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Tag: Disney+Hotstar

  • OTT in 2023: A year of moderate success as streaming platforms hit the sweet spot

    OTT in 2023: A year of moderate success as streaming platforms hit the sweet spot

    Mumbai: In the ever-evolving landscape of entertainment, Over-The-Top (OTT) streaming platforms have become the go-to destination for consumers seeking on-demand content. From Disney+Hotstar to Netflix, Amazon Prime, Sony LIV, and JioCinema, it’s evident that streaming services have found the elusive sweet spot, achieving a year of moderate success. This success can be attributed to several factors, including content innovation and evolving user experiences.

    According to a report by Ormax Media, they have released select findings of the report, which reveal that the Indian OTT audience universe is currently at 481.1 million (or 48.11 Crore) people. This translated into a penetration of 34 per cent. The report defines an OTT audience who watched at least one online video (free or paid) in the last one month. The report breaks down this universe by gender, age, NCCS, pop strata, states, and cities.

    The report also revealed that there are currently 101.8 million active paid (B2C) OTT subscriptions in India, across 36.4 Million SvOD (B2C) audiences, i.e., an average of 2.8 subscriptions per paying audience member. B2C subscriptions in the report refer to subscribers who have taken a membership directly with the OTT platform, in contrast with B2B subscriptions, which are via telecom packs offered by various operators. Mumbai, Delhi and Bengaluru are the top three cities on paid subscriptions, with more than six million active paid subscriptions each.

    Regulations

    Another highlighting moment of this year was the introduction of the Broadcasting Services (Regulation Bill) 2023. According to the experts, the government’s move to regulate OTT video streaming apps like Netflix, Disney+Hotstar, SonyLiv, etc., under the bill, could affect content innovation and autonomy, derailing the growth path, experts said. Content on OTTs works on a “pull model”, wherein consumers choose the content. As such, any stringent programme and advertising codes might lead to content censorship and affect the audience experience.

    Once the Bill becomes an Act, it would bring streaming platforms such as Netflix and Hotstar completely within the ambit of the ministry of information and broadcasting (MIB) without having to rely on the Information Technology Rules, 2021, government officials said.

    The policy experts however said that first, the Bill should clearly mention if this would supersede the IT Act and second, the government can only amend certain codes of ethics in the IT Act instead of bringing them under a new legislation.

    Sports

    Disney+ Hotstar emerged as a powerhouse in 2023, with its decision to offer cricket tournaments — the Asia Cup and the ICC Men’s Cricket World Cup — free to its mobile users in India. With this, they have set new benchmarks for viewership, redefining the cricketing landscape. The highly anticipated final clash between team India and Australia has not only etched itself into the chronicles of sporting history but has also become the most-watched event ever on both linear TV and digital streaming. It recorded a peak concurrency of 13 Crore viewers on TV and 5.9 crore peak concurrency on Disney+ Hotstar (Digital).

    With the success of both the cricket tournaments, Disney+ Hotstar has also announced this year’s season of Pro Kabaddi League will be available to stream for all the mobile users in India starting 2 December 2023.

    Movies and series of 2023

    Hindi movies like Pathaan, Jawan, Animal, Vaccine War, Gadar 2 Tiger 3, OMG 2, Adipurush etc garned well at the box office and OTT platforms as well.

    There has been a plethora of series from The Railway Men, Kohrra, Trial By Fire, Chamak Scam 2003: The Telgi Story to Taaza Khabar, Farzi, Dahaad, The Night Manager, Citadel etc.

    According to a press statement from Jio Cinema stated that the platform registered 245 crore video views and 540 crore votes across the two months that Bigg Boss OTT 2 streamed on the platform. It also claimed to be the highest viewership for a live streamed event in India, after IPL.

    Reality OTT shows like Shark Tank India Season 2, MasterChef India Season 7, Kaun Banega Crorepati (KBC) Season 15, also fared well at Sony LIV.

  • “Cable TV like regulation to affect OTTs growth,” say experts on Broadcasting Bill

    “Cable TV like regulation to affect OTTs growth,” say experts on Broadcasting Bill

    Mumbai: The government’s move to regulate OTT video streaming apps like Netflix, Disney+Hotstar, SonyLiv, etc., under the Broadcasting Services (Regulation) Bill, 2023, could affect content innovation and autonomy, derailing the growth path, experts said. Content on OTTs works on a “pull model”, wherein consumers choose the content. As such, any stringent programme and advertising codes might lead to content censorship and affect the audience experience.

    Another area of concern experts cite is whether the government will bring in a pricing regime for OTT content, much like it has for television channels. The Bill also contains a provision for a Content Evaluation Committee (CEC), a self-certification body that will certify the content of broadcasters.

    “While they have brought OTTs under regulation, they have not specified how a self-certification model will work and what role the government will play,” an executive at a media and entertainment company said. He added that once the Bill becomes an Act, the Telecom Regulatory Authority of India (Trai) will be the regulator for these streaming platforms as well.

    As per the Bill, the government may prescribe the number of members in the CEC, the quorum required, and such other details to facilitate the formation of CEC and its smooth functioning.

    Besides, there will also be a government appointed body, the Broadcast Advisory Council, that will have five government members and five government-nominated independent people from media, entertainment, broadcasting, child rights, disability rights, etc., to advise the government on orders to be issued to the broadcaster or the broadcasting network operator.

