Tag: media

  • Insider’s view on how to bridge video monetisation to optimise revenues

    Insider’s view on how to bridge video monetisation to optimise revenues

    Mumbai: Most common reasons for video revenue loss for publishers in India range from factors including inventory control, underutilisation of video advertising, traffic quality and not taking advantage of the latest technologies available. 

    Some of these issues and their solutions were discussed during a webinar- ‘Bridging Video Monetisation to Optimise Revenues’ organised by Indiantelevision.com in association with Aniview on Tuesday. The virtual panel discussion was moderated by Indiantelevision.com Group founder, CEO, and editor-in-chief Anil Wanvari.

    Experts discussed, how better content experience, fuller transparency, a self-service platform with better control on the video player, along with having an experienced team to operate the platform could drive higher revenues.

    According to end-to-end video advertising and monetisation solutions provider Aniview, business director-APAC, Matthew Bray, currently India is the fastest-growing internet advertising market in the world, and video remains the most popular ad format. “It’s the sixth-largest market in consumption of video ads,” said Bray about the video advertising landscape in India.

    Amongst the reasons for the loss in video revenue, Bray cited poor content experience, heavy player, player loading issues, inventory loss, lack of transparency on traffic insights among others. Non-adherence to Google policies and underutilisation of Google Adx are other primary causes of video revenue loss, Bray said. “Many publishers in India leak video revenue & underutilise their own video content on a regular basis,” he said, adding that full control over a video player can lead to an increase in revenue. “Google will likely remain the dominant SSP for video.”

    According to HT Digital’s Prasad Sanyal, underutilisation of inventory plagues almost all publishers in India. “We are looking at avenues where we can have more control over our video assets & monetise them better,” he added.

    By running a video player in these placements publishers can make better use of their own video content to engage their users and create more ad opportunities. While it not only allows full control over ad placements, player behaviour, and ad breaks, it leads to the creation of better quality traffic that drives higher CPMs. When deployed correctly this can even lead to significant revenue lifts. Aniview cited Jagran as a successful case study, as it has more than doubled its revenue on some ad placements on article pages by deploying Aniview.

    “With Aniview we got a white label solution. There are the cities, and tier-2, tier-3 segments too, for all of which we need to create separate segmentation as per the category,” shared Jagran New Media, AVP and head-ad monetisation and strategic partnership, Dinesh Joshi. “We also produce a lot of text content, but definitely video is going to be big in the near future. Jagran is working on branded content on the video side, we have to work on the monetisation front too.”

    HDFC Bank, vice president, and head- digital marketing, Jahid Ahmed, said, regulations apart from basics like viewability can give a lot of confidence on rolling out a video across platforms. Also, the decision on which video is to be used where- that also plays a significant role, he added.

    Social Beat co-founder and director Vikas Chawla highlighted the need to scale up the inventory for advertisers to see it as a viable option to do large campaigns.

    “Most of us have invested in analytics significantly, but we have a long way to go before advertisers get comfortable with us,” added HT Digital Streams’ Prasad Sanyal.

    Manorama Online’s general manager (digital) Sathyajith Divakaran shared, “We have an OTT platform which is exclusively video-led and we only encourage video ads. We are clear in what we can offer as ads as we know which shows attract a certain kind of audience. It is just that the video inventory available is not utilised fully despite having a number of partners on board.”

    According to Matthew Bray, Video is going to keep growing in India & in order to sell the inventory created one needs to have a system that they can properly control. “Then you see better yields and more video views because you can control the content,” he said, adding that there are exchanges in India that are having trouble moving video content because there isn’t enough inventory being created.

    Sharing that increasingly they are evolving to a point where they know what to do with their inventories, HT Digital’s Sanyal said, “At HT we are getting to a stage where we should be able to drive more revenues out of videos & also do better videos in the process. We hope to deliver better value to our readers and viewers.”

    HDFC Bank’s Jahid Ahmed said that every platform is evolving in its own space and it’s great to see such platforms coming up that helps publishers in their cause. He added, “It’s right to outsource such expert work instead of all platforms trying to do everything by themselves. For discoverability of our product-led videos, if some platform smoothly integrates with our CMS & gives good info to our users, then why not,” added Ahmed.

