Tag: Disney

  • Disney to spin Aladdin’s magic Broadway style

    Disney to spin Aladdin’s magic Broadway style

    MUMBAI: After Beauty and the Beast Broadway-style musicals in 2015 and 2016, Disney has rolled up its sleeves for another musical in Aladdin for an India production. BookMyShow (BMS) has exclusive rights for distributing this Disney hit and is also producing the show. The musical will premiere at Mumbai’s National Centre for the Performing Arts (NCPA) on 20 April 2018.

    Sponsored by PayPal, the show will also travel to Delhi and Hyderabad. BMS CEO and founder Ashish Hemrajani said that the initial price of the ticket would be around Rs 750 with weekday prices differing from weekend ones. Opening with 13 shows, the musical will be reimagined by the Indian talent to make it locally relevant without losing the original essence of the Broadway show.

    Marketing will primarily focus on BMS’s existing customer base while also leveraging traditional media routes. Show locations are decided by BMS depending on demand, said Disney India head (live entertainment and local content studio) Vikranth Pawar. Cities with a large English-speaking population or with love for English entertainment content will accept the show.

    Disney India country head Abhishek Maheshwari added, “Disney stories are timeless and have a special meaning for everyone in the family. Stories like Aladdin and Beauty and the Beast are universal and can engage fans everywhere. In India, we are committed to developing world-class entertainment that families can relate to and become a part of their everyday lives. We partnered with BMS, given their deep understanding of the local audience and their quality of consumer engagement.”

    The Indian production boasts of extravagant sets, costumes, choreographed sequences, mesmerising special effects and the flying magic carpet, which will instantly transport the audiences into the magical world of Agrabah. Over 50 performers will weave the story on stage taking the viewers on the adventures of Aladdin and making this musical a unique experience.

    The show is originally produced by Disney Theatrical Productions that features music by Tony Award and Alan Menken. (Beauty and the Beast, Newsies, Sister Act, Little Shop of Horrors), lyrics by two-time Oscar winner Howard Ashman (Beauty and the Beast, The Little Mermaid) and three-time Tony Award and three-time Oscar winner Tim Rice (Evita, Aida).

    Also Read :

    Should junk food ads be banned on kids’ channels?

    Animation sees an uptick despite expensive production

  • Comcast may renew bid for 21st CF

    Comcast may renew bid for 21st CF

    MUMBAI: Is Brian Roberts playing party pooper? Or is he really serious? The Comcast CEO is believed to be still making eyes at 21st Century Fox assets, according to a report by Wall Street Journal. The paper says he is reportedly mounting a renewed bid to acquire either all the entertainment properties of Fox or parts of it which might be of no interest to the mouse house.

    In December 2017, both Rupert Murdoch and Disney’s Bob Iger had announced a colossal take over of 21st Century Fox’s TV, film studio, international pay TV assets for a  sum of$52.4 billion. Roberts had reportedly been willing to pay $60 billion – about 15 per cent higher –  but he did not get a serious shot at a deal.

    The reason: an acquisition of Fox by Comcast would have not passed anti-trust and monopoly muster. Hence, the Murdochs preferred to go with Iger’s offer.

    WSJ says it did not receive  a response from either Fox or Disney and that Comcast may not really make a definitive offer to acquire the mouse house catch finally.  Because he is awaiting a ruling on the AT&T-Time Warner antitrust suit that comes up for hearing on 19 March.

    The Murdochs own 39 per cent in 21st Century Fox through a family trust. And the Disney deal saw the family  retaining all the TV news assets of the Fox empire.

    The two companies’ intent to deal is likely to take up to 18 months to accomplish, keeping in mind the regulatory hurdles it has to comply with.

    Also Read : 

    Disney to buy 21st Century Fox assets for $52.4 billion

    Disney, 21st Century Fox, CNBC, James Murdoch, Star India

  • Pleased with India progress, says Netflix’s Reed Hastings

    Pleased with India progress, says Netflix’s Reed Hastings

    MUMBAI: Netflix CEO Reed Hastings today announced that he was pleased with the progress his streaming powerhouse was making in India. Speaking to Sanford C Bernstein senior research analyst Todd Michael Juenger during a Q4 2017 earnings interview, Hastings said, “We are very pleased with the progress that we’re making in India, throughout Southeast Asia and Japan. So, really, all across the board, we’re seeing growth penetrations that look like the first couple of years of Latin America, which, as you know, has worked out very well for us.”

    Estimates are that Netflix has anywhere between 700,000 to a million paying subs in India. At that level–with the average subscription being Rs 600–the streaming giant is currently turning over anywhere between Rs 42 crore and Rs 60 crore a month, giving it annual revenue of Rs 504 crore to Rs 720 crore. As compared to that, estimates are that Star Plus alone tots up Rs 2,100 crore in revenue.