    “In light of increasing scrutiny of streaming platforms such as Netflix, Disney+ Hotstar, powers assigned to the government, specifically with respect to the size, quorum, & operational details of the Content Evaluation Committee, raise censorship concerns,” said policy advocacy group Internet Freedom Foundation (IFF) in a post on X (formerly Twitter).

    Currently, the OTT platforms are regulated by the IT Rules, 2021, with guidelines for self-regulation as well as code of ethics for digital content. Such platforms do not require any licence from the government, as they are classified as TV channels and have a different model.

    “It looks like a very ambitious project to bring OTT and cable TV under one piecemeal regulation because both the platforms are different and distribute different types of content to consumers,” said The Dialogue senior programme manager – online safety and platform regulation Shruti Shreya.

    According to Shreya, while there can be basic ratings and guidelines for these OTT streaming apps, the regulation does not need to be similar to that of cable TV. The government should not hinder creativity, but should give freedom to creators as the content is at the discretion of viewers, they can refuse to watch that and have filters.

    Once the Bill becomes an Act, it would bring streaming platforms such as Netflix and Hotstar completely within the ambit of the ministry of information and broadcasting (MIB) without having to rely on the Information Technology Rules, 2021, government officials said.

    The policy experts however said that first, the Bill should clearly mention if this would supersede the IT Act and second, the government can only amend certain codes of ethics in the IT Act instead of bringing them under a new legislation.

    “The requirement for all online content creators to adhere to a ‘programme code’ requires careful consideration. The government will have to ensure that while giving a code of ethics for content, it should not give subjective terms like content should be of ‘good taste’ or ‘decency’ as they did in the IT Rules, as that leads to ambiguous interpretations,” Shreya added.

    Nandita Saikia, a tech policy lawyer said, “the Bill missed the opportunity to legally separate broadcast content and carriage”.

    “The programme and ad codes currently in force have been notoriously difficult to deal with…also contains provisions which are so subjective that it is often difficult to foretell how they’ll likely be interpreted,” Saikia said in her comments on the Bill on LinkedIn.

    Even as experts demanded clarity on codes, they applauded the government on inclusion of content accessibility provision in the Bill. This would pave the way for persons with disabilities to access the content based on their comfort and not based on the current forms, they said.

  • “Would like to stay” in India: Walt Disney’s Bob Iger

    “Would like to stay” in India: Walt Disney’s Bob Iger

    Mumbai: Walt Disney Company CEO said that the company “would like to stay”. He further stated that, “In India, our linear business actually does quite well. It’s making money. But we know that other parts of that business are challenging for us,” Iger made these comments during an innings call.

    While Hotstar grappled with a loss of 28 lakh subscribers in the last quarter, bringing the total loss to about 2.3 crore in a year, Disney+ globally added nearly 70 lakh subscribers, surpassing 15 crore, including Hotstar.  

    For the quarter ended September 30, Disney reported adjusted per-share earnings of 82 cents, topping an average forecast of 70 cents, according to LSEG data. Quarterly revenue of $21.2 billion was largely in line with consensus estimates. The company said it added nearly 7 million Disney+ streaming subscribers in the quarter, with the inclusion of “Guardians of the Galaxy Volume 3” and the original series “Star Wars: Ashoka.” Disney+ and Disney + Hotstar together boast 150.2 million subscribers, ahead of Visible Alpha’s estimate of 147.4 million.  

  • Matrix Fight Night announces multiple sponsors for MFN 13

    Matrix Fight Night announces multiple sponsors for MFN 13

    Mumbai: Matrix Fight Night is set to host its 13 editions on 28 October at Noida Indoor Stadium with Sanjeet Budhwar in line to defend his Featherweight title against Shyamanand in what promises to be a thrilling main event. Darkhanbek Ergeshov will also defend his Welterweight title against India’s Jason Solomon in the co-main event. Ahead of the fight night, Matrix Fight Night announced a number of sponsors for MFN 13, onboarding AIO media solutions as the associate partner for the upcoming edition along with; Build Prowl Supplements, USI Universal, Motherland Hospital Noida, Crowne Plaza Greater Noida, Knack Beverages, MMA Matrix Gym, and BHI Fitness.

    BUILD.Prowl CEO  Soumava Sengupta said, “BUILD. Prowl is proud to be the Nutrition Partner of the MFN event. MFN is doing a fantastic job of promoting MMA in India. MMA is a highly skilled sport that requires athletes to be in their prime as far as fitness is concerned. BUILD. as a brand is designed to be the architect of fitness. Our brand ambassador Tiger Shroff really embodies this brand philosophy. Our BUILD. PROWL range of products brings to the Indian consumers high quality, Informed Sport certified, delicious tasting, affordable products that help them build their own fitness goals. Just like MFN brings to India the finest of MMA. So, this partnership is committed to bring Indian audiences the best of experiences that global audiences get.”

    MFN 13 have also onboarded Crowne Plaza, Greater Noida, as the hospitality partner and they will host the MFN team upon their arrival.