    Talking about the near future Ahmed said, “Digital is growing significantly at 35 to 40 per cent Y-O-Y, and within digital, video-led content consumption is one key aspect we are focused on. Video along with a combined vernacular, with personalised elements like geography/ gender, is the way to go.”

    All the panelists were in agreement on the significance of video content in today’s times.

  • US drama Bridgerton is Netflix’s most popular show globally

    US drama Bridgerton is Netflix’s most popular show globally

    Mumbai: Eight-part romantic drama ‘Bridgerton’ has trumped all shows to emerge as the most popular shows on Netflix, said co-chief executive Ted Sarandos on Monday, as he gave a sneak-peek into the streaming platform’s most popular shows.

    “We’re trying to be more transparent with talent, and with the market. Netflix’s streaming data, is a big black box, mostly,” said Saranodos while addressing the Vox Media’s Code Conference held on Monday.

    The top executive shared two slides. The first slide showed the most popular shows based on its proprietary metric of the number of accounts that selected a given title in the first month of release and streamed for at least two minutes. The second slide showed total time spent viewing (hours) within the initial 28-day of release- reported Variety.

    The first season of the US drama ‘Bridgerton’ topped both the charts, and was closely followed by first season of ‘Lupin’, ‘The Witcher’, ‘Sex/Life’, and ‘Stranger Things-3’. Spanish drama ‘Money Heist -4’ featured at sixth position, followed by ‘Tiger King’ and ‘The Queen’s Gambit’. The movies’ list was dominated by ‘Extraction’ and ‘Bird Box’.

    In terms of rankings for overall time-spent viewing in the first 28 days of release, ‘Bridgerton’ and ‘Money Heist-4’ again lead the charts. Sarandos also said that the recently released Korean horror series ‘Squid Game’ could become Netflix’s biggest non-English title so far.

    Sarandos also dismissed news of the streaming platform looking to buy a movie theater chain. Netflix owns a theater in New York, and one in Los Angeles, which it bought in 2020, and uses the cinemas to hold movie premieres and to showcase some of its original films.

  • Sunil Kataria re-elected as chairman of Indian Society of Advertisers

    Sunil Kataria re-elected as chairman of Indian Society of Advertisers

    Mumbai: The newly elected executive council of the Indian Society of Advertisers (ISA) has re-elected Godrej Consumer Products Ltd (GCPL), CEO- India, and SAARC Sunil Kataria as chairman of the body. He was re-elected for the sixth consecutive term.

    “Kataria has led the Society over the past five years to greater heights garnering support from the fellow executive council members, the ISA members, and other industry bodies,” said the association in a statement.

    “The focus will be to make the ISA even stronger in future to provide value-added support to our members for the new normal and beyond. With digital advertising having ascended as second only to TV and growing even further, our endeavour this year would be to take forward our efforts in the area of digital measurement. The ISA’s plans to work with Barc to create a Multimedia Measurement are progressing in good shape,” said Kataria.

    ISA has served as a strong voice for the advertisers over the last 69 years, and played a significant role in the formation of Barc and is closely partnering with it towards advertisers getting robust and credible data.

  • Tata Sky brings international content through new launch – ‘Videshi Kahaniyan’

    Tata Sky brings international content through new launch – ‘Videshi Kahaniyan’

    Mumbai: Amping the content game, content distribution and Pay TV platform Tata Sky has introduced a new platform service – ‘Tata Sky Videshi Kahaniyan’ to offer ad-free International shows and movies dubbed in Hindi for its viewers.

    The new service will give subscribers access to a vast collection of content across Korean, Bulgarian, Spanish, Ukrainian, and other languages, said the platform on Monday.

    “International content has been gaining popularity as stories from around the world resonate with Indian viewers,” said Tata Sky chief commercial and content officer Pallavi Puri. “For ‘Tata Sky Videshi Kahaniyan’, we are partnering with One Take Media, pioneers in global content production & distribution, to bring our viewers high-quality entertainment from across the globe at an affordable price. Some of the Korean, Bulgarian and Spanish shows on the service are very popular worldwide and will bring a richness and variety to the entertainment offered by Tata Sky.”

