Tag: Disney

  • “India is the strongest media market in APAC”: Intelsat’s Bill O’Hara & Terry Bleakley

    “India is the strongest media market in APAC”: Intelsat’s Bill O’Hara & Terry Bleakley

    Bill O’Hara and Terry Bleakley make for an odd couple – they are as different as chalk and cheese. O’Hara is a true blood American, while Bleakley is from that distant land called New Zealand, and is a Kiwi. But they have one thing in common between them: the company they work for – global satellite major Intelsat. 

    As general manager of media, O’Hara leads global sales/revenue, marketing and product management. He has also been charged with increasing its $700 million a year top line while keeping a sharp eye on the bottomline. An industry veteran with nearly six years at his current firm, O’Hara has taken a stab at turning into an entrepreneur when for three years from 2013 onwards he ran a direct-to-consumer streaming service called KlowdTV. 

    Bleakley , on the other hand, has been a bird man for almost all of his working career, with organisations such as Panmsat, Intelsat, and then Measat., following which he came back to Intelsat to grow its Asian business. 

    The organisation is well positioned to grow, even more robustly, not just in Asia, but globally. With a fleet of more than 50 satellites in the sky, teleport gateways, terrestrial networking infrastructure and robust managed services, Intelsat claims that it offers the world’s most extensive and secure communications network. Its focus now is on building the future of global communications with the world’s first hybrid, multi-orbit, software-defined 5G network designed for simple, seamless, and secure coverage precisely when and where customers most need it. 

    Indiantelevision.com founder & editor-in-chief Anil Wanvari caught up with Bill and Terry during last month’s BroadcastAsia conference in Singapore to get insights on how Intelsat is gearing for the requirements of a data and IP-driven media industry going forward. 

    Edited Excerpts:

    On how the company is structured today.

    Terry: We went through financial restructuring and came out of it about two or three months ago. We shed about $8 billion of debt. We took our debt from $16 billion to about $7billion. We are receiving $4.8 billion for the clearing spectrum for the US government. We have received $1 billion of that payment already. And we are also owed $1 billion for the cost of clearing that spectrum. And those payments come by the timeline that has been set which is by end-2023. That takes our balance sheet down about $2 billion in debt, way down from when we hit $16 billion of debt. We bring in about $2 billion in revenue. That’s a really low debt structure for an organisation. You normally want a ratio of 3 to 4:1. So our balance sheet has been as strong as it has been since 2002. As we emerged from our financial restructuring from a public company to a private company, the creditors whose debt was shared got new equity. So it is now a private company from being a public company.  

    On how Intelsat evolved in response to move toward IP delivery for video customers.

    Bill: I think that while there are a lot of changes in this industry, the satellite is still central to distribution, regardless of whether the content originates as IP or is delivered as IP to the end consumer. We recognise this and our strategy is very much to be IP native, to plug ourselves into different parts of the ecosystem, where our customers are going. We are a very customer-focused company – always trying to move with our customers as they move along. For example, as our customers have moved to the cloud with greater velocity, we too have been forging cloud partnerships so that we can source content directly from the cloud, directly from folks like AWS. With it, we have a public partnership so that we can bring content either to the cloud or take it away from the cloud and distribute it to our customer base. 

    Our value position as a media business, however, is connecting an audience with content. And we do that today with cable TV distribution and direct-to-home. But tomorrow, especially with the acquisition and integration of our commercial aviation business, we can connect new viewers with other types of content, perhaps on board planes. So streaming partnerships with many of our content owners today, and our customers could be the way we distribute OTT content tomorrow to a new audience we have not capitalised on serving in the past. 

    Terry: Further let me give you some numbers on this. Go-Go Commercial Aviation, which we acquired around 18 months ago, has around 1700 connected commercially around the world. They have 1300 on the backlog, and they are getting an antenna put on top of them as Covid goes away. That represented, in 2019, precovid, 200 million passengers a year. That’s an audience that was not tapped into with the media. If you look at 2019, how many people travelled on airlines globally, it is 4.5 billion people a year. So if we can stream content, whether it is some of our broadcast partners who are going direct to consumers, and start reaching this audience for them, we think there’s a lot of value in that. 