    Speaking on the partnership, Crowne Plaza Greater Noida general manager Sharad K. Upadhyay,, said, “We are delighted to announce that Crowne Plaza Greater Noida is once again joining hands with MFN for the second time, reaffirming our commitment to supporting the world of sports. As a hotel that prides itself on offering exceptional hospitality, we find immense joy in aligning with organizations that share our passion for excellence. We look forward to another successful collaboration with MFN, and together, we aim to elevate the sports industry to new heights.”

    Matrix Fight Night 13 will take place at the Noida Indoor Stadium, Sector 21, on 28 October and will be live-streamed on Disney+Hotstar from 6 PM IST, with a massive live audience expected to be at the show.

  • Pratilipi collabs with Disney Star for unique multi-series deal

    Pratilipi collabs with Disney Star for unique multi-series deal

    Mumbai: Pratilipi, India’s largest digital storytelling platform, has collaborated with Disney Star, the leading media & entertainment company in India, for a first-of-its-kind multi-series content deal. This association allows Disney Star to develop multiple new fiction television shows adapted from stories available on Pratilipi, intended to be broadcast across languages on Disney Star’s TV and digital platforms.

    This will be the first time when a TV series will be adapted and developed from an online self-publishing and audiobook platform. Stories on Pratilipi have an extensive readership and listener base that extends up to 15 million subscribers. These stories written by authors from all over the country are currently available in the form of short stories, series, audiobooks, and comics. This association also opens doors for thousands of writers across India, allowing them to envision their stories in various formats.

    Pratilipi CEO and co-founder Ranjeet Pratap Singh said, “At Pratilipi, we are proud to be a platform consisting of over 10 million stories. We have always believed in providing quality content in multiple formats to suit everyone’s needs. Our collaboration with Disney Star is a testament to our continuous commitment to creating multi-format content for a wider audience. Pratilipi is home to some of the best stories, especially in the regional languages, and we are truly delighted that with this association, we will be recreating some of our popular stories into televised series.”

    Commenting on the collaboration, Disney+Hotstar & HSM entertainment network head content Gaurav Bannerjee said, “Our collaboration with Pratilipi underscores our core belief in empowering writers, which is essential for creating compelling content on both TV and digital platforms. As the nation’s leading storyteller, we are excited to provide a platform for authentic storytelling emerging from fresh talent across the country.”

    This collaboration is just the beginning of Pratilipi’s entrance into such exciting partnerships with broadcast and streaming platforms. As the digital storytelling landscape continues to evolve, Pratilipi remains dedicated to empowering writers and creators to share their narratives in diverse ways.

  • We want high-quality OTT content available, accessible, and affordable to consumers: Tata Play chief communications officer Anurag Kumar

    We want high-quality OTT content available, accessible, and affordable to consumers: Tata Play chief communications officer Anurag Kumar

    Mumbai: Tata Play’s (formerly known as Tata Sky) over-the-top (OTT) platform, Tata Play Binge, has enabled 17 streaming apps in addition to gaming under one roof. “It is not an easy task to create effective communication with consumers, especially when the brand is as big as Tata,” shares Tata Play chief communications officer Anurag Kumar in an exclusive conversation with Indiantelevision.com, while making sure that the newly launched OTT aggregator reaches more people and that they have access to quality content at a cheaper price.

    With its campaign “Bachcha Bachcha Janta Hai,” Tata Play hopes to bring the expansion to all of its smartphone users without the need for a DTH subscription.

    Currently having 17 OTT platforms, including Disney+Hotstar, Eros Now, MX Player, Voot Select, and Zee5, in its app, Tata Play Binge targets to increase the number to 25 by the end of the current fiscal year.

    Kumar also discussed the campaign, strategy, rebranding, Tata’s legacy, and technological disruption for Tata Play Binge.

    Edited Excerpts

    On the campaign

    When we first launched the campaign, I believe one of the most important insights we had was that while consumers often knew the names of the shows they wanted to watch, they didn’t always remember the platform on which they could watch them.

    We gained the advantage of seeing that any show you could think of should be available on Binge by aggregating content from all of our partner apps in one place.

    With its tagline, “Baccha Baccha Jaanta Hai,” Tata Play Binge wanted to convey the ease of accessing any type of content. This marks the beginning of the campaign.

    So far, we’ve received a positive response, with over 1.5 million views and over one lakh likes on Instagram.

    On the strategy

    Every time a campaign is created, the initial step is to determine what unique problem remains to solve. This will provide an exact focal point to follow throughout the campaign.

    Creating communication is an art, and to overcome the difficulties, creative people are needed to do it well.

    To sketch the perfect strategy, it is important to be clear about the target audience. How do I reach them? Where are they available? Are they available on television? What role does digital play as it grows in importance? What kind of incremental reach does each medium add to reach more people? And how much engagement can be generated through social media platforms?

    On customer response for Tata Play Binge

    I believe we have reached nearly a million Tata Binge customers already, primarily through DTH but also through non-DTH sources.

    We are very excited about the opportunity that we are providing to consumers. The first step is to discover the content. Second, it should also be accessible for download on smartphones and can be watched on another screen. As a result, accessibility was a critical factor, and finally, it should be affordable, which is why the Rs 59 pack is the cheapest for the consumer.

    The overall concept is to have paid OTT with high-quality content that is available, accessible, and affordable. We have a very strong proposition to offer, and the campaign is gaining acceptance and popularity.

