has faced headwinds in key markets, with American beer consumption declining and competition intensifying from craft breweries and hard seltzers.

    For Netflix, the partnership offers a blue-chip sponsor as it expands into live programming and seeks to monetise its global reach more effectively. The platform has secured rights to major sporting events, including NFL games and professional wrestling, as it competes with traditional broadcasters for advertising dollars.
    The companies declined to disclose financial terms of the multi-year agreement. AB InBev operates in nearly 50 countries whilst Netflix boasts over 270 million subscribers worldwide.

    Industry analysts suggest such partnerships may become more common as traditional advertising models fragment. Brewers face particular challenges reaching audiences through conventional channels as younger consumers increasingly “cord-cut” from traditional television.

    The collaboration will roll out across AB InBev’s international portfolio, with regional brands like Brasil’s Antarctica and Europe’s Leffe expected to feature in locally relevant Netflix content. Both companies emphasised the deal’s global scope distinguishes it from previous entertainment industry tie-ups.

  • Television viewership peters down slightly in Week 14

    Television viewership peters down slightly in Week 14

    BENGALURU: The first three weeks of Indian COVID-19 lockdown have expanded television viewership in India to an extent that was probably never imagined earlier. As many average Indian citizens, bound by the lockdown within the confines of their homes, sought to comfort their minds with news of what was happening within the country and the world and with the pseudo realism that Movies provide, their television viewership habits changed week-on-week. Here’s how.

    Viewership

    In the third week of the Indian COVID-19 lockdown (week 14 of 2020, Saturday, 4 April 2020 to 11 April 2020), television viewership at 1.223 trillion minutes was 37.9 per cent higher when compared to the average of Weeks 2 to 4 of 2020, or the pre-COVID-19 period according to joint Broadcast Audience Research Council of India (BARC) Nielsen reports. But then, this was 3.4 per cent lower than the 1.266 trillion minutes of the previous week, despite the same average daily reach of 627 million television viewers. Hence, the average time spent was obviously lower at 4 hours 38 minutes in Week 14 of 2020 as compared to the 4 hours and 48 minutes that television viewers spent in Week13.

    As is obvious from the chart below, TV viewership has grown like never before during the lockdown week, but week 14 data shows that week-on-week, viewership in Week 14 of 2020 is slightly lower than the previous week, which has so far seen numbers peak at high levels. Please refer to the chart below:

    Effect on genres

    News, which until the COVID-19 period had seven per cent share of viewership, saw it triple to 21per cent in Week 12, or the first week of the Covid-19 Lockdown in India. Though news is still the leader in terms of growth in viewership, the growth of the genre in relation to the Pre-Covid-19 period has been lower in Weeks 13 and 14 as compared to Week 12 of 2020. Business news also seemed to be following the trends of its larger sibling, news. The other seven genres have seen growth in Weeks 13 and 14 vis-à-vis the Pre-Covid-19 Period averages.

    Since no fresh content was being produced, GECs’ saw the smallest growth during the first three weeks of the Covid-19 lockdown. It must be noted that GECs’ are the largest genre in terms of viewership, so the 9per cent and 7per cent growth in Weeks 13 and 14 respectively versus the Pre-Covid-19 are good numbers.

    In the Pre-Covid-19 Period, Hindi GECs’ had a 32per cent share of viewership of the Hindi speaking market of HSM. Hindi GEC’s in the urban Hindi speaking market or HSM (U) which reduced to 29per cent in Week 14. Despite this Hindi GECs’ in HSM (U) attained an all-time high of 4 billion impressions. HSM (U) viewership grew by 26per cent in Week 14 in relation to the average of the Pre-Covid-19 Period. This growth could be attributed mainly to GECs’ resorting to airing old classics. The major growth drivers of the genre were pubcasterDoordarshan’s GECs’ DD National and DD Bharti which saw the return of programmes such as Ramanand Sagar’s Ramayan and B R Chopra’s Mahabharat, as well as soaps like Dekh Bhai Dekh, Byomkesh Bakshi, Shaktimaan, ShrimanShrimati, Buniyaad and Circus. The other GECs’ generally saw flat growth according to BARC.

    Please refer to the figure below:

    GECs’ in South India continued to lead viewership in Week 14 of 2020, but with a lower share as compared to the pre-COVID-19 period. The movies and news genres saw higher viewership in Week 14 as compared to the Pre-Covid-19 Period. Please refer to the chart below:

    Who was watching television when?

    Growth in viewership continued to be led by the younger generation –the 2-14-years age groups followed by the 15-21 and the 31-40-years age groups as well as in the week preceding (Week 11) the lockdown and during the three weeks of the lockdown (Weeks 12, 13 and 14 of 2020). However, growth was lower amongst all age groups in Week 14 of 2020 as compared to Week 13 with respect to the Pre-Covid-19 Period.

