Tag: Disney

  • Mythik brings Disney and Amazon veteran Gunjan Bhow on board

    Mythik brings Disney and Amazon veteran Gunjan Bhow on board

    MUMBAI: Mythik, the tech-first entertainment company aiming to become the “Disney from the East”, has appointed Gunjan Bhow, a veteran of Disney Plus, Amazon Prime Video and Fire TV, to its global advisory board.

    Bhow joins an illustrious panel of leaders from Softbank, Disney, Marvel, Amazon, BBC and Crunchyroll, who together bring decades of experience in scaling some of the world’s biggest media, entertainment and technology businesses.

    A global figure in digital entertainment, Bhow served as senior vice president and general manager at The Walt Disney Company, where he led direct-to-consumer platforms including Disney Plus, Disney Movies Anywhere and Disney Movie Club. Before that, he played a key role at Amazon in shaping the growth of Prime Video, Fire TV and Fire TV Stick, redefining subscription models in the process.

    Currently a board member at the BBC and broadband company Wide Open West, Bhow also advises organisations on AI, media innovation and customer experience. He has held senior roles at Microsoft and Walgreens Boots Alliance and is an inventor on over 20 patents.

    “Gunjan’s leadership in scaling iconic direct-to-consumer businesses makes him an exceptional addition to Mythik’s advisory board,” said Mythik founder and chief executive Jason Kothari. “He embodies the mix of technology, creativity and consumer focus that defines our vision.”

    Bhow added, “Mythik stands at the intersection of technology, storytelling and audience behaviour. I’m excited to help bring timeless stories from the East to the global stage.”

    He joins a powerhouse board that includes Alok Sama (Softbank), Kun Gao (Crunchyroll), Nick Van Dyk (Disney), Bill Jemas (Marvel), John Lynch (Amazon Studios) and Gui Karyo (Marvel and Dapper Labs).

    Mythik aims to reimagine Eastern mythology, history and folktales for global audiences through technology-led storytelling, backed by a founding team drawn from Disney, Netflix, Amazon Studios, Jio and Tencent.

  • Bhartiya Mall of Bengaluru adds 16 new brands in six months of growth

    Bhartiya Mall of Bengaluru adds 16 new brands in six months of growth

    MUMBAI: Bhartiya Mall of Bengaluru, the city’s premier lifestyle and shopping destination, has strengthened its retail portfolio with 16 brand launches in just six months, marking an impressive phase of growth and curation. The latest to join its expanding lineup is The Souled Store, one of India’s most popular homegrown D2C apparel and lifestyle brands.

    With its quirky, pop-culture-inspired aesthetic and officially licensed merchandise from Marvel, Disney, DC, Harry Potter, and Friends, The Souled Store brings an immersive, experience-led space to Bhartiya Mall’s fashion floor: one designed for millennial and Gen Z shoppers who crave creativity, comfort, and self-expression.

    “Our retail mix is carefully curated to reflect the preferences of our catchment,” said Bhartiya Urban senior vice-president Ramaraju KN. “With a large base of millennials and Gen Zs, we’re focused on bringing in dynamic, experience-driven brands that resonate with their lifestyle and aspirations.”

    The Souled Store joins a vibrant lineup of recent entrants including Shobitam, Peachmode, Biglilpeople, Indyvarna, Hush Puppies, Frangipani (featuring Chumbak, Imara, Voylla, and Abhishti), and Zoul & Zera. Earlier this year, the mall expanded into the home category with HomesToLife, offering premium furniture and design-led living solutions from Domicil, Fabbrica, and Corian.

    Bhartiya Mall has also diversified its dining and lifestyle offerings, welcoming Frank’s Hot Dog, Liquid Story, and Lily Bloom’s, alongside five new kiosks including Cookie Man, Taara, Quem, The Man Company, and 3m Car Care.

    Strategically located within the Bhartiya City township near Hebbal, the 7.5-lakh-square feat mall has emerged as a go-to lifestyle hub for North Bengaluru, catering to Gen Z, millennials, families, and working professionals alike. With an expanding catchment averaging 3,000 new homes and 3,000–5,000 office seats added each month, the mall is ideally positioned to meet the evolving needs of the city’s fast-growing population.

  • Hulu goes global as Disney drops Star and overhauls its streaming app

    Hulu goes global as Disney drops Star and overhauls its streaming app

    BURBANK: Disney is ditching Star. From 8 October, Hulu—until now available only in America and Japan—will become the entertainment brand for adult content on Disney+ in international markets. The move sets the stage for a full merger of Disney’s streaming apps next year, as the media giant tries to simplify its cluttered digital offering.