    On the rebranding

    One of the things that helped us when we rebranded from Tata Sky to Tata Play was the brand name, given how well-known and reputable Tata is in India.

    Consequently, that stayed as one significant contributing aspect due to its enormous brand. However, the primary roles are still present, and Sky to Play is altering. Before completely switching to a new game, the brand name made our task a little easier.

    Having said that, I believe that was the startup guide. We concentrated on raising as much awareness as possible because we wanted to send the message that we had rebranded and did not want any confusion.

    We went through the entire process of creating something extremely dense. We had not one, but three to fourteen commercials saying the same thing: Tata Sky has become Tata Play.

    On the Tata brand

    By far the most valuable brand in the country is Tata. Because quality represents trust, when you mention the Tata name, there is something we must live up to—something that cannot be denied, something you cannot fall short of.

    It puts pressure on other companies as people have expectations and we have to fulfil that, there is a positive side too as the brand has a legacy.

    On technological disruption

    Binge is a product of tomorrow. Today, a higher percentage of web consumption occurs on smartphones. Problems people face while watching, like content buffering, will vanish as soon as they switch from 4G to 5G networks on their phones. Tomorrow, they’ll have much faster speeds.

    It’s actually a boon to the product. It will increase online video consumption in the country; we already have nearly 415 million viewers who watch online videos, which includes all free content such as YouTube and everything else, social media and whatnot. However, the number of people who pay for OTT, or paid subscribers, is a very small percentage, estimated to be around 60 million.

    We believe Tata Binge will actually help to accelerate paid online consumption by people who are currently watching free content but want quality content at a low cost because of our accessibility, availability, and affordability. They will pay for OTT because paid OTT will grow and really help people access the quality content that is typically only available in paid form.

    On new trends

    We anticipate that more players will attempt to launch OTT aggregation services. Customers will realise that this is a very convenient way for them to access OTT. We also believe that more content partners will create apps that will become part of the OTT aggregator. We have a few apps lined up for collaboration in the coming days. Both of these trends will accelerate, and I believe they will be very beneficial to consumers. I am pleased that people now have access to a wider range of content in more convenient formats.

    On the copyright

    The content policy must be adhered to. Tata Play follows the same policies regardless of who owns the content. We strictly follow the rules and don’t process anything that is not allowed.

    The primary goal of making a product like Tata Binge easy to access and use, as well as affordable, is that when more companies/aggregators like us enter the picture, it will reduce issues like copyright violations and plagiarism. People who watch illegal videos will be able to afford high-quality content at a low cost, lowering the overall cost.

    On the opportunities

    Our primary focus will remain on transitioning consumers from cable and free-to-air to Tata Play because the experience we provide is far superior.

    For Tata Binge, our primary focus will be on consumers who watch free online videos and will assist them in transitioning to paid content consumption due to the high-quality content available through a unified interface.

    On the gaming

    Today, we have not only 17 apps but also games. We collaborate with players in the gaming industry, giving our database customers another reason to visit Binge and engage with it. We believe that gaming is a fascinating opportunity.

    On coexistence of TV and OTT

    Both will coexist, in my opinion, according to industry partners. I strongly believe that, and I believe that many of these are valid reasons. The nature and type of content available on television are the most important considerations. Then there’s the fact that the types of content available on OTT aren’t the same. They are, in fact, complementary.

    The majority of television viewing is done on a large television screen. Whereas in India, approximately 95 per cent of OTT viewing occurs on mobile devices. So, rather than competing, they are, I believe, complementing each other in many ways.

    Over time, there will be some changes. However, I believe that, in the long run, despite what you may have heard about TV dying talk in developed markets such as the United States, nothing of the sort has occurred. Consequently, it is also improbable that it will occur in India any time soon.

  • Disney expects subscription decline in Disney+Hotstar in Q1 due to absence of the IPL

    Disney expects subscription decline in Disney+Hotstar in Q1 due to absence of the IPL

    Mumbai: Speaking to analysts during a conference call to announce its fourth quarter and annual results, Disney senior executive vice president & chief financial officer Christine McCarthy said that the expectation is that Disney+Hotstar subscribers will decline in Q1 of the current fiscal year due to the absence of the Twenty20 league, the IPL. The company’s expectation is that the overall DTC business will be profitable in 2024 as long as there is no meaningful shift in the economic climate. In Q4, the DTC business reached peak operating losses, which Disney expects to decline going forward.

    Disney’s share price had fallen by 10 per cent in after-hours trading after it missed earnings targets. It reported $20.15 billion in revenue growth in the fourth quarter, a nine per cent increase over the same period in the previous fiscal year. But $21.26 billion had been expected, according to Wall Street analysts. Disney’s income from operations for the quarter was $1.6 billion. This was a 55 per cent decrease from the previous quarter, but comparable to the same period the previous fiscal year.

    The company’s theme park division is rocking. It reported Q4 revenue of $7.42 billion, up 36 per cent from the same quarter in the previous fiscal year. On Disney+ subscriber net additions, it overachieved with 12.1 million versus the expected 9.35 million.

    “At Disney+ Hotstar, we are currently expecting that subscribers will decline in Q1 due to the absence of the IPL, but we do expect to see some stabilisation in Q2,” McCarthy stated. In Q4 of the recently concluded fiscal year, lower pay-per-view revenue at ESPN+ and slightly lower ad revenue at Hulu and Disney+ Hotstar also impacted direct-to-consumer revenue in the fourth quarter relative to the third quarter.

