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Tag: Hollywood

  • Glimmers of hope for box office recovery

    Glimmers of hope for box office recovery

    Los Angeles: The global box office is accelerating. Revenues in 2021 could hit 21.6 billion, according to a revised forecast from the research firm Gower Street Analytics. The estimate has been revised from a previous estimate of $20.2 billion with a potential additional upside that could see the current year finish closer to $22 billion globally.

    “The $1.4 billion gain to the global prediction since our previous estimate, which was based on eight months of actuals and estimates for the final four months of the year, is primarily due to the blockbuster boost brought about by October,” said the firm.

    The reason for the shift is driven primarily by the strong performance of October titles including China’s ‘The Battle at Lake Changjin’ ($845 million through the past Sunday), MGM/Eon/Universal’s “No Time To Die” ($605.7 million) and Sony’s “Venom: Let there Be Carnage” ($395.8M). Warner Bros/Legendary’s “Dune” is also coming out of a strong, expanded release frame with a global total of $296.4 million.

    The $21.6 billion estimates would put 2021, 80 per cent ahead of 2020, but still 49 per cent behind 2019’s record global tally. This is the final estimate the firm plans to publish for 2021 before actuals are announced in early January.

    According to Gower Street, the market share of global box office represented by North America (aka the domestic US) held relatively unchanged, down from 21.8 per cent to 21.6 per cent. Likewise, Latin America held steady, down from 4.9 per cent to 4.6 per cent. These markets are expected to remain relatively unchanged between 2020 and 2021. The Europe/Middle East/Africa (EMEA) dropped from 23.1% to 21.6 per cent.

    In contrast, the Asian-Pacific (APAC) market is expected to expand its share from just over 50 per cent in 2020 to 52.2 per cent in 2021. However, the APAC gain is entirely due to China, which has made its own further encroachment within the APAC region, with a reduced market share of the worldwide box office in the region’s other key markets: Japan, South Korea, and Australia. China is expected to represent nearly 34 per cent of the global box office in 2021, compared to just over 28 per cent in 2020. Japan, meanwhile, sees its market share halve from 12.2 per cent to just six per cent. Korea drops from 4.1 per cent to 2.4 per cent, and Australia from 2.7 per cent to 2.1 per cent.

    Hollywood, in general, is still feeling the fallout from the pandemic. Despite US theatres being mostly back in full operations, there has been hesitation on the part of audiences to return to filling seats to full capacity. However, Hollywood studios and theatre owners are beginning to entice a return to the big screen with persuasive marketing campaigns and exclusive in-theatre movie releases.

    Likewise, the Indian Box Office took a hard hit due to the coronavirus pandemic. Bollywood had a banner year in 2019 and heading into 2020, according to Statista, the box office revenue for the Indian film industry was valued at about Rs 139 billion. This figure was estimated to drop to only Rs 30 billion a year later due to the pandemic impact. However, hope remains high as theatres begin to reopen. Movie theatres in the entertainment capital of Mumbai reopened on 22 October after 18 months of closure due to Covid-19.

    Overall, the global estimate for October has risen nearly 30 per cent from an original estimate of $2.5 billion to $3.2 billion. This would put October business just 4 per cent behind the average of the three pre-pandemic years (2017-2019) for the month. No previous month in 2021 has performed better than 40 per cent behind the three-year average.

    “The Battle at Lake Changjin” tops the 2021 worldwide box office chart with more than $845 million in ticket sales to date. China’s blockbuster “Hi, Mom” which was released in February, follows at number two with $822 million. Universal carries the number three spot with “F9: The Fast Saga” with $721.1 million. China’s “Detective Chinatown 3” is number four worldwide ($686.3 million).

  • Hollywood averts massive strike by film and TV workers

    Hollywood averts massive strike by film and TV workers

    Mumbai: The International Alliance of Theatrical Stage Employees (IATSE), the union which represents film and television crew members throughout North America, and the Alliance of Motion Picture and Television Producers (AMPTP), have reached an agreement on a new three-year contract averting a major strike less than a day before the walk-out deadline.

    “This is a Hollywood ending,” IATSE International President Matthew Loeb said in a statement. “Our members stood firm. They’re tough and united. We went toe to toe with some of the richest and most powerful entertainment and tech companies in the world and we have reached an agreement with the AMPTP that meets our members’ needs.”

    This strike would have been the first in the union’s 128-year history and the first major crew strike since World War II. The 11th-hour deal avoids a potentially crippling shutdown which would have impacted film and TV productions nationwide, with worldwide ripple effects, just as studios struggle to recover from heavy losses caused by production shutdowns and theatre closures due to the Covid-19 pandemic.