    “That’s pretty good going for such a new service,” says a media observer. “You can’t forget that it is an international service offering with very limited localisation so far.”

    The company announced that it had registered net global additions of 8.3 million–the highest quarter growth numbers in its history, up 18 per cent compared to 2016’s high of 7.05 million net adds. Netflix’s average paid streaming memberships rose by 25 per cent year on year in Q4. Combined with a 9 per cent increase in ASP, global streaming revenue growth amounted to 35 per cent. Operating income of $245 million (7.5 per cent margin) vis-a-vis $154 million in the prior year (6.2 per cent margin) was slightly above the firm’s $238 million forecast. Operating margin for FY17 was 7.2 per cent, on target with the firm’s goal at the beginning of this year.

    Internationally, Netflix added 6.36 million memberships (compared with the firm’s earlier guidance of 5.05 million), a new record for quarterly net adds for this segment. Excluding a foreign impact of more than $43 million, international revenue and ASP grew by 59 per cent and 12 per cent year over year, respectively. The increase in ASP reflects price adjustments in a wide variety of Netflix’s markets over the course of 2017. With contribution profit of $227 million in 2017 (4.5 per cent contribution margin), the international segment delivered its first full year of positive contribution profit in the firm’s history.

    For Q1, the firm has projected global net adds of 6.35 million (against 5.0 million in the year ago quarter) with 1.45 million in the US and 4.90 million internationally. On the whole, the company has upped its content budget to $7.5-$8 billion for 2018.

    Its original content slate from India should start rolling out sometime later this year. In the earnings press release, the company said, “We’re finding continued success with international originals. High-quality content can travel globally, irrespective of language…we will expand this initiative with over 30 international original series this year, including projects from France, Poland, India, Korea and Japan.”

    In India, the firm has been striking partnerships with platforms such as Videocon d2h and Airtel wherein the Netflix app has been embedded in an easy-to-view user interface. It has been extending this partnership to cable TV MSOs. Said the company: “We are partnering with a growing number of MVPDs and ISPs across the world to the benefit of our mutual customers. These partnerships make it easier for consumers to sign up, enjoy and pay for Netflix while our service allows our partners to deepen their relationships with these subscribers. “

    Hastings revealed that he did not expect Disney’s proposed acquisition of Fox’s India assets, including Hotstar, to impact it any differently than it used to in the past year. “Not particularly. I mean, YouTube gets the most streaming in India, but Hotstar gets the second most. So it’s not a wildly different landscape. So that wouldn’t particularly change our view in India. Hotstar’s a great competitor, and sometimes collaborator now, and I’m sure they would continue to be under Disney,” he said.

  • Content segmentation defines English entertainment, movies in 2017

    Content segmentation defines English entertainment, movies in 2017

    MUMBAI: It was the year of HD for English entertainment in India. Add to it, the bump up in the number of movie premieres and series that you could now see in better quality. Increased adoption of HD set top boxes encouraged broadcasters to go for HD.

    Content segmentation has emerged as a big success for English entertainment and movies channels. Consumers today are evolved in their choices, they are abreast of the latest titles and keep track of their favourite stars and directors.

    Times Network, with seven movies channels, garners one-third of the English viewership in India. It launched a channel named Movies Now 2 in 2016 and in July 2017 it was rebranded to MNX. In its inaugural week, MNX topped the chart with 2814 impressions (000s) sum. MNX was unveiled with the telecast of its first big bang movie- Mad Max Fury Road on 15 July 2017. 

    Times Network EVP & head- entertainment cluster Vivek Srivastava said, “2017 has been a busy and exciting year for Times Network’s English entertainment channels. We have maintained leadership of existing brands and successfully launched new brands and created lively consumer proposition. Movies Now has maintained leadership in the category. MNX has been the most successful launch from the cluster, maintaining a very healthy lead above HBO. MN+ and Romedy Now continue to maintain a high share of mind in their respective categories.”

    Zee Entertainment Enterprises Limited (Zeel) and Sony Pictures Television (SPT), in October 2017 announced that they have entered into a first pay features deal bringing a range of premium films to Indian audiences.

    As part of this, Zee will have the first access to Sony Pictures releases over the next few years. The new pay one deal marks the first between SPT and Zee Entertainment Enterprises in India and includes blockbusters as Spider-Man: Homecoming, Blade Runner 2049, Baby Driver, The Emoji Movie and Life, among others.

    In September, Zeel launched a new English channel named &Privé HD with the tagline ‘Feel the Other side’. &Privé HD also introduced a unique technology on its social platforms – the world’s first twin screen trailer. This distinctive technology enabled viewers to experience the other side of cinema with the help of a second device in a fun and engaging manner.