    She said that in Q4 of the recently concluded fiscal year, Hulu and ESPN+ added approximately one million and 1.5 million subscribers, respectively, during the quarter, while Disney+ added over 12 million global subscribers, of which a little less than three million were at Disney+ Hotstar. “Core Disney+ added over nine million subs in Q4, accelerating as expected versus the six million net ads we saw in the third quarter, reflecting the success of Disney+ Day and our tentpole content releases, in addition to continued growth from third quarter market launches. Nearly two million of these net ads were from the US and Canada, and a little over seven million were international Core editions,” she pointed out.

    Disney CEO Bob Chapek said that the company is exactly one month from the US launch of Disney+’s ad-supported subscription offering, which he says is a win for audiences, advertisers, and shareholders. “The launch will bring fans a new slate of subscription plans across Disney+, Hulu, ESPN+, and the Disney Bundle, giving viewers flexibility in choosing an option that suits their needs. The offering also adds a key component to our total company advertising portfolio, and advertiser interest has been strong. We have been a leader in streaming advertising for some time and are bringing our years of experience leading ad tech and relationships to this important opportunity,” he said.

    He added, “Disney+ has secured more than 100 advertisers for our domestic launch window, spanning a wide range of categories. And our company has over 8,000 existing relationships with advertisers who will have the opportunity to advertise on Disney+. Strong base pricing reflects the value advertisers place on our audience, our brand-safe environment for their messages, and our sales experience. We also have proven technology to deliver a great advertising experience on day one.”

    “And importantly, we have the ability to scale and innovate for audiences and advertisers alike. We are incredibly excited about the launch of our new ad-supported subscription offering for Disney+, which rolls out on December 8th. 2022 was an important year of recovery coming out of the pandemic, as we made foundational investments in our long-term success. As we celebrate the three-year anniversary of Disney+ this week, I can’t help but reflect upon how our commitment to and substantial investment in our DTC business has helped create the world’s most powerful suite of streaming services with the ability to reach hundreds of millions of viewers around the world with must-see content, services that aren’t just content delivery systems but platforms that bring us closer to audiences than ever before and enable consumers to access more of The Walt Disney Company’s total offering,” he brought out.

    Chapek went on to say that while DTC losses reached a peak in Q4, those losses will decline. “It has taken just three short years for Disney+ to transform from a nascent business into an industry leader. That transformation is the direct result of the strategic decision we made at launch to heavily invest in our direct-to-consumer offering, a decision made knowing that achieving rapid growth would result in short-term losses. Building a streaming powerhouse has required significant investment. And now, with scale, an incredible content pipeline, and global reach, Disney+ is well-positioned to leverage our position for long-term profitability and success.”

    He said that the company’s financial results this quarter represent a turning point as it reached peak DTC operating losses, which it expects to decline going forward. “That expectation is based on three factors: first, the benefit of both price increases and the launch of the Disney+ ad tier next month; second, a realignment of our costs, including meaningful rationalisation of our marketing spend; and third, leveraging our learnings and experience in direct-to-consumer to optimise our content slate and distribution approach to deliver a steady state of high-impact releases that efficiently drive engagement and subscriber acquisition. With these factors, we believe we are on a path to a profitable streaming business that generates shareholder value long into the future. And assuming we do not see a meaningful shift in the economic climate, we still expect Disney+ to achieve profitability in fiscal 2024, as losses begin to shrink in the first quarter of fiscal 2023.”

    International Channels

    International Channels revenues for the quarter decreased 18 per cent to $1.1 billion, and operating income decreased 18 per cent to $0.1 billion, reflecting lower operating income from channels that operated for the entire current and prior-year quarters (ongoing channels), partially offset by a benefit from channel closures.

    Lower results from ongoing channels were primarily due to a decrease in ad revenue and, to a lesser extent, higher marketing spend and an unfavourable foreign exchange impact, partially offset by lower sports programming costs. The decrease in advertising revenue was due to lower average viewership, partially offset by higher rates. The decreases in sports programming costs and average viewership were due to the non-comparability of cricket events, reflecting the impact of covid-related timing shifts. The most significant impact was on the timing of Indian Premier League cricket matches, as there were no matches in the current quarter compared to 18 matches in the prior-year quarter.

    Overall for the company Chapek noted, “2022 was a strong year for Disney, with some of its best storytelling yet, record results at the parks, experiences, and products segment, and outstanding subscriber growth at the direct-to-consumer services, which added nearly 57 million subscriptions this year for a total of more than 235 million. Our fourth quarter saw strong subscription growth with the addition of 14.6 million total subscriptions, including 12.1 million Disney+ subscribers. The rapid growth of Disney+ in just three years since launch is a direct result of our strategic decision to invest heavily in creating incredible content and rolling out the service internationally, and we expect our DTC operating losses to narrow going forward and that Disney+ will still achieve profitability in fiscal 2024, assuming we do not see a meaningful shift in the economic climate.”