    The new service will be available on both DTH and mobile app, and will showcase blockbusters such as ‘Goblin’, ‘I am not a robot’, ‘Emergency Couple’, ‘Eternal’, ‘Undercover’ among others.

    The brand has also roped in TV personality, Rupali Ganguly of ‘Sarabhai Vs Sarabhai’ fame for promoting the new service. “I am excited to see my love for International content come to life with Tata Sky Videshi Kahaniyan. I have enjoyed shooting for the campaign and am sure that this service will be a complete entertainment package,” she said.

    “We are thrilled to partner with Tata Sky and launch their new value-added service Tata Sky Videshi Kahaniyan’, we have carefully collated the list of shows and movies for the service and are sure that the audiences will enjoy this collection,” said One Take Media Co-director Dimpy Khera.

  • Havas Creative Group India names Debpriyo Bhattacherjee as EVP & Planning head-north

    Havas Creative Group India names Debpriyo Bhattacherjee as EVP & Planning head-north

    Mumbai: Havas Creative Group India has appointed Debopriyo (Debo) Bhattacherjee as EVP & planning Head – North effective immediately.

    In his new role, Bhattacherjee will be responsible for providing strategic guidance to Havas Creative with a special focus on all brands of Reckitt and a portfolio of brands from the Dabur stable. “He will also be spearheading clients like Suzuki, Norton, Fortis, William Grants, ITC, and working closely with the senior leadership team to drive new client acquisitions and ensuring seamless adoption of the process of integration and collaboration across the group,” the agency announced on Monday.

    He will be based out of the Gurgaon office and will be reporting to Havas Group India’s chief strategy officer Neeraj Bassi.

    A strategic planner with 17 years of work experience, Bhattacherjee has worked with several agencies in India and Southeast Asia including Ogilvy, Dentsu, DDB, and McCann. He also served as the head of strategy planning for over three years in Havas at Kuala Lumpur, Malaysia. His expertise lies in solving business problems by sparking and nurturing creative possibilities. Bhattacherjee has worked on a multitude of blue-chip accounts, namely, Unilever, Danone, Mondelez, L’Oréal, Coke, Mitsubishi, Toyota, Diageo, SABMiller, Carlsberg, Maxis, AXA, ICICI, PETRONAS, and Tesco, among others.

    “Debo has both the experience and knowledge of handling brands across a wide range of categories. He has been part of the Havas network earlier and understands the culture of Integration that Havas offers to its clients. His unique perspectives and ideas will undoubtedly increase our abilities to produce interesting work for our client portfolio,” said Havas Creative Group India- president, Manas Lahiri.

    On his new role, Bhattacherjee said, “For me, it is a homecoming to a network that I admire. So, with the change in consumer behaviour especially post the pandemic, the endeavour will be to keep working on creating differentiated strategies for all the leading brands of Reckitt, Dabur, Suzuki, and many others. I’m looking forward to working with the dynamic team of Havas Village India.”

  • Fox Entertainment launches Unscripted Format Fund to identify IP for global market

    Fox Entertainment launches Unscripted Format Fund to identify IP for global market

    Mumbai: Fox Entertainment and in-house studio Fox Alternative Entertainment launched an international unscripted format fund to look for Intellectual Property (IP) for the global marketplace.

    The decision is part of Fox Entertainment’s strategy to build and diversify its portfolio of content and revenue streams, said CEO Charlie Collier as he made the announcement on Friday. It will invest in and develop internationally originated unscripted program concepts ranging from reality-competition and variety series to other genres for platforms.

    “Fox has long been a global leader in alternative programming. This enviable track record of more than three decades of success brings with it great expectations to remain as the world’s preeminent platform in the genre,” said Colier. “This fund presents us with the opportunity to continue identifying and curating formats that fulfil several key objectives: diversify our slate of owned content, expand Fox’s interests globally, and better serve our platform partners.”

    Alternative Entertainment president Rob Wade who leads the Specials for Fox Entertainment will be responsible for overseeing the fund. FAE will co-produce series selected by the fund with each series’ partner, in order to provide cost-effective programming to local broadcasters.

    FAE was formed in 2019 to oversee the production of Fox’s hit singing competition series and TV’s prime time programme – ‘The Masked Singer’. In addition to the ‘Masker Singer’, it produced ‘I Can See Your Voice’, last season’s top unscripted program, ‘The Masked Dancer’, ‘Name That Tune’, and Fox’s New Year’s Eve Toast and Roast 2021, as well as co-produces ‘Ultimate Tag’.