    The agreement, which still must be ratified by the union’s membership, includes improved wages and working conditions for streaming productions, a retroactive wage increase of three per cent annually, increased funding for health and pension plans, a minimum 10-hour turnaround time between shoots with a 54-hour break after a five-day week and also includes still unspecified diversity, equity and inclusion initiatives.

    The deal was met with a sigh of relief across Hollywood after talks stalled over the summer leading the IATSE to vote in early October on a strike authorisation with the overwhelming support of 98 per cent of union voters. The 60,000-member union represents a wide range of production crew members including cinematographers, camera operators, set designers, carpenters, hair and make-up artists, and many others.

    The strong support of the union membership gave leaders considerable leverage to press their demands. The IATSE has traditionally preferred to quietly negotiate earlier agreements avoiding confrontations with the studios. However, members’ frustrations have grown to a breaking point with working 14+ hour workdays with few breaks and no weekends off.

    In addition, as studio executives realised how devastating this strike could be, just as they were beginning to crawl out from beneath the effects of the Covid-19 pandemic, the IATSE felt further emboldened to take a tougher stand.

    The union’s focused goals were: livable wages for the lowest-paid workers; more turnaround time between workdays; genuine meal breaks; rescue of the union’s ailing pension and health plan; and a bigger cut of the revenue from streaming shows. Studio executives acknowledged that they could no longer defend previous deal points allowing for such incessant work hours, as reported by the Los Angeles Times.

    The strike has been officially called off with this tentative agreement as union members will be heading to the ballot box in the next few days to give or refuse their stamp of approval, with both sides remaining hopeful.

  • Hollywood Scrambles to Avert Strike

    Hollywood Scrambles to Avert Strike

    Los Angeles: Negotiations between the International Alliance of Theatrical Stage Employees (IATSE), which represents film and television crew members throughout North America, and the Alliance of Motion Picture and Televisions Producers (AMPTP), the bargaining unit for producers with studios, have now resumed in Hollywood in order to avert a threatened strike which would affect film and TV productions nationwide.

    As widely reported, members of the IATSE voted overwhelmingly over the weekend to authorise a strike, bringing film and TV productions one step closer to shutting down if a contract negotiation with major studios is not resolved soon.

    It was the first time in the 128-year history of the IATSE that a nationwide strike has been approved and with the support of 98 per cent of the voters. The outcome is a clear indication that the 60 thousand members who work in television and film will keep pressing for better working conditions. Talks between the two organisations broke down earlier last month.

    “The members have spoken loud and clear. This vote is about the quality of life, as well as the health and safety of those who work in the film and television industry,” said IATSE president Matthew Loeb of the strike authorisation.

    IATSE’s recent three-year contract expired in July and the two parties have been trying to craft a new one, however, IATSE said the AMPTP needs to address issues such as excessively unsafe and harmful working hours, fair wages for all production workers, and reasonable rest periods and meal breaks.

    It is well known that individuals that work in film and television productions don’t usually have set hours, often skip meals, and are forced to work on weekends and holidays. In addition, many of these workers are in the lowest-paid positions.

    In a statement after the strike authorisation, the AMPTP said by leaving the table, the IATSE “walked away from a generous comprehensive package.” They further stated that the contract offered included improvements in rest periods, as well as increases in wages and benefits.

    The threat of a strike comes as Hollywood productions are starting to boom again after being shuttered due to the Covid-19 pandemic. Soundstages are beginning to, once again, be in short supply and productions are now having trouble finding enough workers to keep shooting.

    This fact has further emboldened the IATSE, with members arguing that the pressure to work long hours has grown worse in the streaming age, particularly as studios scramble to ramp up production time lost during the Covid-19 shutdowns. The union said it received over 50 reports of 14+ hour workdays during the first seven months of 2021 as reported by Quartz News.

    “I hope that the studios will see and understand the resolve of our members,” Loeb said. “The ball is in their court. If they want to avoid a strike, they will return to the bargaining table and make us a reasonable offer,” the IATSE president stated as talks were set to resume with the AMPTP.

    The last major Hollywood strike was from 2007 to 2008 when 12,000 writers walked off their jobs. It lasted for 100 days and caused productions to be delayed, shortened, and even resulted in shows being canceled. It’s too soon to know how long an IATSE strike would last but it would affect significantly more workers with 60,000 crew members, ranging from editors to make-up artists to camera operators, potentially walking out.