    Please refer to the figure below:

    Since people spent time at home, growth in time spent in minutes for watching television was higher among males. The change was slightly lower in Week 14 of 2020 as compared to Week 13 for males and females with viewership of both the weeks in relation to the Average of the Pre-Covid-19 Period. Please refer to the chart below:

    A BARC Nielsen Report dated 16 April 2020 said that BARC’s NCCS A saw the highest growth during the three weeks of the lockdown as well as Week 11 of 2020 as compared to the average of the Pre-Covid-19 Period.  NCCS A has seen the highest growth in Weeks 12, 13 and 14, with growth peaking in Week 13 of 2020 and then petering slightly in Week 14 of 2020. Please refer to the chart below.

    Non-primetime continued to be a growth driver of Television viewership in Week 14. While Full Day All India Television viewership grew 38per cent in Week 14 as compared to the Pre-Covid-19 Period, Rural India viewership growth was driven by non-Primetime viewership. Primetime viewership grew 10per cent in Urban India, while it remained stable in Rural India.

    News is event driven. Week 15 of 2020 has seen the Covid-19 lockdown in India being extended to 3 May 2020. Prime Minister Narendra Modi’s speech on 14 April 2020 announcing the extension of the lockdown which was aired on 199 channels garnered the highest ratings at 3,937.3 million viewing minutes as compared to his previous 3 addresses to the nation on the Covid-19 crisis.

  • Balaji Telefilms’ Ekta Kapoor foregoes one-year salary for workers

    Balaji Telefilms’ Ekta Kapoor foregoes one-year salary for workers

    MUMBAI: Balaji Telefilms joint managing director and creative head Ekta Kapoor will give up her one-year salary, Rs 2.5 crore, to ensure that her workers will not suffer due to the ongoing lockdown caused by the COVID-19 pandemic.

    In a social media post she announced that she is doing this so that her "co-workers don't have to take a hit during this period of crisis and complete lockdown".  

    She wrote in the note: "The impact of CORONA crisis is huge, unprecedented and multi-pronged. We all need to do things that will ease the hardship of people around us and of our country at large. It is my first and foremost responsibility to take care of the various freelancers and daily wage workers who work at Balaji and who are going to suffer immense loss due to no shootings in the current scenario and uncertainty over the indefinite period to follow. I would thus forsake my one year’s salary that is Rs 2.5 crore at Balaji Telefilms so that my co-workers don't have to take a hit during this period of crisis and complete lockdown. The only way ahead, is together. Stay safe, stay healthy.”

    It may be recalled that earlier the producer donated to various relief funds in order to fight the adverse effects of the COVID-19 pandemic.

  • Corona impact: Film editors’ association stops shooting

    Corona impact: Film editors’ association stops shooting

    MUMBAI: The Association of Film and Video Editors has decided to stop the shooting of TV serials, web series, etc. from 19 till 31 March 2020 in view of the epidemic spread of Corona Covid 19 Virus.

    The decision has been taken as per the directive and decision taken by producers' body and federation, said a press release.

    Thus, the editors and post production work for the shoot till 18 March will have to be completed latest by 20 March. Further, as a precautionary measure to prevent any untoward situation, the association has directed all the editors of films, TV serials, web series etc. to stop the editing and post production work from 21 March. 

    Re-scheduling of the work will be notified further on or after 31 March. The association has requested all the editors to compulsorily abide by the directive  for the sake of the wellness of the editors and other working members and their families.

    The press release informed that the vigilance team of the federation and the association will be on the vigil  to ensure if the directives have been adhered by the editors. 

    If anybody is found working on the editing and post production during this period, relevant action will be taken against them, said the association Hon General Secretary Ram Kishore Prasad.

  • FremantleMedia acquires French scripted producer Kwai

    FremantleMedia acquires French scripted producer Kwai

    MUMBAI: FremantleMedia has acquired a majority stake in French scripted producer Kwai. The Paris-based fiction company specialises in TV films and series and is headed up by writer and producer Thomas Bourguignon, creator of Femmes de Loi, the popular French detective series that ran from 2000-2009.

     

    Together with the recent acquisition of Fontaram, the deal gives FremantleMedia more scripted prowess in France and adds another prominent creative talent to its global network. Bourguignon has extensive experience and success in France and has the ambition to produce series that appeal beyond the French borders.

     

    The deal was brokered by FremantleMedia France CEO Monica Galer, who will also be the CEO of Kwai.

     

    Galer said, “Thomas Bourguignon is a brilliant writer and producer and we look forward to creating some really exciting scripted projects with him, in France and beyond.”

     

    Kwai has recently delivered two TV films, Un Fils and Meurtre a Carcassonne, as well as pilot Le Zebre, all on air earlier this year. Upcoming series include Republican Gangsters for Canal+ and Godzilla for Arte.

     

    Prior to founding Kwai, Bourguigon was a film critic for Positif as well as a member of Gilles Jacob’s selection committee for the Cannes Film Festival for five years. He also worked as a TV program counsellor for M6; then joined Alizés Films where he created and produced the series Femmes de Loi. In 2002, Bourguignon set up BB Films with Patrick Benedek. Together, they produced many series for various French TV channels.

     

    This is the latest in a number of acquisitions and creative talent partnerships by FremantleMedia including Corona, Wildside, Fontaram, Naked Entertainment, No Pictures Please and Skylark.