  • The whys and wherefores of the Zeel-SPNI merger proposal

    The whys and wherefores of the Zeel-SPNI merger proposal

    Mumbai: After days of conjectures fueled by boardroom battles, Zee Entertainment Enterprises Ltd (Zeel) pulled off a tour de force early on Wednesday announcing the company’s plans for a mega-merger with arch-rival Sony Pictures Networks India (SPNI). With their combined linear networks, digital assets, production operations, and programme libraries, the two companies are set to create one of India’s largest media and entertainment entities in terms of market share. It will not only rival market leader Disney Star India, but it could well pip the former at the post in revenues when it does go through.

    The news was not completely unexpected; talks of a merger between the two networks had been in the news intermittently for almost two years now. They had flirted with each other and other suitors intermittently. According to various media reports, both SPNI and Zeel had been on the lookout for a partner that could bring in mutual synergies, while minimising clashes, to fend off competition amid growing consolidation in the media and entertainment industry.  Each one of them had also explored a merger with the Mukesh Ambani-owned Viacom18 to challenge the Disney-Star collaboration that has been dominating the content market, however, without success. RIL owns a majority stake in Viacom18, which is a joint venture between TV18 Broadcast Ltd and US-based ViacomCBS Inc. With the current merger, the companies have seemed to found what each of them was looking for to turbocharge their future growth.

    If Zeel is backed by its core strength in content creation in both mainline Hindi and regional languages, SPNI brings along its well-consolidated entertainment and sports genre creating a potent combination. SPNI also leads in the English/premium factual entertainment genre, but in return, it will get an opportunity to leverage Zeel’s pervasive reach built over decades.

    Despite recent challenges, the network has come a long way since its launch three decades ago. Zeel continues to maintain its hold in the HSM with its FTA channel Zee Anmol being the steady top grosser in the UP/Uttarakhand market, and down south with regional GECs Zee Kannada or Telugu. The merger could also help SPNI to adopt a well-positioned strategy that has so far oscillated between targeting mass and metro audiences.  It could also bolster their growing digital businesses, bringing together the two streaming platforms-  Zee5 and SonyLIV. 

    The reality is that both Zeel and SPNI are no strangers when it comes to striking a deal. One can hark back to a time half a decade ago when the Subhash Chandra-run company had hawked off its Ten Sports channel and related sports business to SPNI – a deal which has served the latter well.

    With the latest merger announcement, Zeel has also pulled off a coup of sorts in favour of its MD and CEO Punit Goenka who will now lead the combined media entity. The announcement is crucial, as it boosts his position at a time when two of Zeel’s top investors – had called for his ouster, making corporate governance allegations against him and some Zeel board members.

    Over the last year, Goenka has focused on transforming the company into a new ‘Zee 4.0 vision’ – led by a revamped programming line-up of its linear channel portfolio in the key markets, and the launch of new channels. In its recent annual general meeting (AGM), Goenka had elaborated how Zeel’s future roadmap for the next three years will be led by digital. “We are still in investment mode for our digital business and our film business. We enjoyed leadership in several of the markets that we operate in,” he told shareholders last week.

    Zeel’s linear business has managed to retain its profitability, but its flagship channel Zee TV has been looking to regain its standing in the non-fiction content where it used to be a strong player until a few years back, with popular properties like Sa Re Ga Ma and DID.

    Goenka also told shareholders about Zeel’s plans to become the leading studio in films across six languages and increases its market share in the music category. SPNI, on its part, has recently stepped up its content creation capability in-house through its TV and OTT show and film production units. Zeel and SPNI’s union on this front will prove beneficial in many ways.

    The most important benefit that the merger brings to the table is even higher economies of scale. Zeel has over the years built its reputation as an excellent cost-efficient media company, even as SPNI is one of the more profitably run broadcasters. Their coming together is likely to bring in even more cost-efficiencies because of the scale that their marriage will usher in, enabling tougher negotiating power with suppliers and with clients. Additionally, internal cost savings will also be generated as the merged entity right sizes itself in terms of manpower, talent, and functions.