    He goes on, “By realigning our costs and realising the benefits of price increases and our Disney+ ad-supported tier coming on 8 December, we believe we will be on the path to achieve a profitable streaming business that will drive continued growth and generate shareholder value long into the future. And as we embark on Disney’s second century in 2023, I am filled with optimism that this iconic company’s best days still lie ahead.”

    He added that Q4 was also the first time in Disney history that the company released tentpole original content from Disney, Marvel, Star Wars, Pixar, and National Geographic. “This is an indication that we are now at a full cadence of new releases as we hit our steady state. As evidenced, Hocus Pocus 2 was a smash hit, becoming not only the most watched premiere on Disney+, but also a Nielsen record-setting streaming movie with 2.7 billion minutes viewed in its first weekend. And Marvel Studios’ Ms. Marvel completed its run in July, and She-Hulk: Attorney at Law debuted in August, contributing to subscriber growth and driving substantial engagement.”

    He spoke about Lucasfilm’s Andor, a spy thriller that explores the backstory of Cassian Andor, a popular character from Rogue One. This, he said, earned rave reviews and showcases the company’s ability to extend stories from the big screen to streaming services. “Turning to general entertainment, the critically acclaimed Prey from 20th Century Studios was Hulu’s biggest premiere ever across all films and series and was the most watched film premiere on Star+ in Latin America and Disney+ under the Star banner in all other territories. Looking ahead, we are thrilled that audiences are returning to the box office for blockbuster films, and we have big plans for the big screen in fiscal year 2023. Black Panther: Wakanda Forever opens this Friday, and Ryan Coogler has delivered yet another culture-defining powerful film.”

    He is excited about Avatar: The Way of Water, which opens on 16 December and is the sequel to the highest grossing film of all time. “James Cameron and his team have once again created something truly magical using groundbreaking technology. The audience is as excited as we are to return to Pandora. And given the strong performance of September’s rerelease of the original Avatar, we can’t wait for the film to hit screens. Our Searchlight studio continues to deliver critically acclaimed films, and three fantastic titles will be in theatres this quarter: The Banshees of Inisherin, which has earned critical acclaim since its Venice premiere; The Menu, starring Ray Fiennes and Anya Taylor-Joy; and The Empire of Light, from Academy Award winner Sam Mendes.

    “Looking even further into 2023, we’ll see the theatrical releases of three highly anticipated Marvel films, Ant-Man and the Wasp: Quantumania, Guardians of the Galaxy Vol. 3, and The Marvels. And we could not be more excited about Disney’s live-action. The Little Mermaid, a reimagining of one of the most popular animated films of all time, stars Halle Bailey, whose rendition of Part of Your World has already lit up the internet. We’re also bringing 999 happy haunts to life with the hilarious new live-action Haunted Mansion featuring an all-star cast. Pixar will debut an all-new original feature, Elemental. And Harrison Ford is back in the eagerly awaited fifth Indiana Jones film, which is going to be spectacular.”

    In terms of the theme park business, he said that Disneyland Paris is enjoying a great resurgence. “Our fantastic new Marvel Avengers Campus opened on 20 July, and guests love the highly immersive and dynamic environment of the first ever Marvel-themed land in Europe. Prior to the recent closure of Shanghai Disney Resort, we were seeing positive momentum there and at Hong Kong Disneyland. We are hopeful that the situation will improve and are thinking of all of our employees there as we manage through the challenging covid environment. Our Disney Cruise Line is showing strong signs of recovery.”

    He explains that one of the things that guests loved most was the opportunity to celebrate at Disney’s parks, as evidenced by the post-pandemic return and sell-out of special ticketed events like Oogie Boogie Bash and Mickey’s Not-So-Scary Halloween Party. “I visited Disneyland with my family just before Halloween, and the celebration was phenomenal. Tickets for Mickey’s Very Merry Christmas Party at Walt Disney World have now officially gone on sale, and over half of all dates have already sold out. As you know, we are about to embark on the company’s 100th anniversary celebration.”

    McCarthy noted that the parks, experiences, and products segment had another stellar quarter, with DPEP operating income in the fourth quarter more than doubling versus the prior year at $1.5 billion. One thing she noted is that Disney’s parks in the US are now getting more visitors from outside the US, and the level is around the same as pre covid. “Our domestic parks delivered significant year-over-year revenue and operating income growth despite an adverse impact of approximately $65 million to segment operating income from Hurricane Ian. And per-capita spending remained strong, increasing 6% versus Q4 of fiscal 2021 and nearly 40% versus fiscal 2019, reflecting the continued popularity of premium offerings, including Genie+ and Lightning Lane.

    “We are also making meaningful progress on the return of international visitors to our domestic parks, particularly at Walt Disney World, where the mix of international attendance in the fourth quarter was roughly in line with pre-pandemic levels. Looking toward fiscal 2023, while we continue to monitor our booking trends for any macroeconomic impacts, we are still seeing robust demand at our domestic parks and are anticipating a strong holiday season in Q1. Disney Cruise Line was also a meaningful contributor to the year-over-year increase in domestic parks and experiences’ operating income in Q4, reflecting the successful launch of the Disney Wish in July and the continued recovery of the existing fleet coming out of the pandemic. To date, occupancy for the Wish continues to exceed 90 per cent, while we have also seen a meaningful pickup in the rest of our fleet, with booked revenue up versus pre-pandemic levels.