    Film and television shows produced by studios including Columbia Pictures, Warner Bros, Apple TV, Netflix, Disney+ and others could be affected by the strike which could extend through the United States and Canada and could have ripple effects on shows worldwide.

  • The Hollywood Conflict: Streaming vs Theatrical

    The Hollywood Conflict: Streaming vs Theatrical

    Los Angeles: Any screenwriter in Hollywood will tell you that screenplays are all about conflict. Conflict should be in every scene, in every act, and on every page. The more layered, the better. So, when actor Scarlett Johansson, star of the Marvel superhero movie Black Widow sued the Walt Disney Company, alleging that the company breached her contract, she added yet another layer of conflict to the streaming vs. theatrical battle currently being waged in the movie industry due, in large part, to the coronavirus pandemic.

    Johansson argued that when Disney offered Black Widow on streaming at the same time it played in theatres, it breached her contract, and that this dual release reduced her compensation, which was based partly on box office receipts from what was supposed to be an exclusive run in theatres. While Disney argued that the release of the movie on its streaming platform had significantly enhanced Johansson’s ability to earn additional compensation. This case will surely be closely followed by industry insiders since it publicly begins a debate on how talent and filmmakers should be compensated as the industry business models shift between streaming and theatrical.

    In early 2020, as Covid-19 began its deadly march, movie theatres started getting shut and the box office plummeted 80 per cent. At the same time, over-the-top (OTT) media services grew by 37 per cent. The popularity of these platforms became attractive to subscribers because of instant and limitless access to high-quality content at a time many became insulated at home due to the pandemic.

    Popular OTT providers include Netflix, Hulu, Amazon Prime, Disney+, HBO Max among many others. In addition, many studios began releasing films directly to consumers via premium video on demand (PVOD) or on their own streaming platforms.

    With the introduction of Covid-19 vaccines, the United States and countries worldwide are now looking to emerge from the grip of the coronavirus pandemic. Movie theatres are reopening with certain mask-wearing and social distancing mandates. Around 85 per cent of the US cinemas have reopened, according to Comscore, which is the highest percentage since March 2020. Yet, recent theatrical openings have fallen short of expectations.

    Only Black Widow ($80 million), F9: The Fast Saga ($70 million) and A Quiet Place Part II ($47 million) came close to the opening weekend hauls that would have been expected prior to the pandemic and still fell short of their expected blockbuster prospects in that they were all sequels in popular, pre-existing franchises.

    In addition, all three movies had disappointing second-weekend drops. Black Widow saw a 68 per cent tumble in its second weekend, the worst-ever for a Disney released Marvel title, F9: The Fast Saga had a 67 per cent decline while A Quiet Place Part II saw a 59 per cent drop.

    Hollywood has now been dealt a new headache with the spread of the Covid-19 Delta variant which may have played a role in recent disappointing box office takes. In a poll conducted 1 August by The Hollywood Reporter, where prospective viewers were asked if they were comfortable going to a movie theatre, across all demographics, percentages were down. In all movie-goers, the poll came in at 70 per cent down from 81 per cent on 11 July. This drop, in less than three weeks, reveals just how the Covid-19 pandemic is making it virtually impossible for studios and movie theatres to formulate a business plan.

    As far as the debate on which is more profitable, theatrical or streaming, the answer is complicated and fluid. Not only do production and marketing costs need to be considered but also the ever-changing landscape ushered in by the coronavirus pandemic and its potentially far-reaching effects. When this dark pandemic cloud has lifted, will the consumers be ready for dinner and popcorn movie nights out again, or has being comfy at homes streaming movies with the kids taken a hold? Maybe a bit of both but to what degree?

    In Screenrant, Stephen M. Colbert makes the case that movie ticket sales were drying up pre- pandemic while streaming is becoming more profitable, especially for studios with their own streaming service. In addition, studios share around half of their box office with theatres, whereas they get to keep the lion’s share of streaming revenue for their own content on their own platform.

    In Investopedia, Dina Zipin observes that major Hollywood studios can bring in $250 million in profits from a single film, while a respected cable network like HBO can make money off a huge hit like Game of Thrones, which costs millions to shoot. Since unsuccessful projects and financial flops are par for the course, there is no guarantee which shows or potential franchise will be the year’s great moneymaker.