    For the premiere of Moonlight, the channel created a larger-than-life installation of a gun on a rainbow coloured platform, and for the premiere of Pelé, &Privé HD paid an ode to the legendary footballer with a magnificent installation of a life-size goal post with the numbers 1281 made out of multiple footballs depicting the total number goals Pelé scored. In December 2017, the channel celebrated the master storyteller, Steven Spielberg’s 71st birthday with a festival of some of his most notable films – Bridge of Spies, Amistad, Catch me if You Can, The Terminal, Super 8, etc.

    Branded content is being added to channels to increase the viewership pie. The addition of subtitles has enabled Indian viewers to follow the flow of American, British and other unfamiliar English accents. Thus, viewership is impacted positively, and hence, English SLS (same language subtitling) became the norm on all English language TV networks.

    Star World has an interesting line-up of new shows for 2018, including season two of the American Crime Story which features prominent international stars such as Penelope Cruz and Ricky Martin, and season one of the American supernatural sitcom Ghosted.

    Sony Pix will bring an assortment of movies like the 2017 American erotic romantic drama Fifty Shades Darker, The Fate Of The Furious, which is the eighth instalment of the car-based action franchise, Despicable Me 3, a 3D computer-animated action comedy about mischievous minions and Gru, and the musical comedy Pitch Perfect 3.

    In October, Disney launched a GEC Disney International HD Disney. The English GEC has 100 per cent exclusive and original content and caters to the age group of 14-25 years. According to Disney India country head Abhishek Maheshwari, kids grow out of animation after 14 years.

    The year ended with a blockbuster deal where the Walt Disney Company acquired 21st Century Fox’s film and television studios for $52.4 billion. After the acquisition, 21st Century Fox will separate the Fox broadcasting network and stations, Fox News channels, Fox Business Network, FS1, FS2 and Big Ten Network into a newly listed company ‘Fox’.

    With one merger out of the way, the big studios remaining are Warner Bros, Universal, Viacom’s Paramount, Sony Pictures and The Weinstein Company.

    The English movies TV channel market in India is worth Rs 4.5-6 billion and the viewership of English content on HD channels is on the rise. In 2015, India had five million HD STBs, which saw a 160 per cent increase over the past three years. Today, India has around 10.8 million HD STBs.

    “English movies have always been about smart acquisition and smart scheduling. Consumer segmentation will dial up the next level of growth for the cluster in 2018. Social media has played an important role, getting consumers closer to their content. As long as the platforms have a distinct offering and stay true to their content, viewers will be there”, Srivastava added.

  • Sony Pix signs content licencing deal with Warner Bros

    Sony Pix signs content licencing deal with Warner Bros

    MUMBAI: Sony Pix, the Hollywood movie channel from Sony Pictures Networks (SPN) India, has signed a content licencing deal with one of the largest international television distributors — Warner Bros.

    The movie content deal will further strengthen Sony Pix’s library by bringing films like Harry Porter, Matrix, Batman Vs Superman, Dunkirk, Wonder Woman, Hangover Series, Conjuring Universe, Final Destination series, Oceans series, Shawshank Redemption and more for its viewers.

    SPN India EVP and business head English cluster Tushar Shah said, “SPN’s English cluster aims to bring the best international content for its viewers. With the new Warner Bros deal, Sony Pix – the destination for Hollywood blockbusters and premieres – will now also become the destination for biggest franchises in the genre. We will continue to invest in content that will delight our viewers.”

    Warner Bros president television distribution Jeffrey Schlesinger said, “We are pleased to have completed this deal with Sony Pix enabling SPN to bring our films to television viewers in India. We are confident that the diverse selection of films will offer something different for fans of all genres.”

    Sony Pix has exclusive rights in India to premiere all Hollywood movies released worldwide by NBC Universal. It also has strong tie ups with top studios like Lionsgate, Disney, PVR etc. The channel is home to some of Hollywood’s biggest franchises like Fast & Furious, Despicable Me, Jurassic World, The Mummy andTerminator to name a few.  

    Also Read:

    Demystifying news television viewership in 2017

    Sony Pix and Le Plex HD brings special line-up this Christmas

    Viacom18 kicks off the international award season in 2018 with the 75th Golden Globe Awards

  • The year of sex scandals

    The year of sex scandals

    MUMBAI: The year 2017 will be known for the open-to-the-public-eye exposure of the dark underbelly of the media and entertainment industry. And it did not happen just in Hollywood or in American prime-time news — the Indian entertainment ecosystem was not sequestered from it.

    No, no not all. Skeletons spilled out of the closet as allegations were hurled at TV hosts, journalists, on-screen talent, creative and business icons that they could not keep a check on their excessive libido and lust and keep their pants and zippers up. Accusations of sexual molestation and abuse saw them fall from grace.