    And there’s another play with telcos. We are also building a 5G core for our network going forward, and we are going open standards. We call it a unified network. And as we develop this 5G core satellite network that can run with other networks like Jio and Airtel and others, then the idea is that the experience of a person with a mobile phone, when they get on a plan, then it’s like roaming to another country. It’s a 5G native infrastructure that we have got there, they don’t have to put an SSID number, they connect and they don’t realise they are paying for a service to their provider, a roaming charge. So you get past the issue of payment to an aircraft which is expensive. They feel like they are getting it for free because they are roaming on to our service which is our roaming 5G core that is sitting on the aircraft. And a whole new audience comes in from there too. 

    Bill: So fundamentally when you put these ideas together: the content owner who is going direct to consumer, like any one of them have done – Paramount+, Discovery+, Disney+, any of these major players. Or it is with an MNO. By controlling the ecosystem that is on board the plane – both for connectivity and the end user experience – that is an audience that is highly desirable and hard to capture. That we have the exclusive ability to deliver through satellite. 

    On how the airlines’ in-house entertainment system will be impacted.

    Bill: I think this will be determined on an airline to airline basis. It’s a three-way partnership: the MNO, the content owner, us, and the airline. And different airlines have different strategies. 

    Terry: They pay a lot for those entertainment systems to get the content. So technically, if people can access their content when they get on board then they can reduce the cost of an airline to get content. We already are seeing hybrid systems in play in airlines wherein you have inflight entertainment, you have live TV as an option. So you can watch sports live. And this is being made thanks to advancements in connectivity to aircraft through satellites. In a high throughput satellite, the antenna can take a lot more megabits. It’s a lot more efficient in delivering real-time internet to an aircraft that you can now do these services. We think there’s a play where we can do streaming services. 

    On the strategic plan going forward.

    Bill: Our five-year strategic plan is to be an aggregator of networks. Somebody has to sit in the middle of all this. And with a universal terminal – with multi-orbit, multi-band capabilities to integrate low earth orbit (Leos), medium orbit (Meos) and geostationary earth orbit satellites (GEOs) – that is operating via standards – open standards – integrated into a 5G core, 3GPP compliant. All of these things add up to a scalable system that develops the right kind of connectivity at the right time for the right application with one terminal, one modem, and one integration into the broader telecom infrastructure. I believe that’s a very powerful place to be. And I think it takes a very specific entity to do it. I think we are in the best position to do so with our infrastructure and our geo play. 

    Terry: As far as open standards are concerned, you have to remember satellites in the past, and I am talking telecom, not broadcast…and now the two are converging again…and it’s happening greater today than it ever was thanks to the internet and video…Satellites have tended to be heterogeneous. Satellites have tended to be on the side of a network, with their standards, its proprietary hardware. And it’s not homogenous like the telecom industry. We have been pushing a standard to adopt within 3GPP to have satellites included in that so that we are no longer a pimple on the landscape. 

    And release 17 of 3Gpp which comes out in the next few weeks, they have got a thing called NTN which is non-terrestrial networks. That allows satellites to be a part of the 5G core going forward. So that’s massive because the benefits of that as we start getting economies of scale of mass silicon production for 5G chipsets. So a Snapdragon chipset for a mobile phone is $30 today. We pay $300 for the same silicon in satellite modems because they don’t have the same scale that a mobile phone has. Once we get 5G in there we can reduce our silicon costs by ten-fold. That makes us more relevant there and we stream into the network a lot more efficiently. 

    But two other standards are more relevant: Meth (metro ethernet). We are the first satellite operator to be accredited with Meth. The other part is a thing called Digital IF. Today, our IF is all analogue and there’s no open standard around how we can take it from an analogue play to a digital one. We chaired the forum and Digital IF has created its first standard and Microsoft has come on board, SES has come along. All of the antenna manufacturers have joined up. And we are an open standard that takes analogue IF (intermediate frequency) and converts it into digital. 