    The rebrand comes with a sweeping redesign of Disney+. Subscribers will encounter a new “For You” landing page, powered by algorithms that promise to learn viewing habits over time. A navigation bar across the top splits content by service—Disney+, Hulu and ESPN—whilst a “Live” hub corrals news, sports and round-the-clock streams into one place. New badges will flag season finales, fresh series and recently added films.

    Behind the scenes, Disney has rebuilt its recommendation engine from scratch. The new system will surface personalised suggestions across the platform, with user profiles made more prominent to keep viewing habits separate. The homepage gets a visual refresh too: a video carousel replaces static images, brand rows showcase the latest releases with cinematic artwork, and the overall design aims for something sleeker and more modern.

    Mobile users will see widgets arrive on iOS devices, offering one-tap access to shows and films. Disney promises “mobile-first” features in the coming months, though it has kept details vague. The company describes these changes as merely the opening salvo, with more updates planned before the unified app launches next year.

    The timing is no accident. Disney has been haemorrhaging money on streaming—its direct-to-consumer division lost $512m in the most recent quarter—and needs to cut costs whilst growing subscribers. Consolidating brands and improving discovery could help keep viewers hooked, reducing the churn that has plagued the industry. Whether audiences embrace the changes or simply long for the days when finding something to watch wasn’t quite so algorithmic remains to be seen.

  • Mythik ropes in Jio, MX Player & Walmart veterans to power product-tech vision

    Mythik ropes in Jio, MX Player & Walmart veterans to power product-tech vision

    MUMBAI: The global entertainment startup, on a mission to be the “Disney from the East” has unveiled a heavyweight product and technology leadership team with three marquee hires. Sachin Thapliyal joins as founding member & chief product officer, Kamalmeet Singh as chief technology officer, and Nitin Pakhare as head of product design.

    Between them, the trio boasts over 60 years of experience across giants like Jiosaavn, MX Player, Amazon, Walmart, Microsoft, Payu, and Paytm, shaping platforms that entertained and engaged millions. From building music and video apps with 100 plus million users to pioneering GenAI architecture, their combined resumes read like a masterclass in consumer-tech at scale.

    Thapliyal, who once scaled Jiosaavn past 100 million MAUs and helped shape MX Player into a 175 million-user super-app, will steer product strategy. Singh, an ex-Walmart principal architect and author of large-scale tech design books, brings the muscle of cloud, GenAI, and enterprise-grade architecture. Meanwhile, Pakhare, who has designed experiences for Jiocinema, MX Player, and Yahoo Labs, will focus on ensuring Mythik’s stories look as good as they feel.

    Founder & CEO Jason Kothari is betting on the trio’s mix of creativity and technology to help Mythik deliver its bold promise: reimagining Eastern mythology, history, and folktales for global audiences in compelling, tech-driven ways.

    As Kothari put it, “Their experience in building entertainment platforms at scale, architecting global solutions, and creating engaging user experiences aligns perfectly with our mission.”

    If Mythik’s new chapter reads anything like its hiring, the East’s tales may just get a blockbuster retelling for the world stage.

  • Times of India hires WPP talent chief for recruitment overhaul

    Times of India hires WPP talent chief for recruitment overhaul

    MUMBAI: Bennett Coleman & Co, publisher of the Times of India, has hired Roshin Mascarenhas as its new head of talent acquisition, luring  her from WPP Media where she led recruitment across South Asia.

    The appointment signals the Indian media conglomerate’s push to revamp its hiring strategy as traditional publishers grapple with digital disruption and fierce competition for top talent. Mascarenhas brings 15 years of recruitment experience, including stints at Viacom18, Disney, and the Aditya Birla Group.

    Her move to the Times of India building in Mumbai marks something of a homecoming. Early in her career as a search consultant, she worked on critical roles for the newspaper group. Her husband also spent his formative professional years at the company, making this appointment as much personal as professional.

    At WPP Media, Mascarenhas managed geographically dispersed recruitment teams and standardised hiring practices across the advertising giant’s Indian operations. She oversaw campus programmes, implemented data-driven recruitment metrics, and championed internal mobility initiatives.

    Her LinkedIn announcement is peppered with rocket ship emojis and effusive praise for her new employer’s “heritage and integrity.” She describes herself as a “talent magnet” and “mindfulness champion” who believes technology cannot replace the “human touch” in recruitment.