    Several of them faced the axe. Some issued denials and protested their innocence. Some of them admitted to the excesses and misuse of their positions and apologised — their organisations stated that they were bringing in place processes to prevent recurrences.

    Amongst the major scandals that hit media-dom and entertainment-dom include:

    The Viral Fever gets a virus

    The Viral Fever’s (TVF) Arunabh Kumar had become a darling of the new-age digital content generation. Almost everything he touched on behalf of brand partners was lapped up by millions who had been starved for content for too long.

    And then an anonymous post was made by a woman online. In it, she alleged that Kumar had preyed on her. His company pooh-poohed the post, saying it was put up to discredit TVF. More women surfaced to complain. The denials continued and the same digital generation that swore by him came out in hordes and trolled and slammed his behaviour on various social outlets.

    A video production executive filed a first information report (FIR). Another FIR followed. The police swooped in, Kumar was questioned several times, and he was arrested and released on bail immediately. Under pressure from investors, the company decided to let go of Kumar, who, in his parting post, said that TVF was bigger than any individual.

    Shilpa Shinde’s long running feud

    Actor Shilpa Shinde—who is stealing the limelight on Colors’ happening show Bigg Boss—had been feuding with her Bhabhiji Ghar Par Hai producer Sanjay and Benaifer Kohli about an exclusivity clause for over a year that prevented her from taking up other assignments and the mental harassment it caused her. Benaifer Kohli, on her part, had highlighted Shinde’s unprofessional behaviour, which included throwing tantrums, leaving the show mid-way and also demanding a higher per-day fee. The channel supported Kohli and Shinde was let go. Both filed suits against each other; the Kohlis wanted Shinde to cough up Rs 12.5 crore for losses caused to them on account of her walking out; Shinde wanted Rs 32 lakh for alleged back payments not made.

    Shilpa approached the actors’ union, which did not support her. All was quiet while the two fought a legal battle behind the scenes.

    And then in March Shinde shocked the world by alleging that Sanjay Kohli had touched her inappropriately and even made suggestive statements to her. She filed an FIR while the couple filed a defamation suit. The husband-wife duo denied the allegations outright and questioned her motives having taken so long to hurl such accusations.

    Somehow, Shinde stopped mouthing the charges, the controversy seemed to have lost steam—probably, it did not have too much of it in the first place—and she then moved on to reality show Bigg Boss.

    Were her charges real? Or was she just gathering enough of a bad girl and controversial reputation to push her candidature and be considered for selection to the Bigg Boss house?

    These are questions to which answers will emerge when she emerges from the Big Boss house. But, for the Kohlis, it left an extremely bad taste in the mouth.

    Harvey Weinstein: A giant collapses

    Harvey Weinstein probably did not know what hit him. One morning, he was the toast of Hollywood–an Oscar-winning producer of the Weinstein Co and the next he was consigned to being a bad memory everyone wanted to forget. Almost 50 actors, and some of them top-notch A graders — right from Rose McGowan Gwyneth Paltrow to Angelina Jolie to Selma Hayek to Ashley Judd to Kate Beckinsale to Annabella Sciorra to Darryl Hannah — came out and alleged that Weinstein had made passes or propositioned them for sex or groped them or even raped them. He denied all allegations and initially announced he would sue The New York Times, which first broke the story.

    The furore against him grew. The greater his denials, the more Hollywood women stepped forward to reveal the violations that were made into their personal spaces by somebody they once revered like the almighty.

    As the scandal continued to grow, he was evicted from the board of the company he cofounded with his brother, from the Producers’ Guild of America, he was stripped of his membership to the BAFTAs, the Academy of Television Arts & Sciences, and the Academy of Motion Pictures Arts & Sciences, and then his lawyer and later his wife left him.

    What next, only time will tell. But his image has been tarnished forever.

    Weinstein continues to insist that most of the acts he was accused to have been involved in were consensual and that he unequivocally denies any allegation of rape.

    The amazing downfall of Amazon’s Roy Price

    He had close to $4.5 billion dollars to spend every year on content for Amazon’s video play. But Roy Price paid the price for allegedly giving in to his lusty nature and repeatedly propositioning Isa Dick Hackett, an executive producer of the popular Amazon show The Man in the High Castle in 2015. Within hours of her disclosures to The Hollywood Reporter, Price was told to carry his personal belongings and leave Amazon Studios forever. He had joined Amazon in 2004 and oversaw the launch of its digital video store and then its video streaming unit, Amazon Prime.

    Price was also allegedly linked to the Weinstein scandal when Rose McGowan, who first blew the whistle on Harvey, reached out to Jeff Bezos on Twitter telling him that she had told the head of Amazon Studios that the former had raped her. And before that she had also directed a message on Twitter at Price stating: “Remember when I told you not to do a deal with him and why?”