    “At international parks, fourth quarter results also improved significantly year over year, driven by continued strength at Disneyland Paris, partially offset by a decrease at Shanghai Disney Resort. As Bob mentioned, the situation in Shanghai has recently been challenging. The park is currently closed, and we do not yet have visibility to a reopening date. Q4 results at consumer products also increased versus the prior year, driven by higher merchandise licencing results across several of our key franchises, including Mickey and Friends, Encanto, and Toy Story.”

  • India’s M&E industry needs to focus on incredible creative endeavours: Disney+ Hotstar’s Gaurav Banerjee

    India’s M&E industry needs to focus on incredible creative endeavours: Disney+ Hotstar’s Gaurav Banerjee

    MUMBAI: Delivering an address at a session of Ficci Frames Fasttrack 2022 called ‘The Magic of Online Curated Content (OCC)’, Disney+ Hotstar head content Gaurav Banerjee said that the time is now for India’s media and entertainment industry to focus on incredible creative endeavours. 

    “We need to do better when it comes to incredible creative endeavours. The time for us to crack the code of creating incredible stories that travel all over the world is now. It is up to all of us to do better, to equip ourselves better. We must note that this is what our potential is. That is when massive success for all of us will follow,” Banerjee added.

    He gave an example of Korean content. The movie “Parasite” won multiple Oscars including best picture, director and screenplay. Recently, a Korean actor won an Emmy. It was a Korean show on Netflix that got incredible followership all over the world.

    He also said that the entertainment industry choosing to do things for profit or a larger social cause is a false choice. “We must do both.” 

    He gave the example of Satyamev Jayate, a show that Star did. When the show returned, he took the decision not to market other shows. Only this show was marketed. Interestingly, nobody complained. Instead, the fact that the show took a position against female infanticide was greatly appreciated. His company always wanted to be part of a large cause. That was when greater success followed. He added that there were two components in the media and entertainment industry – artists and fans. “They want us to do more and do the right thing.” This, he said, had massive business benefits. And even if doing the right thing does not always produce big benefits one must still do it.

    In his address, he mentioned the media and entertainment are accountable to society. “Creativity works in the service of society.” Disney, he said, believes in this contract. When it has followed the reward has happened. But equally, when it didn’t follow there were punishments. In terms of Disney Star’s curated content journey, he said it is notable for how women have been treated over the years. 

    This was never the case earlier even though cinema had existed for decades. The first phase for him was the early 2000s with the K serials and other shows like Sanjivani. The decision was taken to put women at the centre of storytelling. It was not just about entertaining people. This was a big massive change happening at scale. “The impact was massive and significant.” He pointed to a study done by two American scholars from the University of Chicago. They went to homes before they got satellite TV and went back to the same homes three years later after they got exposed to those shows from Star India and other companies. As a result, women’s preference for male children fell by 20 per cent. Women’s tolerance for abuse decreased by 10 per cent. 8 per cent of girls between the ages of 6-10 went to school. “There was a lot of power in this room. Sometimes, we lost sight of it.”

    The Chicago study was phase one. This second phase came around 10-11 years later. The broadcaster decided that it was not enough to just put women at the centre. They need to work and become successful professionals. They were backed by their husbands and in-laws. Star did a show. 

    On TV, people were told that there is no job that a woman cannot do. However, at that time some things were sacred like marriage. This changed with the third phase in 2020. The show Anupama questioned marriage. The storyline, he noted, was powerful. If a woman was taken for granted, was that worth it? At 45, she could start a new life cheered by India.

    When asked a question on TV versus OTT he noted that the creativity paths were similar. All content on Star’s TV channel is put first on OTT. So for example new episodes of Anupama come first to Disney+Hotstar at 6 a.m. Creativity answers are the same. A good show is a good show. The same logic applies to movies. But he also acknowledged that distribution channels make a difference in digital because people use mobile content to watch solo. So edgier themes and shorter stories are more convenient. He added that his team watches a lot of content. They watch Youtube, OTT and TV. Often they call creative people like filmmakers about the possibility of working together. The best way to get a yes in terms of working with Disney+Hotstar is if he calls.

    The keynote address was delivered by the Ministry of Information & Broadcasting (MIB) joint secretary (P&A) Vikram Sahay. He was in favour of the government keeping itself away from the area. Online content curation must have self-discipline and grow. There is self-certification. He noted that people are taking advantage of the low Internet costs. “Today online, curated content is the big thing in terms of reach, popularity. OTT is here to stay. We have been producing some very good original, value-based content.” He added that actors, screenwriters, etc., who were not getting a chance in films now got a space. More people can showcase their talent. He noted that six months back the MIB ministry had developed a mobile game on India’s freedom struggle and this was done with Zynga. It is in English and Hindi. There are prizes to incentivise children. For promotion, a 30-second rap song was created. 

    “Now the game has been launched globally.” While the government around a year and a half back introduced a three-tier system, a grievance mechanism where people can voice their complaints about digital content, he said that this has not inconvenienced any of the OTT platforms. That is because most people are happy when their grievance is heard and they get a response. “We have not heard a single OTT platform complain about the grievance system. Nobody will be inconvenienced or be burdened.”