    A case study of the hybrid streaming/theatrical model could be illustrated by A24’s release of the medieval fantasy, The Green Knight starring Dev Patel. A24 pumped up the social media buzz about the movie which also benefited from Patel as a huge draw as a leading man. A24 chose not to put it on PVOD but waited until the perfect time as restrictions eased to release the film in theatres. Then, in a new mixed release strategy, slated a one-day streaming event. The film opened No. 2 in theatres on 30 July 30, right behind Jungle Cruise, outperforming expectations with close to a $7 million weekend take. The data from the one-day streaming event on 18 August has not yet been released.

    With FDA granting full approval of the Pfizer vaccine and with increased calls for proof of vaccinations by employers, as well as by restaurants, gyms, bars, concerts, and sporting venues and movie theatres, it adds a new layer in our return to “normal.” The page on how talent, studios, streaming services, movie studios, and others in the industry will deal with this is yet to be written.

  • Warner Media-Discovery merged outfit named Warner Bros.Discovery

    Warner Media-Discovery merged outfit named Warner Bros.Discovery

    MUMBAI: When two well-known media firms fuse, there’s always a big debate about what the new organisation should be called? But the folks at Discovery and AT&T have kept their life simple: they have decided to call the proposed global entertainment outfit being born out of the merger between Hollywood entertainment powerhouse Warner Bros and  the firm founded by John Hendricks as ‘Warner Bros.Discovery.’

    A press release issued by Discovery stated that “The Warner Bros. Discovery name will honor, celebrate and elevate the world’s most-storied creative studio in the world with the high quality, global nonfiction storytelling heritage of Discovery.”

    David Zaslav, President and CEO of Discovery and the future CEO of the proposed Warner Bros. Discovery combined company, unveiled the new name to WarnerMedia employees from the Warner Bros. studio lot in Burbank, CA, where he said:

    “Warner Bros. Discovery will aspire to be the most innovative, exciting and fun place to tell stories in the world – that is what the company will be about.  We love the new company’s name because it represents the combination of Warner Bros.’ fabled hundred year legacy of creative, authentic storytelling and taking bold risks to bring the most amazing stories to life, with Discovery’s global brand that has always stood brightly for integrity, innovation and inspiration. There are so many wonderful, creative and journalistic cultures that will make up the Warner Bros. Discovery family. We believe it will be the best and most exciting place in the world to tell big, important and impactful stories across any genre – and across any platform: film, television and streaming.”

    The initial wordmark for the proposed company includes the iconic line from the Maltese Falcon, “the stuff that dreams are made of,” an additional homage to the rich legacy of Warner Bros. and the focus of what the proposed company will be about.

    In May, AT&T and Discovery reached a definitive agreement to combine WarnerMedia’s premium entertainment, sports and news assets with Discovery’s leading nonfiction and international entertainment and sports businesses to create a single company.

    Warner Bros. Discovery will bring together leadership teams, content creators, and high-quality series and film libraries in the media business, while accelerating both companies’ plans for leading direct-to-consumer (DTC) streaming services for global consumers. The new company will unite complementary and diverse content strengths with broad appeal — WarnerMedia’s robust studios and portfolio of iconic scripted entertainment, animation, news and sports with Discovery’s global leadership in unscripted and international entertainment and sports.

    The “pure play” content company will own one of the deepest libraries in the world with nearly 200,000 hours of iconic programming and will bring together over 100 of the most cherished, popular and trusted brands in the world under one global portfolio, including: HBO, Warner Bros., Discovery, DC, CNN, WB Games, Turner Sports, Cartoon Network, HGTV, Food Network, TNT, TBS, Turner Classic Movies, Wizarding World, Adult Swim, Eurosport, Magnolia, TLC, Animal Planet, ID and many more.
    Warner Bros. Discovery will be able to increase investment and capabilities in original content and programming; create more opportunity for under-represented storytellers and independent creators; serve customers with innovative video experiences and points of engagement; and propel more investment in high-quality, family-friendly nonfiction content, says the press release.

  • Amazon to reimagine, develop MGM titles: Jeff Bezos

    Amazon to reimagine, develop MGM titles: Jeff Bezos

    KOLKATA: It is a mega $8.45 billion deal that has helped Amazon build a bond with that awesome fictional British secret service agent James Bond. Eyebrows were raised, questioning the size of the amount that is being coughed up to acquire the famed Hollywood studio MGM. Outgoing CEO Jeff Bezos is, however, not letting these doubters perturb him; he is excited by the prospects of the deal.

    While speaking at the company’s annual general meeting Bezos once again explained that the decision was driven by MGM’s rich and deep catalogue, but even more exciting is the manner in which Amazon is looking at reimagining and developing the  IPs the studio has under its fold.