    Post his departure, Amazon also undid a few deals that the streaming site had signed with the Weinstein Co. They ran into tens of millions of dollars. Many say that the price both paid was not enough.

    Pixar’s Lasseter: Animation’s poster boy goes down

    Pixar’s John Lasseter was not kidding around when he announced that he was taking a leave of absence after confessing to certain missteps when building the company that is a part of Disney and has produced classics such as Toy Story.

    He was the poster boy of the animation industry, renowned as a creative genius who entertained hundreds of millions of kids the world over with Pixar’s 3D CGI movies.

    Then news began to trickle out about his alleged hugging and kissing and passing lewd remarks at women at Disney and Pixar and placing his hands on their knees and legs.

    In response, Lasseter sincerely apologised in his sabbatical announcement memo. “I especially want to apologise to anyone who has ever been on the receiving end of an unwanted hug or any other gesture they felt crossed the line in any way, shape, or form. No matter how benign my intent, everyone has the right to set their own boundaries and have them respected. My hope is that a six-month sabbatical will give me the opportunity to start taking better care of myself, to recharge and be inspired, and ultimately return with the insight and perspective I need to be the leader you deserve,” he said.

    With the Lasseter myth busted, his six-month leave might extend beyond that period considering the growing number of sexual harassment scandals that are hitting the limelight and the growing public outcry against them.

    Den of Vice

    The Shane Smith-headed firm has been living up to its name. It apparently is a den of vices with charges being filed against senior male executives who preyed on women employees and even bought off their silence in a few cases.

    This was revealed following an investigation by The New York Times, which stated in its report that more than two dozen women–mostly in their twenties and thirties–had been groped, kissed, and had advances made on them by males ranging in the ages of twenties to forties.

    Vice Media settled four cases of sexual transgressions or defamation against employees, including the current president Andrew Creighton, by making hefty payments. The latter had been accused by a woman executive of propositioning her for sex; he apparently bought her silence for $135,000. Vice, however, stated that the woman had initiated and pursued a sexual relationship with Creighton.

    Jason Mojica–an executive who led Vice’s documentary film units–was accused by two women of sexual abuse. Former Vice journo Abby Ellis disclosed that in 2013 he tried to kiss her against her will and she beat him off with an umbrella several times. Then Helen Donahue, a former employee, said that he groped her breasts and buttocks at a holiday party in 2015.

    Vice has since fired Mojica and another two employees, has brought in a new HR head, created a diversity and inclusion board, which includes social activist Gloria Steinem, and issued a ban on supervisors dating juniors.

    Both Vice founders, Smith and Suroosh Alvi, have admitted that there were problems at the $6 billion valued media firm. “From the top down, we have failed as a company to create a safe and inclusive workplace where everyone, especially women, can feel respected and thrive,” they said in a statement.

    There are many other media executives who have been blamed or implicated in scandals throughout 2017. Amongst these include:  Netflix House of Cards star Kevin Spacey and comic Louis CK, NBC TV journalist Matt Lauer, ABC TV journo Mark Halperin, Def Jam founder Russel Simmons, television host Charlie Rose, and director Brett Ratner. Even documentary maker Morgan Spurlock vlountarily disclosed that he had two questionable encounters with women and resigned from his firm. Probably to preempt any shaming that may have hit him had he not. According to a Time magazine report, the figure runs into hundreds.

    According to a Time magazine report, the allegations of sexual misconduct by people in positions of power in the media and entertainment ecosystem run into hundreds in the US. India, however, had just two pretty prominent ones in 2017. Hopefully, their tribe will not increase in 2018 and thereafter.

    Also Read:

    The year the telecom sector quaked

    The year of big switch in sports broadcasting

    Kids genre grows on TV despite digital onslaught

    Guest column: Taking Indian content to the global market

    Guest Column: How 2018 could become a landmark year for OTT entertainment in India

  • Kids genre grows on TV despite digital onslaught

    Kids genre grows on TV despite digital onslaught

    MUMBAI: There was no dearth of excitement in the kids’ entertainment space in 2017. Despite the digital onslaught, original content producers grew from strength to strength, keeping children enthralled on television. TV viewership grew during the year even as doomsayers predicted that the end of the good old box was nigh.

    Among the major events of the year, Toonz India Media Group struck a deal with ReachMe.TV in the US to enable streaming of Toonz TV through the latter’s mobile web platform. Green Gold Animation signed a deal with Netflix for creating a spinoff of popular character Chhota Bheem for snippets of Mighty Little Bheem.

    Here’s a look at what each channel did this year.

    Disney

    A favourite among young adults, the Disney channel is known for television programming for children through original series, movies and third-party programming. This year witnessed top-level corporate reshuffling. The company promoted Amit Malhotra as the country head for Singapore and Malaysia. Earlier, Malhotra was the general manager for media networks, responsible for businesses across all functions in the media networks in Southeast Asia (SEA). Abhishek Maheshwari was elevated to country head (India).