    The merger announced on Wednesday is subject to regulatory approvals, but once it goes through, it will result in SPNI holding a majority of 52.93 per cent with Zeel and its shareholders having 47.01 per cent of the new entity. But, the promoter family will remain free to increase its holding from four per cent to 20 per cent over time. SPNI will hold the majority share in the new media entity and its shareholders will pump in growth capital of $1.575 billion to strengthen the company’s digital platforms across technology and content, ability to bid for broadcasting rights in the fast-growing sports landscape and pursue other growth opportunities.

    The combined company’s board of directors would include directors nominated by the Sony Group and result in it having the right to nominate the majority of the members. 

  • Kannada channel ‘News First’ turns One

    Kannada channel ‘News First’ turns One

    Mumbai: Kannada news channel – ‘News First’ has turned one, bagging accolades with its quality reporting, and refined language that has clicked with Karnataka’s news viewing audiences.

    According to the channel, the advertisers too have seen the potential in the new entrant, considering the number of advertisers it has onboarded over the past year. The channel launched last year on 20 September, following a mega campaign- “Quality Andhray News First, News First Andhray Quality” (Quality means News First, News First means Quality).

    Focussing on the pandemic coverage, News First took its campaign to the villages with “HaLLEE Chalo” (Let’s go Village-ward, Drive away Corona – Save Villages). The campaign was also supported by the state and central governments leading to renewed Covid awareness and action across villages. A city focussed Covid awareness campaign, ‘My City, My Safety’, for Bengaluru’s apartment complexes was met with equal interest by the government and people alike.

    Apart from the relentless Covid coverage, the channel was also noticed for several people-centric and inspirational programming. Some of the programmes that stood out include Nimma Paravagi (On behalf of the common man), Naanu Nanna Sadhane (Recognising Business Achiever’s from Tier 2 – Tier 3 cities), Yaavdhu Asaadhya Valla (Nothing is impossible), Vijayaee Bhava (May victory be with you), Idhidhu Idhange (News as it is) Mane Mane Meenakshi (Every household has a lady who loves TV serials).

    News First has relied on delivering news breaks and exclusives accompanied with high-quality graphics, and tastefully done sets, and strong content focus with shows ‘India First’ and ‘Prime Show’.

    News First CEO, S Ravikumar said, “Well begun is well, done. One can’t say half done so early in a brand’s life. More so in the year of the pandemic. We’ve done well under the circumstances. Market and audience feedback has been encouraging. We’ve covered all of Karnataka cable and DTH homes. The team has lived up to its potential. Some of our shows have received good traction. But when excellence is ideal, there is always room for improvement. The withdrawal of BARC ratings upset our plans. Any strategic maneuvering can be done only after the ratings are out. But we are optimistic about our brand’s performance and hence the ratings.”

    The promoters Ravi & Maruthi ensured that the channel creates a buzz before the launch, he added.

    According to Ravikumar, the channel has attempted to stand out, on the back of its quality aesthetics. “So anyone flipping channels can stay for a glance. Grabbing the floating viewer is the key. There are many of them out there eager to switch and stay. News First has definitely made a start by holding this viewer tired of noise and news drag,” he added. The channel’s non-prime time programming like Mane Mane Meenakshi and Vijayee Bhava have also clicked with audiences.

    Editor-in-chief SH Maruthi said, “The program names too aren’t run of the mill or copy-pasted from national channel shows. Previously known words and phrases have been brought to life as program names across different time bands. The catchy program names are meant to create a sense of belonging in audiences. The rediscovered names are meant to make audiences feel one with the brand and experience an indescribable gush of emotions.”

    The BARC ratings withdrawal was a downer, but that has not diminished hopes about the brand’s perception.

    Business head S Divaakar. “Milestones are key moments in the life of any brand. We are happy to have reached the one-year milestone. A century of sorts during cricketing times! Always a good feeling. However, we are aware that it’s just the beginning of an indifferent year. We have a long way to go. The market is easing up after the lockdowns. As soon as BARC eases up on the ratings, the game will truly be on!”

    The channel has also bolstered its presence on social media, especially YouTube and Facebook.    