    We are a homogenous network and what can this translate into: today the annual spends on telecoms and pay TV is $1.6 trillion annually. We only have one per cent of that. As a satellite operator we represent a whole selling capacity of $1 billion a year. So with our unified network and what we are developing around that if we can go from a one per cent share to two per cent…it’s huge and it’s not that hard to do. And we believe that that’s what is about to come with the adoption of the 5G core that we are developing which will be able to interface with MNOs, which are these giants we want to be part of.

    On how the geo play will pan out.

    Terry: We are at 52 geostationary satellites. Six of these are high throughput. We are all around the globe. We have 30 in the Asia Pacific. Our satellites are in the spectrum of one year old to 15 year old. We have also been putting some into inclination. And for two others we performed scientific feats like using missing extension vehicles to extend their life. Part of our $2 billion build out to our unified network is a virtualisation of the network, software defined satellites. So we have ordered four software defined satellites – two with Airbus, two with Thales. They are being built at the moment. Two will sit over Asia, Indian Ocean. Two over the American region. And they will be online 2025. We also have eight satellites in the factory which are going to be used as part of our clearance for spectrum for 5G in North America. We have 12 satellites in the factory.  

    On their view about India. 

    Terry: We have three very large neighbourhoods in India. So IS-17 and IS-20 are two of the satellites that are covering India. We have high MSO penetration to cable TV headends, which is still a very strong business. We saw a shift of some channels to Insat, but the tier one channels resisted that. Our business in India is stable. However, we did see a growth in movement from SD to HD from 2018 to 2021. We still see potential there. So then we got NXT Digital from Thaicom. And they are kind of loving it because we can do so much more throughout per transponder. We have got HITs, SunTV, and Viacom18. Thanks to Covid some other channels could not sustain themselves because of the lack of advertising revenue and the content crunch. Overall channel count decreased. Some of them were forced to look at distribution options. 

    I believe we have seen a great big rebound. India, we believe it is the strongest media market in the Asia Pacific. 

  • Disney Advertising & The Trade Desk sign a significant advertising deal

    Disney Advertising & The Trade Desk sign a significant advertising deal

    Mumbai: Disney Advertising and global advertising technology company The Trade Desk have reached a landmark agreement to power greater audience activation at scale programmatically.

    This deal enables brands to target automated ads across Disney’s linear and streaming properties – Hulu, ESPN+, Freeform, ESPN, National Geographic and FX. This announcement comes ahead of Disney’s launch of an ad-supported tier for Disney+ that would likely be another target for the deal.

    This expanded deal marks yet another step toward transforming how advertisers access Disney’s portfolio of premium supply, rooted in secure data collaboration and powered by automation through Disney’s Clean Room technology. By offering clients more flexibility, choice and control across all deal types, Disney is delivering on its commitment to support addressability at scale.

    This agreement will enable a first-of-its-kind integration between Disney’s proprietary Audience Graph and the open-source identity framework, Unified ID 2.0, within a secure environment. As a result, buyers will be able to discover more addressable, biddable inventory across the Disney portfolio, all validated by Disney’s proprietary Audience Graph.

    “Disney Advertising had a bold vision backed by proven results from the start, and we’re thrilled to continue to deliver on our commitment to power greater automation and addressability for our customers through this expanded deal with The Trade Desk,” said Disney Media and Entertainment Distribution president advertising sales Rita Ferro. “We have spent years investing in our data and technology strategy to create innovative solutions for advertisers to engage their audiences with greater precision and accuracy in a privacy-focused way. This first-to-market capability sets the stage to empower access to the Disney portfolio, validated by powerful audience insights, in a way that’s automated and accessible.”

    Disney continues to advance its efforts towards a data-informed, tech-enabled future rooted in audience innovation. For example, more than 40 clients and most major agencies across all major categories have engaged in Clean Room strategies in collaboration with Disney leveraging its Audience Graph.

    Disney’s agreement with The Trade Desk is a key milestone in enabling greater interoperability with the programmatic ecosystem while setting the stage to power better audience activation and measurement. Moreover, it provides a path for advertisers to leverage their first-party data in biddable environments as the industry faces new disruption caused by the deprecation of third-party cookies.