    Bezos pointed out that the acquisition theory is “very simple.” The studio has a vast, deep catalogue of much-loved intellectual property, he reminded. It’s also a win for people who love stories, he added.

    He highlighted that MGM’s library of more than 4,000 films and 17,000 TV shows, including iconic titles like James Bond, Thelma and Louise, Raging Bull, Robocop and Tomb Raider, The Handmaid’s Tale and Vikings, is very much coveted and valuable.

    “The only way to get above-average returns is to take risks and many won’t pay off. Our whole history as a company is about taking risks, many of which have failed and many of which will fail,” he elaborated.

    On Wednesday evening, the announcement finally came in that the e-commerce giant had decided to acquire the studio. “The real financial value behind this deal is the treasure trove of IPs in the deep catalogue that we plan to reimagine and develop together with MGM’s talented team,” Amazon Studios & Prime Video SVP Mike Hopkins said at the time of the announcement.

    Amazon has 200 million Prime members worldwide with access to its video service. Prime members who watch video have higher free trial conversion rates, higher renewal rates, and higher overall engagement.

     The company has been ramping up its spend on content, even on live sports, to stay competitive with the fare being churned out by  Netflix and  Disney and now with the merged Discovery+Warner Media juggernaut.

  • Amazon buys Hollywood studio MGM for $8.45 billion

    Amazon buys Hollywood studio MGM for $8.45 billion

    KOLKATA: Content is the engine of the streaming economy. Recognising this, the streamers have been going through a dizzying series  of acquisitions and mergers. The latest to do so is tech giant Amazon which has finally signed on the dotted line to buy up Hollywood studio MGM for $8.45 billion. This is its  second largest acquisition after it bought Whole Foods for nearly $14 billion in 2017. For the last week or so, speculation was running rife that a deal between the two was on the cards.

    MGM has real gems under its brand that movie lovers have voraciously consumed across the world. The studio is behind classics such as Gone with the Wind and Rocky, the famous Bond franchise, Singin’ in the Rain, 12 Angry Men. Its library also includes popular reality TV shows like The Voice and Shark Tank.

    “The real financial value behind this deal is the treasure trove of IP in the deep catalog that we plan to reimagine and develop together with MGM’s talented team,” Amazon Studios and Prime Video SVP Mike Hopkins has been quoted as saying in media reports internationally.

    Amazon has 200 million prime members worldwide with access to its video service, chief executive jeff Bezos revealed recently. “As Prime Video turns 10, over 175 million Prime members have streamed shows and movies in the past year, and streaming hours are up more than 70 per cent year over year,” he later said in April.

    Prime members who watch video have higher free trial conversion rates, higher renewal rates, and  higher overall engagement. The company has been ramping up  its spend on content , to stay  competitive with the fare being churned out by  Netflix and  Disney and now with the merged Discovery+Warner Media juggernaut.

     “I am very proud that MGM’s Lion, which has long evoked the golden age of Hollywood, will continue its storied history, and the idea born from the creation of United Artists lives on in a way the founders originally intended, driven by the talent and their vision. The opportunity to align MGM’s storied history with Amazon is an inspiring combination,” MGM board chairman Kevin Ulrich said in a statement.

  • Amazon all set to lock a $9bn deal with MGM Studios, report says

    Amazon all set to lock a $9bn deal with MGM Studios, report says

    KOLKATA: E-commerce giant Amazon is all set to close the MGM Studios acquisition deal for $9 billion according to a Wall Street Journal report, which says the deal could be announced as early as this week, provided there isn’t any last-minute glitch.

    The studio of Gone with the Wind and Rocky could turn out to be a great asset for the tech giant as it is substantially focusing on building up its entertainment footprint globally. Notably, MGM offers the famous Bond franchise but without owning it. It is also known for classics like Singin’ in the Rain, The Pink Panther.

    According to the report, the talks between the two parties started at the beginning of the year and have been on-off since then. But it gathered pace over the last few weeks. The board of the Hollywood studio was also informed on the matter on Sunday, the report added.

    If the deal finally comes to fruition, it would be Amazon’s second-biggest acquisition ever, after the $13.7B deal for Whole Foods Market.

    The e-commerce giant is putting in billions of dollars to boost its content library for prime video. It has also committed a huge budget for the production of a TV series based on Lord of the Rings. Then, it is also expanding its live sports portfolio across its key markets. Ultimately, the competition is with the likes of Netflix and Disney of the world.