    There were reports that Doordarshan was in talks with Disney for kiddy content in evening slots. Disney also launched a three-week campaign for merchandise, celebrating the spirit of sisterhood, featuring two young daughters and how the Frozen sisters inspired them in their day-to-day lives.

    Furthermore, Disney’s sister channel—Hungama—came up with Chacha Bhatija who go on a new adventure in the second movie.

    Turner

    Turner India creates and manages the sales, distribution and marketing of entertainment brands in India and South Asia, including CNN International, Cartoon Network, Pogo, Toonami, HBO and WB.

    It turned out to be a fruitful year with great deals and partnerships. Turner India was successful in imparting a larger-than-life feel to its characters through a tie-up with Amaazia, an upcoming amusement park in Surat. The park is owned and operated by Gujarat-based Rajgreen group. Scheduled to open in 2019, the park will serve as a medium for Turner’s kids channel Cartoon Network (CN) to launch new products and conduct ‘meet and greets’ with its animated characters. Out of the four sections in Amaazia, only the theme park is branded by CN. The rest are a water park, family recreational hub, and serviced apartments and retail shopping area.

    Apart from having a chase comedy in the bouquet, Pogo came up with another indigenous slapstick comedy show for its fans. Focussing more on home-grown content, Tik Tak Tail was the chase comedy that it experimented with in September and then came the slapstick show Andy Pirki. It also announced the launch of a brand-new show, Grizzy and the Lemmings. Moreover, Cartoon Network came up with the fifth and sixth parts of Oggy and the Cockroaches.

    Discovery Kids

    The channel announced a deal with IM Incorporated, a London-based content distribution company, to premiere Sunny Bunnies in India. Angry Birds Sing the Blues came up for the first time in Indian television in a series format.

    Nickelodeon

    This year, Nickelodeon came up with the Halo Movement—a new year-round pro-social initiative celebrating kids who are helping and leading others. In terms of viewership, too, the channel has done pretty well for itself. In week 50 of Barc data, the channel was ranked number one with 127600 impressions (000s) sum. Another important event was the Nickelodeon Kids’ Choice Awards 2017, which honoured the best in the world of entertainment across film and television.

    Sony Yay

    On 18 April 2017, Animax Asia was replaced by Sony Yay. While the former focussed on serving young adults, Yay concentrated on children of all ages. Animax was handed over to SonyLiv.

    The channel is building local characters to monetise and launched four original shows Guru AurBhole, Sab Jholmaal Hai, Prince Jai aur DumdaarViru, and Paap-o-Meter and it holds the IP rights for all of them. The channel also associated with ‘animals matter to me’ to make Diwali ‘pawsome.’

    Although 2017 wasn’t an eventful year, there were plenty of nuggets of action with the latest entrant, Sony Yay, throwing its hat into the ring and fighting it out with the existing players in the kids genre. We will have to wait and see how channels gear up to take on the growing trend of digital in 2018 and whether OTT adds significant value for kids.

  • Hotstar announces partnership with awesomeness

    Hotstar announces partnership with awesomeness

    MUMBAI: Further expanding their portfolio of over one hundred thousand hours of content, Hotstar, India’s leading premium streaming platform, announces a partnership with Awesomeness, a media company serving the global Gen Z audience. The association will allow hit series from Awesomeness including Freakish, T@gged and Confess to reside on the platform under the Hotstar Premium library.

    The partnership supports Hotstar’s ongoing strategy to bring the best of global content to India. The two companies will work together to create added appeal for younger audiences through Awesomeness’ premium programming.

    Freakish, a horror show featuring an ensemble cast, revolves around a group of students trapped inside a high school who must fight for survival when mutant freaks take over after a meltdown at the local chemical plant. Season 1 and 2 of the show are currently available for streaming on Hotstar Premium. T@gged is a modern day thriller that explores the terrifying risks of social media in a world of anonymity. Season 1 and 2 are available for viewers on the platform, with Season 3 due to premiere next year. Based on the novel from #1 New York Times bestselling author Colleen Hoover, Confess is a modern love story about the secrets we keep to protect the ones we love. All episodes of Season 1 are available on the platform.

    “We are thrilled to renew our partnership with Hotstar and continue the expansion of our brand in this market,” Awesomeness, Head of Worldwide Distribution, Rebecca Glashow said. “Hotstar’s audience of millions of users provides us with the opportunity to expand our reach and deliver on our promise of bringing the Gen Z audience the best and most creative programming, no matter where they are.”

    Through its partnerships with the world’s largest studios, like HBO, Disney and Showtime, Hotstar has been able to bring the most celebrated international shows to India, under the Hotstar Premium banner.