  • ‘Ted Lasso’, ‘The Crown’ win big at the 73rd Emmys

    ‘Ted Lasso’, ‘The Crown’ win big at the 73rd Emmys

    Los Angeles: Netflix’s “The Crown” and Apple TV+’s “Ted Lasso” have won the Emmy for the Outstanding Drama and Comedy series respectively at the 73rd Primetime Emmy Awards, which returned with in-person glitz and glamour on Sunday, after going remote in 2020 due to the pandemic.

    The ceremony honored the best in the US prime time television programming from 1 June 2020 until 31 May 2021, as chosen by the Academy of Television Arts and Sciences highlighting much of what folks have been watching during the pandemic.

    Among the closely watched categories were those in outstanding comedy, where a whopping 75 per cent of the nominees were new to the category. The big winner was “Ted Lasso” taking home the award for comedy series, as well as comedy lead actor, supporting actor, and supporting actress. The freshman comedy with 13 nominations walked away with four awards in all.

    “The Crown” which bagged a total of 11 nominations, won in the outstanding lead actor, drama (Josh O’Connor), lead actress, drama (Olivia Colman), and outstanding directing for a drama series (episode: ‘War’, directed by Jessica Hobbs) categories, in addition to five other wins.

    “The Queen’s Gambit” took home the award in the closely watched Outstanding Limited or Anthology Series race. “Mare of Easttown” surprised some pundits with wins for lead actress, supporting actor and supporting actress in the Limited or Anthology Series or Movie category.

    Cedric the Entertainer, hosting for the first time, kicked off the ceremony with a strong opening hip-hop performance set to Biz Markie’s iconic song, “Just a Friend.” Cedric enlisted the help of a few A-listers to the act including LL Cool J, Lil Dicky, Rita Wilson and more. “TV, you got what I need!” the group sang, as seemingly everyone in the audience joined in. 

    After a few trophies were handed out, Cedric brought his comedy A-game to the night with an opening monologue taking on Nicki Minaj, who was trolled online for her anti-vax commentary, the Jeopardy! host fiasco and also the royal family. Noting so much talent in the room, Cedric retorted, “Lock the doors, we’re not leaving until we find a new host for Jeopardy!”

    Television Academy CEO and chairman Frank Scherma gave an impassioned speech as he took the stage to introduce and present the winner of this year’s Governor’s Award. “It’s so great to see that television and the stories we tell are finally becoming a reflection of every part of our society,” said Scherma.

    Although television programming has seen a definitive rise in the representation of diverse characters, this year’s Emmy Awards is already being scrutinised since it had its most diverse field of nominees yet but failed to deliver. By the end of the night, no actors of color or LGBTQ actors had won any of the major acting awards.

    Multi-talented actress and dancer, Debbie Allen accepted the 2021 Governor’s Award from Scherma and with tears in her eyes shared a heartfelt tribute to women in Texas and Afghanistan and called on women worldwide to let the moment resonate. “It is time for you to claim your power, claim your voice, say your song, tell your stories,” she said. Allen, a Black woman was one of only a few people of color who won an award.

    RuPaul, the host and executive producer of “RuPaul’s Drag Race” became the most-awarded Black artist in Emmys history with 11 wins after the VH1 series won the award for top competition program for the fourth year in a row during Sunday’s ceremony.

    The attendees were drastically scaled back to around a reported 500 and were required to follow Covid-19 protocols that mimic safety measures put in place on Hollywood sets. This included proof of vaccinations and requiring guests to wear masks when not on camera.

    Complete list of winners:

    Outstanding Variety Talk Series: “Last Week Tonight with John Oliver”

    Outstanding Competition Program: “RuPaul’s Drag Race”

    Outstanding Lead Actress in a Comedy Series: Jean Smart, “Hacks” 

    Outstanding Lead Actor in a Comedy Series: Jason Sudeikis, “Ted Lasso” 

    Outstanding Comedy Series: “Ted Lasso” 

    Outstanding Lead Actor in a Limited or Anthology Series or a Movie: Ewan McGregor, “Halston”

    Outstanding Lead Actress in a Limited or Anthology Series or a Movie: Kate Winslet, “Mare of Easttown”

    Outstanding Limited or Anthology Series: “The Queen’s Gambit” 