    MGM has been looking for prospective buyers for a long time now. While it wanted to cut a deal at $9 billion, prospective buyers in the past did find it over expensive. The market valued the studio around $5 billion. Even Apple, Comcast reportedly spoke to MGM but could not reach any agreement. This time it is amazon that never minds paying some extra to dodge off the competition.

  • Streaming war intensifies, as Amazon eyes MGM studios

    Streaming war intensifies, as Amazon eyes MGM studios

    KOLKATA: US tech giant Amazon is in talks to acquire the “Bond studio” MGM to bolster its ambition in the streaming media, according to reports. The mega-deal is being orchestrated by Amazon Studios and Prime Video senior vice president Mike Hopkins, along with MGM board chairman Kevin Ulrich.

    Founded in 1924 MGM’s wide Hollywood library includes names like Bond, Hobbit, Rocky, and Pink Panther franchises as well as movies like The Silence of the Lambs, The Magnificent Seven, Four Weddings, and A Funeral along with a streaming service Epix.

    Although media is not a big part of e-commerce giant Amazon’s portfolio, it has gradually increased focus on the segment. Prime Video’s viewer base has surpassed 175 million, the company revealed recently. According to reports, MGM has been looking for prospective buyers. While the company wants to value itself at $9 billion, others are valuing it at $5 billion.

    At the end of 2020, there were already reports that MGM had tapped Morgan Stanley and LionTree to explore a sale. Even Apple and Comcast also reportedly spoke to the studio but they could not reach an agreement.

    The reports came close on the heels of Discovery-AT&T’s media assets merger deal to build a new streaming giant. In the last few years, the global media and entertainment industry has witnessed a number of consolidations as the streaming competition rises.

  • 7 in 10 Indian movie buffs enjoy dubbed Hollywood films: Study

    7 in 10 Indian movie buffs enjoy dubbed Hollywood films: Study

    NEW DELHI: 70 per cent of Bollywood and regional movie fans enjoy watching dubbed versions of Hollywood films, a study by &flix and Nielsen has revealed. However, these viewers also face the problem of having limited options of movies in their preferred language. 

    The study titled ‘Hollywood is for everyone' interviewed 1500+ movie lovers in metro and non-metro cities and analysed consumer preferences, attitudes and behaviours, giving an insight into the lifestyles and mindsets of movie buffs in India. The findings reveal how Hollywood blockbusters and heroes act as a gateway for viewers to unlock unlimited possibilities.

    The study further revealed that nine in ten movie lovers watch both English and Hindi/regional movies. When it comes to entertainment quotient, 91 per cent viewers prefer Hollywood flicks, because they have better power-packed action sequences and special effects.

    An interesting fact that came to light is movie lovers stating that television is their preferred choice to experience Hollywood. 88 per cent respondents claimed that Hollywood VFX and superhero stunts are better enjoyed on TV than smartphones.

    The study highlighted how viewing habits have changed as a result of the pandemic – 82 per cent respondents stated that TV viewing came closest to the big screen experience amid the lockdown. Moreover, 81 per cent of movie lovers found Hollywood films to be a great way for family bonding during these tough times.

    Movie buffs also demand instant gratification. As per the study, eight out of ten respondents expressed displeasure in waiting for months before their favourite Hollywood films are screened on Indian TV channels.

    The study also pointed out key characteristics of Hollywood enthusiasts – they earn 1.5x more than Bollywood/regional movie admirers, have a stronger presence on social media, and are brand-conscious individuals who seek new experiences.  

    ZEEL premium channels business head Kartik Mahadev said, "In the hyper-connected world we live in, Hollywood is closer to our homes and hearts now than ever before. Today, Hollywood movies aren’t just for the English-speaking audiences living in metros as we see movie enthusiasts in Bharat and India with the same level of passion and connectedness to the global fan following. This &flix study delves deeper into the mind of the movie fan and explores their culture that is fully immersed into the movie universe."

    Drawing inspiration from the findings, Zee has recently announced a pan-network property 'Ticket to Hollywood' that brings the latest Hollywood movies in dubbed languages across Zee's leading movie channels.

    Zee chief consumer officer Prathyusha Agarwal said, "At Zee, we have always recognized the diversity of the cultures and people that exist within India. The findings from the &flix consumer study are proof that Hollywood aficionados are spread across the 'many Bharats' today. They seek new experiences and have their finger on the pulse of the latest trends. By offering a 'Ticket to Hollywood' to these passionate fans, we at &flix continue to win in the many Bharats that coexist."