  • A tale of two giant mergers and their India fallout

    A tale of two giant mergers and their India fallout

    MUMBAI: Two deals shook the world of media and entertainment last week: Disney-21st Century Fox and Dish TV-Videocon d2h. One was all about content and affects the world of media and entertainment globally including India. The second was all about content distribution and platform and impacts the world of television in India.

    Of course, the ripple effect of the first is oceanic for comparison with the other. So deep will be the impact of Bob Iger and Rupert Murdoch’s decision that the future will look back at the history of media as the pre and post-Disney-Fox and New Fox era.

    Nevertheless, it has created a behemoth in India: the new Disney, which now will house Star India, will have relationships with Tata Sky and the video streaming service Hotstar. The union of Disney and Fox is expected to bring in synergistic savings of close to $2 billion; some of that will be contributed by the Indian division, however marginal that might be.

    In India, the Dish TV-Videocon d2h merger has created the world’s second largest pay satellite TV distribution platform with 29 million subscribers, just behind AT&T’s Direct TV.

    Dish TV Videocon merged is also predicted to bring in large savings through rationalisation of the two companies’ manpower, backend resources and better combined purchasing negotiating power, distribution and infrastructure like offices etc. An estimate is that costs cumulatively will come down by about 10-20 per cent.

    The main leverage it will get is in content costs. Even though the Disney-Fox combine will be unmatchable internationally, in India, Dish TV Videocon could more than prove a match for it. With the expensive IPL under its belt, it will most probably have to kowtow to CEO Anil Dua and chairman Jawahar Goel’s diktats on how much they will pay out for carrying the Star India network’s signals, which includes its premium programming and sports.

    Also read:

    MIB clears path for Dish TV Videocon

    21st CF spins-off into new live news & sports co Fox

    With Star India, Disney emerges as India’s largest M&E firm

  • 21st CF spins-off into new live news & sports co Fox

    21st CF spins-off into new live news & sports co Fox

    MUMBAI: After the blockbuster acquisition of 21st Century Fox by The Walt Disney Company, the former has announced that it will spinoff into a new brand Fox’ that will seek to replicate its own success in the newly focussed verticals of live news and sports brands.

    Using fiscal 2017 as a base, the new Fox is expected to have annual revenue of $10 billion and EBITDA of $2.8 billion. The company will have an investment grade balance sheet conservatively levered with a maximum of $9 billion of new gross debt or under 3 times net leverage on day one.

    Fox will hold iconic branded properties Fox News Channel, Fox Business Network, Fox Broadcasting Company, Fox Sports, Fox Television Stations Group, and sports cable networks FS1, FS2, Fox Deportes and Big Ten Network (BTN). It will also include the company’s studio lot in Los Angeles and equity investment in Roku.

    This new entity will own the top cable news channel in the US and the most-watched business news channel, as well as a station group, which is present in nine out of the 10 largest metro areas. Under sports, it holds the rights for NFL, MLB, World Cup Soccer and NASCAR.

    Fox will have a strong financial profile, supported by peer-leading growth and differentiated free cash flow generation, and will be positioned to continue to deliver consistent growth driven by affiliate rate increases, retransmission growth and strong advertising demand for its live content and entertainment product.

    21st Century Fox executive chairman Rupert Murdoch said: “The new Fox will draw upon the powerful live news and sports businesses of Fox, as well as the strength of our broadcast network. It is born out of an important lesson I’ve learned in my long career in media: namely, content and news relevant to viewers will always be valuable. We are excited by the possibilities of the new Fox, which is already a leader many times over.”

    The remaining business of the company has been combined with Disney in a $52.4 billion acquisition including all its film and TV studios, cable entertainment networks and international TV business. Disney will also acquire FX Networks, Fox Sports Regional Networks, Fox Networks Group International, Star India, and 21st Century Fox’s interests in National Geographic Partners, Hulu, Sky, Tata Sky and Endemol Shine Group.

    Murdoch said that the deals are crucial to paving way for a new Fox and a better Disney. “We have always made a commitment to deliver more choices for customers; provide great storytelling, objective news, challenging opinion and compelling sports. Through today’s announcements, we are proud to recommit to that promise and enable our shareholders to benefit for years to come through ownership of two of the world’s most iconic, relevant, and dynamic media companies. They will each continue to be leaders in creating the very best experiences for consumers.”

    The spin-off transaction will be taxable to 21st Century Fox, but not to its shareholders.  The new Fox will receive a step-up in its tax basis commensurate with the amount of the corporate tax relating to the spin-off that will generate annual cash tax savings over the next 15 years.