    Outstanding Lead Actress in a Drama Series: Olivia Colman, “The Crown” 

    Outstanding Lead Actor in a Drama Series: Josh O’Connor, “The Crown”

    Outstanding Supporting Actor in a Comedy Series: Brett Goldstein, “Ted Lasso”

    Outstanding Supporting Actress in a Comedy Series: Hannah Waddingham, “Ted Lasso”

    Outstanding Supporting Actor in a Drama Series: Tobias Menzies, “The Crown” 

    Outstanding Supporting Actress in a Drama Series: Gillian Anderson, “The Crown” 

    Outstanding Supporting Actor in a Limited or Anthology Series or Movie: Evan Peters, “Mare of Easttown” 

    Outstanding Supporting Actress in a Limited or Anthology Series or Movie: Julianne Nicholson, “Mare of Easttown”

    Outstanding Drama Serie: “The Crown”

    Outstanding Variety Sketch Series: “Saturday Night Live”

    Outstanding Variety Special (Live): “Stephen Colbert’s Election Night 2020: Democracy’s Last Stand Building Back America Great Again Better 2020”

    Outstanding Variety Special (Pre-Recorded): “Hamilton” 

    Outstanding Directing for a Comedy Series: “Hacks” (Episode: ‘There Is No Line’), Directed by Lucia Aniello

    Outstanding Directing for a Drama Series: “The Crown” (Episode: ‘War’), Directed by Jessica Hobbs

    Outstanding Directing for a Limited or Anthology Series or Movie: “The Queen’s Gambit,” Directed by Scott Frank 

    Outstanding Writing for a Comedy Series: “Hacks” (Episode: ‘There Is No Line’), written by Lucia Aniello, Paul W Downs, and Jen Statsky

    Outstanding Writing for a Drama Series: “The Crown” (Episode: ‘War’), written by Peter Morgan

    Outstanding Writing for a Limited or Anthology Series or Movie: “I May Destroy You,” written by Michaela Coel

    Outstanding Writing for a Variety Series: “Last Week Tonight with John Oliver” 

  • Tata Sky Binge onboards two new OTT Apps this festive season

    Tata Sky Binge onboards two new OTT Apps this festive season

    Mumbai: In order to make the most of the festive season, Tata Sky has added two new apps to bolster its streaming platform Tata Sky Binge, taking the total number of partner apps on the platform to thirteen.

    The two OTT apps- EPIC ON & DocuBay helmed by IN10 Media Network will add thousands of movies, shows, reality TV content, and award-winning documentaries from around the globe to the existing bouquet of content on Tata Sky Binge, the company announced on Monday. Subscribers will be able to access the new content library on existing subscriptions across large screen connected devices (Tata Sky Binge+ Box and Tata Sky edition of the Amazon FireTV Stick) and the Tata Sky Binge Mobile App, it added.

    The streaming platform currently aggregates content from 11 premium OTT apps including Disney+ Hotstar Premium, ZEE5, Sony Liv, Voot Select, SunNxt, Hungama Play, Eros Now, ShemarooMe, Voot Kids, and CuriosityStream. “EPIC ON and DocuBay will add more diversity to our content catalogue driving further engagement. We believe such platform additions will only make Tata Sky Binge the absolute go-to destination for the viewers,” said Tata Sky spokesperson.

    EPIC ON will bring to the table a vast array of content including a mix of movies, TV shows, short films, reality TV content, food & travel shows. This includes Gandhi, Dharmakshetra, Siyasat, Raja Rasoi Aur Anya Kahaniyaan, and Stories by Rabindranath Tagore. It also features several Korean Drama titles dubbed in Hindi and short films.

    While, DocuBay specialises in streaming documentaries from around the globe and will add informative content including award-winning documentary films on nature, science, history, wildlife, travel, crime, world events, and much more. This includes Victims of ISIS, Financing Terror, and Bitcoin: The end of money as we know it.

    IN10 Media Network’s Spokesperson further added, “With the digital ecosystem seeing immense growth and viewers looking for diverse content, our digital offerings – EPIC ON and DocuBay – provide a rich library of world-acclaimed content. We are happy to partner with Tata Sky as its reach and our varied content of shows, movies and documentaries will provide the customers an enriching and enthralling content-viewing experience every week.”