    “Disney is reimagining our advertising platform to support a global and addressable future. We are uniquely positioned to match the world’s greatest content with next-generation products and technologies, through a secure and unified ad platform, and one-of-a-kind first-party data. The growth of our relationship with The Trade Desk is a milestone in addressability and automated buying at scale, and the latest step as we use technology to enable advertisers to buy once to deliver everywhere across Disney,” said Disney Media and Entertainment Distribution president and chief technology officer Aaron LaBerge.

    “With this agreement, Disney and The Trade Desk are pioneering a new approach to audience addressability in a post-cookie environment. By creating interoperability between Unified ID 2.0 and Disney’s Audience Graph, we are unlocking the opportunity for our customers to activate their first-party data at scale programmatically, against some of the world’s most premium content, across all channels. As a result, advertisers will be able to deliver relevant advertising, while ensuring consumers have more control of their privacy,” said The Trade Desk chief revenue officer Tim Sims.

    Disney Advertising is implementing this expanded capability with advertisers over the next several months, while setting the stage to support interoperability across all demand partners and platforms.

  • Succession leads the 74th Emmy Awards with 25 nominations

    Succession leads the 74th Emmy Awards with 25 nominations

    Mumbai: Nominations for the 74th Emmy Awards that celebrate the best of American television were announced. Succession holds this year’s top spot with 25 Emmy nominations followed by Ted Lasso and The White Lotus (20), Hacks and Only Murders in the Building (17) and Euphoria (16).

    Warner Bros. Discovery got 155 total nominations and Disney got 141 nominations. Television Academy chairman & CEO Frank Scherma said, “Television continues to keep the world entertained, informed, and connected. With production at a historic high, the Academy has received a record number of Emmy submissions this season. As we prepare for the entertainment industry’s biggest night, we are thrilled to honour the innovators, creators, performers and storytellers who are propelling this platinum age of television.”

    It was a year of notable achievement for women. Almost half of the directors nominated in the scripted directing categories were women. This season also saw women receive almost 40 percent of the nominations in the scripted writing categories. 34 percent of this year’s nominees for outstanding writing in all related-categories were women. In total, there were 50 first-time performer nominees across all performer categories this season including Chadwick Boseman (What If…?), Jennifer Coolidge (The White Lotus), Elle Fanning (The Great), Andrew Garfield (Under the Banner of Heaven), Jung Ho-yeon (Squid Game)  and Sydney Sweeney (two first-time nominations, Euphoria and The White Lotus).

    In addition to Sweeney, individuals with multiple nominations this year include Jason Bateman (performance and directing for Ozark), Quinta Brunson (performance and writing for Abbott Elementary), Nicole Byer (host for Nailed It today).

  • Kristen Finney becomes Disney International’s EVP content curation

    Kristen Finney becomes Disney International’s EVP content curation

    Mumbai: Media conglomerate Walt Disney has announced the appointment of Kristen Finney as Disney International executive VP content curation. Prior to this, she was executive VP distribution, content distribution strategy and development at Disney Media and Entertainment which operates Disney+.  

    Finney will manage the international content strategy across India, the Asia Pacific, Europe, the Middle East, Africa, Latin America and will be responsible for overseeing the creation of original programming for Disney+ and Star+, along with linear channels. She will report directly to International Content and Operations chairman Rebecca Campbell.  

    The division is a centralised hub for international content acquisition information, cross-regional licensing opportunities, content slates and pipelines.

    Speaking on the elevation, Finney said, “I am excited to join the new international content and operations organisation and to have the opportunity to work closely with Rebecca and this team of internationally respected content creators.  The regional teams in IC&O are building a truly impressive slate of engaging and entertaining content, and I look forward to driving strategic opportunities as we aggressively expand these local offerings around the globe.”

    Campbell said, “Kristen has a proven track record of delivering successful content strategies. This expertise, combined with her skillful ability to build and lead innovative teams, makes her the perfect candidate for this important new role. Her extensive and diverse experience will make her a vital part of our IC&O leadership team.”