    Following the spin-off, Fox expects to continue to pay shareholders a strong regular dividend, with the initial rate to be determined prior to the completion of the spin-off. Prior to completion of the spin-off, new Fox will pay an $8.5 billion cash dividend to 21st Century Fox, representing an estimate of such tax liability. If the final tax liability of 21st Century Fox is less than such amount, the first $2 billion of that adjustment will be made by a net reduction in the amount of the cash dividend to 21st Century Fox from new Fox. The amount of such tax liabilities will depend on several factors, including tax rates in effect at the time of closing as well as market values of Fox following the closing.

    Upon closing of the spin-off transaction, 21st Century Fox’s shareholders would receive one share of common stock in new Fox for each same class 21st Century Fox share currently held.  Following the separation, new Fox would maintain two classes of common stock: Class A Common and Class B Common Voting Shares. Details of the spin-off transaction distribution will be included in the registration statement that will be filed with the Securities and Exchange Commission.

    As part of the definitive agreement with Disney announced today, 21st Century Fox shareholders will receive 0.2745 Disney shares for each 21st Century Fox share in the merger.  The per share consideration is subject to adjustment up or down for certain tax liabilities arising from the spinoff and other transactions related to the acquisition. Terms of the transaction call for Disney to issue approximately 515 million new shares to 21st Century Fox shareholders, representing approximately a 25 percent stake in Disney on a pro forma basis. The transaction values the merged 21st Century Fox business at $28 per share using a reference Disney share price of $102 and at nearly $30 per share based on Disney’s closing share price on December 13, 2017. This equates to a total enterprise value of approximately $69 billion.

    The merger is subject to customary conditions, including regulatory and shareholder approval.

    Combining with Disney are 21st Century Fox’s critically acclaimed film production businesses including Twentieth Century Fox, Fox Searchlight and Fox 2000, which together offer diverse and compelling storytelling businesses and are the homes of Avatar, X-Men, Fantastic Four and Deadpool, as well as The Grand Budapest Hotel, Hidden Figures, Gone Girl, The Shape of Water, and The Martian– and its storied television creative units, Twentieth Century Fox Television, FX Productions and Fox21, who have brought The Americans, This Is Us, Modern Family, The Simpsons, and so many more hit TV series to viewers across the globe.

    New Fox Assets

    Fox News Channel (FNC): 24-hour all-encompassing news service dedicated to delivering breaking news as well as political and business news. FNC has been the number one cable news channel in the country for 63 straight quarters, and more recently has been the top basic cable network.  FNC is available in approximately 90 million homes and dominates the cable news landscape, routinely notching the top ten programs in the genre.

    Fox Broadcasting Company (FOX): Home to some of the highest-rated and most acclaimed series on television as well as the most sought after sports properties, it is viewed by nearly 100 million households each month, airing 15 hours of primetime programming a week, as well as major sporting events and Sunday morning news.  Through the Fox Now app, Fox viewers can watch full episodes of their favourite Fox shows on a variety of digital platforms, while enjoying enhanced interactive and social capabilities around those shows.

    Fox Business Network (FBN): Financial news channel delivering real-time information across all platforms that impact both Main Street and Wall Street, Fox Business Network has been the number one business network for four consecutive quarters. FBN launched in October 2007 and is available in more than 80 million homes in major markets across the United States. The network has bureaus in Chicago, Los Angeles, Washington, DC and London.

    FOX Television Stations Group: One of the nation’s largest owned-and-operated network broadcast groups, comprising 28 stations in 17 markets and covering over 37 per cent of US television homes. This includes a presence in nine out of the 10 largest metro areas in the US including seven duopolies in the top 10 markets: New York, Los Angeles, Chicago, Dallas, San Francisco, Washington, DC and Houston; as well as duopolies in Phoenix, Minneapolis, Orlando and Charlotte. 

    FS1 and FS2: FS1 is a popular sports cable network launched in 2013 in approximately 90 million homes boasting nearly 5,000 hours of live event, news and original programming annually. FS1 has several pillar sports: college basketball and football, MLB, NASCAR, NFL (ancillary programs), international soccer, Bundesliga, UFC, Premier Boxing Champions (PBC) and USGA. Major events televised on FS1 include the US Open, MLB Postseason, the FIFA 2018 and 2022 World Cup and the FIFA Women’s World Cup in 2019. FS2 was founded in 2013 and is focused on extreme sports, including skateboarding, snowboarding, wakeboarding, motocross, surfing, mixed martial arts, BMX and FMX. FS2 is available in approximately 50 million homes.

    Big Ten Network: The first internationally distributed network dedicated to covering America’s most storied collegiate conferences. Covering over 1,000 sporting events each year, including football, basketball, Olympic sports and championship events and award-winning original programming, in-depth studio analysis and classic games. The network is in approximately 50 million homes across the United States and Canada, including carriage by all the major video distributors.

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