    The hire comes as India’s media landscape undergoes rapid transformation. Traditional publishers like Bennett Coleman face pressure to attract digital-native talent while competing with technology firms and streaming platforms for the best candidates.

    Mascarenhas’s track record includes notable achievements such as recruiting 120 people in two months for UTV Stars’ Bollywood channel launch in 2011 and implementing hiring automation systems. Her appointment suggests Bennett Coleman is serious about professionalising its talent acquisition function.

    Whether her “positive vibes” approach and emphasis on creating “meaningful careers” can solve the structural challenges facing India’s traditional media remains to be seen. But for a company seeking to blend legacy with innovation, hiring someone who describes every recruitment as “a story” seems oddly appropriate.

  • MIPCOM Cannes 2025 puts creators centre stage

    MIPCOM Cannes 2025 puts creators centre stage

    PARIS: Mipcom Cannes is recasting itself as the global meeting ground for the creator economy, unveiling a 13–16 October programme that director Lucy Smith calls “the biggest generational shift the market has ever seen”. She declared the creator economy “no longer emerging—it’s arrived”, signalling a fresh era for storytelling, distribution and monetisation.

    The scale remains vast: organisers expect more than 10,500 delegates from over 100 countries to pack the Palais des Festivals and surrounding beachfront. Joining the traditional powerhouses—Disney, Warner Bros Discovery, Sony Pictures Entertainment, Paramount Global, Banijay, BBC Studios, ZDF Studios and ITV Studios—are creator-led platforms and digital natives such as YouTube, TikTok, Snapchat, Dhar Mann Studios, Tubi, Samsung TV Plus and Luma AI. Big advertisers and agencies including Mattel, Toys“R”Us, Ancestry, Dentsu and McCann are coming to broker brand-funded projects.

    YouTube mounts its most ambitious presence yet: a dedicated space on the Croisette, daily workshops and a headline keynote with EMEA vice-president Pedro Pina and BBC Studios digital chief Jasmine Dawson in conversation with industry analyst Evan Shapiro. The rebadged MIP Creative Hub—formerly the Producers Hub—will host four days of matchmaking between creators, studios and brands.

    Fresh summits aim to blur the lines between TV, tech and social platforms. The BrandStorytelling Summit, imported from Sundance, will showcase how advertisers and digital talent collaborate on narrative campaigns. The Innovation Lab expands with an AI summit and new demo areas for cloud production, virtual sets and immersive formats. Panels will dissect monetisation models from Fast and AVoD to direct-to-fan subscriptions.

    MIPJunior, the kids’ pre-market on 11–12 October, moves into the Palais for the first time, offering dedicated matchmaking and a premiere of Ki & Hi in the Panda Kingdom, based on Kevin Tran’s best-selling manga.
    High-wattage speakers include Mattel Studios president Robbie Brenner, Banijay chief Marco Bassetti, Mediawan Pictures CEO Elisabeth d’Arvieu and Toys“R”Us CMO Kim Miller Olko, alongside creators Callum “Callux” McGinley and Dhar Mann. World premieres on the main stage feature Paramount’s Boston Blue, ZDF’s Ku’damm 77 and a Sony preview of The Miniature Wife, with cast members Donnie Wahlberg, Sonequa Martin-Green and Matthew Macfadyen expected.

    By weaving creators into every strand—from keynotes to co-production hubs—MIPCOM is betting that the next wave of global television will be forged as much by YouTubers and TikTokers as by Hollywood studios. The 2025 edition aims to prove that the Croisette can be the crossroads where legacy broadcasters and digital disruptors strike their biggest deals yet.

  • Mythik names Preeti Vyas president to steer content and partnerships

    Mythik names Preeti Vyas president to steer content and partnerships

    MUMBAI: Mythik, the tech-first entertainment upstart styling itself as the “Disney from the East”, has hired Preeti Vyas as president of content strategy, partnerships and consumer products.

    Vyas, who previously served as president and chief executive of Amar Chitra Katha, brings three decades of experience across publishing, retail and entertainment. At Amar Chitra Katha, she engineered the heritage brand’s revival, taking it from nostalgia act to profitable modern player while driving readership tenfold to over 6 million globally.