  • Anish Mehta moves on as CEO of animation studio Cosmos-Maya

    Anish Mehta moves on as CEO of animation studio Cosmos-Maya

    Mumbai: Anish Mehta has decided to move on from his role as CEO of animation studio Cosmos-Maya after a ten-year stint. He built the studio from a 30-member team to a 1200+ powerhouse.

    He will be soon announcing his new venture sometime this year.

    Under Anish’s leadership, the studio has grown multifold owing to his strong ability to maintain a fine balance between business and creativity. He is credited with achieving quite a few milestones not only for the studio but also for the industry at large. Anish had been the CEO and minority shareholder of Cosmos-Maya since 2012.

    He led the studio’s foray into original Indian animation IP creation with the launch of Motu Patlu, India’s most successful animation series.  Post that, the studio created over 10,000 half hours of kids’ animation content across 20+ shows; maintaining a 50 per cent+ market share of the original Indian kids and family content space for a decade. The studio’s key clients include – Nickelodeon, Disney, Cartoon Network, Sony, Amazon Prime Video, Disney+ Hotstar, Netflix, Discovery Kids, Facebook and YouTube.

    During his tenure, the company grew with four different business streams globally and revenue and earnings before interest, tax, depreciation and amortisation (EBITDA) growth of 25x+ from 2012 to 2022. Globally he spearheaded efforts towards co-productions with European and other international players, which were able to sell in 100+ countries the world over.

    His most notable achievement was to steadily attract organized investment into the business and consistently give investors a profitable exit through a higher valuation of the company. He played an instrumental role in getting private equity investors into the Indian animation business, first with KKR backed Emerald Media and later with TPG affiliate NewQuest Capital Partners.

    Commenting on his exit, Anish Mehta said “I would like to thank Ketan and Deepa, the promoters of Cosmos-Maya for trusting me with the opportunity of growing the company. I would also like to extend gratitude to our previous investors KKR backed Emerald Media, Rajesh Kamat and angel investor Tilak Sarkar for providing the right guidance and support on this journey. It has been a great pleasure working with the current investor, TPG affiliate NewQuest Capital Partners and I wish them and the team of Cosmos-Maya all the very best for future growth and to carry the legacy forward.”

    He also led the initiative of building the company’s YouTube network, WowKidz with 35 channels, which achieved 80 million+ subscribers, and 41 billion+ views worldwide across 10+ languages in a short span of 5 years. “I feel very passionately about content creators and believe that digital media has offered a rather egalitarian and equalizing platform to all creators. I find the best way to express my appreciation is to be able to support and mentor the new generation of digital content creators as they set out to create path-breaking content that will have a positive impact on countless lives of kids & family audiences. The intention is to partner with global investors and pioneers to achieve this vision”, said Mehta.

  • Dana Walden named as Disney’s general entertainment content chairman

    Dana Walden named as Disney’s general entertainment content chairman

    Mumbai: Media conglomerate The Walt Disney Company has named Dana Walden as Disney’s general entertainment content chairman. The announcement was made by Disney CEO Bob Chapek.

    In this role, Walden will lead the company’s general entertainment content engine that creates original entertainment and news programming for Disney’s streaming platforms and its cable and broadcast networks.

    She will have oversight of ABC Entertainment, ABC News, Disney Branded Television, Disney Television Studios, Freeform, FX, Hulu Originals, National Geographic Content and Onyx Collective.

    Walden previously served as Walt Disney television entertainment chairman and succeeds Peter Rice, who is leaving the company. Her appointment is effective immediately, and she will report directly to Chapek.

    “Dana is a dynamic, collaborative leader and cultural force who in just three years has transformed our television business into a content powerhouse that consistently delivers the entertainment audiences crave. Her well-earned reputation for championing creative talent and developing programming that truly captures the cultural zeitgeist has resulted in hit after hit, from ABC’s Abbott Elementary and Onyx Collective’s Academy Award-winning Summer of Soul, to Hulu Originals like Only Murders in the Building, Dopesick, The Dropout and The Kardashians. She and Peter have worked closely together for years to create the best programming in the industry, and I can think of no one better than Dana to lead Disney general entertainment to even greater heights,” said Chapek.