    During a panel discussion on being asked how the journey of The Viral Fever (TVF) started, Head- TVF Originals Shreyansh Pandey said, “TVF came into existence because a unique set of audience who were not getting entertained from the television or let’s say the shows which were being run at that time – they wanted something fresh, they wanted something new.”

    The actor Divya Dutta, on being asked how it has been for an actor when OTT is booming, said, “It’s a good time for actors. It is the layer of characters now. You get that time when it comes to a series vis-à-vis a short film or a feature film.”

    The filmmaker Nikhil Advani talked about the lack of pressure in creating content and the freedom which follows. He said, “On OTT, the shelf life is longer. The word of mouth stays for a longer time. The pressure to get stars the numbers vis-à-vis a story…this is easy when you have OTT.”

    The actor Sohum Shah also talked about the reach of OTT and its rising popularity. “Films like Tumbbad have reached more audiences because of OTT. As an actor, it also allows you not to get typecast and work like a chameleon. It is also good, especially for female actors. Talent is flourishing because of OTT,” he added.

  • Disney+ Hotstar to stream a new Korean drama ‘Revenge Of Others’

    Disney+ Hotstar to stream a new Korean drama ‘Revenge Of Others’

    Mumbai: Disney+ Hotstar is all set to stream a new Korean drama Revenge of Others. When a student at a high school suddenly dies without explanation, the rest of the semester is filled with vengeance against those responsible. That is the subject matter in Revenge of Others, a Star Original series coming soon.

    Following the suspicious death of her twin brother, Ok Chanmi, a shooting athlete, takes the extraordinary step of transferring to her brother’s school in an attempt to uncover the truth and find out why the police and the school seemed to have covered up his death. Driven by her love for her brother and a need to understand what happened, Chanmi will partner with another student Ji Suheon, to exact revenge by proxy on those who bully others. Filled from the opening bell with mystery, intrigue and a series of strange incidents being thrown at Chanmi, audiences will be left champing at the bit for each new episode of Revenge of Others.

    Revenge of Others stars Shin Yeeun (A-Teen, He Is Psychometric, Meow the Secret Boy, More Than Friends) as Ok Chanmi, a star shooting athlete whose brother dies under mysterious circumstances; Lomon (All of Us Are Dead) as Ji Suheon, a student committed to taking revenge on other people’s bullies; Seo Jihoon (Seasons of Blossom, Drama Stage: Midnight) as Seok Jaebeom, someone who is able to trace events through lost memories; Chae Sangwoo (Wretches, Nokdu Flower) as Ji Oseong, Lee Soomin (Two Universes, Pumpkin Time) as the secret-hiding Guk Jihyeon, and Chung Subin (Rookie Cops, Dark Hole) as Tae Soyeon.

    The show has been written by Lee Hee Myung and directed by Kim Yoojin. Disney+ Hotstar said it will cover entirely new ground in the teen thriller drama genre, using the mystery and tension that arises from the protagonist’s search for the truth to take audiences on a wild ride together with its exceptional cast.

    Revenge of Others is the latest Korean drama to be announced as part of the ever-expanding library of Asia Pacific storytelling available to audiences on Disney+ Hotstar. Recently The Zone: Survival Mission premiered on Disney+Hotstar. This is a laugh-out-loud Korean variety show starring Yu Jaeseok, Lee Kwangsoo and Kwon Yuri as they are thrown into a range of unexpected situations including battling against zombies.

  • High price dictated Disney-Star’s decision not pursue IPL digital rights

    High price dictated Disney-Star’s decision not pursue IPL digital rights

    Mumbai: Disney+ Hotstar which was in the running for the Indian Premier League digital broadcast rights decided to drop out due to the high price of the rights package. 

    Disney Star participated in the recently concluded Indian Premier League (IPL) media rights e-auction and stated that it made disciplined bids with a focus on long-term value.

    The company retained the TV broadcast rights to the tournament for the next five years for a substantial price of Rs 23,575 crore or Rs 57.5 crore per match. “We made disciplined bids with a focus on long-term value. We chose not to proceed with the digital rights given the price required to secure that package,” stated Campbell.

    “We are pleased to extend our association with the Indian Premier League and look forward to offering the next five seasons across our portfolio of television channels,” said Campbell. “IPL is an important component of our portfolio of television channels in India, providing an incredible opportunity for us to showcase The Walt Disney Company’s powerful global brands and iconic storytelling, as well as Disney Star’s impressive collection of local original content, to millions of viewers in India.”

    Disney Star India will explore other multi-platform cricket rights controlled by the International Cricket Council (ICC) and the Board of Control for Cricket in India (BCCI). The company holds the rights to premier sports properties such as Pro Kabaddi League, Indian Super League Football as well as various international rights including Tennis Grand Slam Wimbledon Championships and the English Premier League.

    Disney Star operates a portfolio of more than 70 television channels in India that cut across general entertainment, films, sports, infotainment, kids and lifestyle content reaching 90 per cent of pay cable and satellite TV homes in the region.

    The company’s OTT platform Disney+ Hotstar has 100 local original titles in the pipeline with over 80 originals slated to premier this fiscal year. Last year, seven out of the top ten most popular Hindi subscription-video-on-demand (SVOD) entertainment series in India were Hotstar Specials. “Disney+ Hotstar has changed the way Indians watch their entertainment – from favourite locally produced original TV shows to global blockbuster films,” said Campbell.