    Her career has spanned founding Fun OK Please publishing, the company behind children’s favourites like Toto the Auto, to senior stints at Future Group, Sony Music, Toys R Us and Crossword. She also piloted transmedia adaptations of franchises such as Tinkle and built licensing deals that expanded their reach.

    At Mythik, she will spearhead efforts to package mythology, history and folktales from the East for a global audience, tapping into new-age distribution and consumer products.

    Mythik, founder and chief executive, Jason Kothari called Vyas “a rare combination of strategic acumen and creative vision” and said her track record of transforming heritage brands would be key to realising the company’s global ambitions.

    Vyas herself described the role as “an opportunity to present stories from our ancient past at a scale never attempted before”.

    Alongside her corporate career, she sits on industry bodies including the Media & Entertainment Skills Council and the Advertising Standards Council of India, giving her a perch at the intersection of policy, talent and content. 

  • Fast channels surge 14 per cent this year as news and horror fuel boom

    Fast channels surge 14 per cent this year as news and horror fuel boom

    MUMBAI: Free ad-supported television (Fast) is enjoying a blistering run. The number of Fast channels worldwide has climbed nearly 14 per cent since the start of 2025 and 76 per cent since 2023, according to fresh analysis from Gracenote, the content data arm of Nielsen.

    The firm has expanded its Data Hub to track nearly 1,850 active Fast channels, enabling direct comparisons with subscription video-on-demand (SVOD) catalogues from the likes of Amazon Prime Video, Apple TV+, Disney+, Netflix and Paramount+. The enhanced tool now covers more than 645,000 TV shows, films and sports programmes across SVOD and a further 197,000 across Fast.

    Fast is skewing younger than its subscription rivals. Almost half of its content has been produced in the past five years, compared with only a third for SVOD. Stretching the timeframe to 15 years, Fast jumps to nearly 80 per cent of programming, versus 68.5 per cent for SVOD.

    Television dominates both formats, but especially Fast: 93.1 per cent of its content comprises TV programming by episode count, compared with 88.8 per cent on SVOD platforms.

    Genre trends are diverging. Documentaries make up the largest Fast slice at 16.1 per cent, followed by drama (10.6 per cent) and news (9.9 per cent). Yet it is news and horror that are powering growth, up 37 per cent and 30 per cent respectively. On SVOD, sports led the charge in the past quarter with a 13.2 per cent bump, ahead of films (10 per cent) and TV (9.2 per cent). Sports on Fast dipped 3.7 per cent in the last three months but remain up 14 per cent year to date.

    Among the big streamers, Amazon bulked up most aggressively, expanding its catalogue by 12.6 per cent quarter on quarter. Paramount+ followed with a 6.4 per cent increase. Overall, SVOD offerings grew 9.8 per cent in the same period.

    Gracenote, which covers video content in more than 70 languages and 80 countries, is pitching its Data Hub as a strategic compass for distributors, producers and advertisers eager to map where audiences are headed.

  • Parrot Analytics launches Sports Demand to put rigour into soaring media rights market

    Parrot Analytics launches Sports Demand to put rigour into soaring media rights market

    LOS ANGELES: : Parrot Analytics, the media analytics firm known for pioneering streaming valuation, has launched Sports Demand, billed as the most advanced global sports analytics system. The tool is designed to arm leagues, teams, broadcasters, streamers and sponsors with data-driven insights to navigate the fast-inflating sports rights market.

    Sports rights fees have surged in recent years, with Paramount’s $7.7 billion deal for UFC events, WWE’s $1.6 billion tie-up with ESPN, and the NFL’s equity-for-content swap with Disney underscoring the scale. Parrot says its system will allow buyers and sellers to measure fan engagement market by market, justify valuations, and extract stronger returns on investment.

    “For the first time, decision-makers can weigh the impact of acquiring a sports league against investing in scripted series or films, within a single framework,” said Parrot Analytics chief executive Wared Seger. By integrating with the firm’s Demand360 platform, Sports Demand lets clients benchmark sports against TV shows, films and on-screen talent.

    Capabilities include global fan mapping across 100 markets, integrated sports-entertainment benchmarking, empirical valuation models, content optimisation, and sponsor alignment analysis. Early adopters include leagues negotiating landmark streaming deals and operators launching direct-to-consumer sports services.

    Seger argued that in an attention economy where sports compete directly with films and television for time and spend, “rigorous, standardised data is essential.” 

    Sports Demand is now available worldwide to Parrot Analytics’ enterprise clients, with dashboard and API access for seamless integration into rights, content and sponsorship strategies.