    “It is an incredible honour to be asked to lead this amazingly talented team—they are truly the absolute best in every respect—and I am grateful to Bob for this once-in-a-lifetime opportunity. Disney general entertainment’s culture of creative excellence and originality has made us home to many of the most talented creators in the business. I am humbled to lead this team, and I am confident that together, we will continue to build on the foundation of culture-defining entertainment we have achieved so far,” said Walden.

    Walden joined Disney in 2019 with the company’s acquisition of 21st Century Fox, and in her role leading entertainment for Walt Disney Television, she oversaw Disney Television Studios (20th Television, ABC Signature, 20th Television Animation and Walt Disney Television Alternative), the original entertainment slates and content marketing for ABC, Freeform, Hulu Originals and Onyx Collective.

    Disney added that under Walden’s leadership, ABC has been the No. 1 entertainment network for three consecutive seasons—the first time that has happened in 25 years.

  • Fox Star Studios rebrands to Star Studios

    Fox Star Studios rebrands to Star Studios

    Mumbai: India’s leading movie studios Fox Star Studios has rebranded to Star Studios, introducing a new visual identity. With this brand refresh, Star Studios will present universal story themes with iconic characters and new-age cinematic spectacles backed by cutting-edge technology, for theatrical releases as well as direct-to-digital

    Associating with the most prominent creative minds, talent and new-age storytellers, Star Studios will continue to bring genre-agnostic stories to global audiences starting with “Brahmastra Part One: Shiva”, “Babli Bouncer”, “Gulmohar” , remake of “Hridayam” and many more in the pipeline.

    The studio has also given blockbuster movies such as “M.S. Dhoni – The Untold Story”, “Sanju”, “Neerja“, “Chhichhore” and many more

    Speaking of this rebranding, Disney Star head of studios Bikram Duggal said, “With Star Studios, we aim to harbour the best creative minds and bring unique stories to audiences with an expanding entertainment palate. We are creating a diverse range of stories across genres from grand visual spectacles to family dramas and everything in between. We are delighted to create a collaborative studio environment at Star Studios that helps create cinematic experiences across theatrical and direct-to-digital films. We have already announced a few of these films, and in weeks and months we will be announcing many more films.”

  • Q1 2022 streaming renewals is at an all time high: Ampere Analysis

    Q1 2022 streaming renewals is at an all time high: Ampere Analysis

    Mumbai: Ampere Analysis Q1 2022 reported rising demand for renewed seasons on Video-on-Demand (VoD) platform giving impressive numbers altogether.

    The increase in the volume of streaming renewals is being driven by relative newcomers to the VoD landscape such as Disney+ and Discovery+, as they turn their considerable production capacity to streaming. Both companies can be seen taking multiple season risks on high-profile titles, as well as renewing existing titles previously intended for their linear platforms. Despite a common misconception that streaming series are more likely to be short-lived than their linear counterparts, recent VoD commissioning shows that streamers are increasingly committed to long-running series.

    Of all VoD renewals in the UK and US announced in 2021, 51 per cent were in their fourth or later season, a 6 per cent increase in comparison to 2020, suggesting that long-running series are no less effective in driving both subscriber growth and retention than shorter, or limited series. But there are differences in strategies between streamers. Netflix first run commissions continued to increase throughout 2021 (with 8 per cent more new titles announced than in 2020), but the number of returning titles announced by the streaming giant showed a decrease, with 2 per cent fewer renewals announced in 2021 than in 2020.

    Unscripted titles are less likely to be cancelled than their scripted counterparts, representing just 7 per cent of all streaming cancellations in 2021. Unscripted titles are also more likely to last longer, representing the highest proportion of all VoD renewals in Q1 2022 (54 per cent).

    Ampere Analysis senior analyst Olivia Deane said, “It has been suggested that streamer’s high rate of cancellation is purely due to their high rate of commissioning, where a large volume of titles are ordered with the expectation that only a handful of titles will succeed. However, with an overall increase in the volume and proportion of returning VoD titles, streamers must strike a balance between committing to fresh new content and satisfying fans of existing titles in order to compete.”

    “For streaming newcomers like Disney+ and Discovery+, which have well-established fan bases for key IP, it’s easier for commissioners to make long-term commitments to titles they know viewers will love. Streamers also need to compromise between pleasing fanbases of more expensive scripted titles from genres like Sci-Fi & Fantasy, while making a range of unscripted content. The latter fleshes out their catalog with cheaper to make, easily digestible titles that can be very popular, and therefore represent a better return on investment.”

  • Inox launches merchandise range in collaboration with Macmerise

    Inox launches merchandise range in collaboration with Macmerise

    MUMBAI: Multiplex chain, Inox has launched its merchandise range, available through its website and mobile app. Inox patrons will now have an array of official and licensed merchandise available in categories including mobile and electronic accessories, fashion apparel, games and stationeries, consumer electronics, home and kitchen. The entire range of products is exclusively designed and curated by Macmerise, an online consumer goods company that produces merchandise.

    As a launch offer, Inox has announced a 10 percent discount on all online transactions till 30 June, 2022. Customers can use promo code Inox10 to avail the offer.

    With this partnership, Inox will make the audience feel closer to characters from Disney, Marvel, Lucas Films, Warner Bros (DC Comics), Universal. Customised and merchandise products of the Indian cricket team and IPL are available through FanCode and MPL, respectively. Going forward, customers can expect high-end products from premium lifestyle brands, said Inox. Customers will also be able to send gift hampers for special occasions like birthdays/anniversaries and can create customized awards and trophies.

    Products available in INOX’s merchandising website include customised and branded T-Shirts, Hoodies, Travel Essentials, Sipper Bottles, Coasters, Desk and Mouse Pad, Laptop Sleeves, Phone Cases, Caps, Mugs, Wireless Charger, Speaker, Notebooks, Headphones and much more.

    Inox Leisure Chief Sales and Revenue Officer Anand Vishal said, “Introducing our special range of merchandise is a conscious attempt to foster the unique bond that the patrons share with INOX as well as their superheroes from the famous franchises like Disney, Marvel and Star Wars. The partnership with Macmerise will allow us to provide a physical experience of their favourite characters from the movies or sports. With the aspiration of our ever-increasing and young customer base at an all-time high, it is important for us to keep them engaged by offering them more than just a cinematic content experience. Macmerise is a proven expert in the online retail space with quirky product design ideas that appeal to consumers across the country, and we are thrilled to partner with them on this new journey.”

    Macmerise Celfie Design CCO Mallika Satia said, “There cannot be a better place and a better audience than Inox to showcase and offer our products. The partnership adds a new dimension to our business as we get access to a massive set of movie lovers who enjoy a great cinema experience while watching their favorite characters on the big cinema screens of Inox. We are delighted to be associated with Inox. Through this partnership, we aim to curate the best of Inox merchandise for the movie-lovers of the country. We hope to continue building our relationship with the brand for years to come.” 

  • Disney+ Hotstar releases trailer for ‘She-Hulk: Attorney At Law’ in different languages

    Disney+ Hotstar releases trailer for ‘She-Hulk: Attorney At Law’ in different languages

    Mumbai: Disney+ Hotstar has released a new trailer and key art for Marvel Studios’ She-Hulk: Attorney at Law. It will stream exclusively on Disney+ Hotstar in Hindi, Tamil. Telugu, Malayalam and English from 17 August.

    The new comedy series stars Tatiana Maslany as She-Hulk/Jennifer Walters, a lawyer who specializes in superhuman-oriented legal cases.  

    Executive producer Kevin Feige, president of Marvel Studios and chief creative officer of Marvel, welcomed Tatiana Maslany to The Walt Disney Company’s 2022 Upfront presentation this afternoon at Basketball City on Pier 36 in New York.  

    The pair shared details about the upcoming series, including the August 17 launch date, and debuted the new trailer for attendees.  

    Directed by Kat Coiro- episodes 1, 2, 3, 4, 8, 9 and Anu Valia- episodes 5, 6, 7 with Jessica Gao as head writer, She-Hulk: Attorney at Law follows Jennifer Walters as she navigates the complicated life of a single, 30-something attorney who also happens to be a green 6-foot-7-inch superpowered hulk.