Tag: Netflix

  • Netflix inks major streaming deal with Steven Spielberg’s studio

    New Delhi: Streaming giant Netflix Inc has clinched a major deal with Academy Award-winning filmmaker Steven Spielberg for his Amblin Partners production company to supply multiple movies a year.

    The new development has come as a shot in the arm for Netflix, at a time when the streaming war is heating up, with a host of competitors including Disney plus and Amazon Prime stepping up the game.

    Known for his classics such as E.T. the Extra-Terrestrial, Jurassic Park, and Schindler’s List, Spielberg will continue to direct and produce movies for Comcast Corp’s Universal Pictures under a different agreement, reported Reuters.

    “At Amblin, storytelling will forever be at the center of everything we do, and from the minute Ted (Netflix co-CEO Ted Sarandos) and I started discussing a partnership, it was abundantly clear that we had an amazing opportunity to tell new stories together and reach audiences in new ways,” Spielberg said in a statement. Amblin produces several movies apart from the ones that Spielberg directs himself. 

    Netflix operates the world’s largest streaming service with nearly 209 million subscribers worldwide. “By deepening our ties with Netflix via this new film partnership, we are building on what has for many years been an incredibly successful working relationship in both television and film,” Amblin Partners CEO Jeff Small stated.

    Under the deal, Amblin is expected to produce at least two films a year for Netflix for an unspecified number of years. It is possible that Spielberg may even direct some of the projects. Netflix is expected to provide financing for some of these productions, reported Variety.

    Recent Amblin projects included 2018 Oscar best picture winner Green Book and 2019 World War One drama – 1917 which won three Oscars and two Golden Globes. Both movies were distributed by Universal. 

  • Netflix launches online store to offer products curated from popular shows

    KOLKATA: Streaming giant Netflix has taken its retail ambition a step ahead with the launch of an online store. Netflix.Shop that will offer curated products based on its content.

    It will drop limited editions of carefully selected high-quality apparel and lifestyle products tied to its shows and brand on a regular basis. Among the items debuting this month are streetwear and action figures based on anime series Yasuke and Eden; as well as limited-edition apparel and decorative items inspired by Lupin in collaboration with the Musée du Louvre. 

    For the launch on Thursday, Netflix.shop has introduced a collection of anime-inspired collectibles from a remarkable group of up-and-coming designers: Nathalie Nguyen, Kristopher Kites, and Jordan Bentley.

    Additionally, it has hinted to unveil exclusive products from beloved titles like The Witcher and Stranger Things, as well as new Netflix logo-wear from Japanese fashion house BEAMS soon. The Netflix.shop will first be available in the US before expanding into other countries around the world in the coming months.

    Like many major studios, it is a rational move for the streaming giant to add another revenue stream through merchandise sales. It becomes more important at a time when the streaming market is becoming increasingly competitive, and its domestic growth is slowing down.

    “We’re thrilled to give fans a new way to connect with their favorite stories, and to introduce them to the next wave of artists and designers who embrace the power of storytelling in all its forms,” Netflix VP consumer products Josh Simon said in a blog post.

  • Justice Sikri to chair grievance redressal board for digital publishers under IAMAI

    KOLKATA: The Internet and Mobile Association of India (IAMAI) announced on Thursday that former Supreme Court Justice Arjan Kumar Sikri will chair the Grievance Redressal Board (GRB), formed as a part of the Digital Publisher Content Grievances Council (DPCGC). 

    The GRB will address content grievances about any of the DPCGC member’s video streaming services. It will function as an independent body and act as the second-tier within the three-tier grievance redressal mechanism as envisioned by the Information Technology (Intermediary Guidelines and Digital Media Ethics Code) Rules, 2021. Under Justice Sikri’s leadership, the GRB will aim to provide independent adjudication on content grievances escalated to it.

    The members of the GRB include prominent personalities from the media and entertainment industry, online curated content providers, experts from various fields including child rights, women rights, and media laws. The Grievance Redressal Board includes National award-winning actress Suhasini Maniratnam; Madhu Bhojwani, Indian film Producer and partner at Emmay Entertainment and Motion Pictures; Gopal Jain, senior Advocate, Supreme Court of India; and Dr. Ranjana Kumari, eminent Civil Society representative who currently serves as the director of the Centre for Social Research and as the chairperson of Women Power Connect. The two members from the Online Curated Content Providers are Amit Grover, senior corporate counsel, Amazon India, and Priyanka Chaudhari, director-legal, Netflix India.

    IAMAI had recently announced the formation of the Digital Publisher Content Grievances Council as an independent self-regulatory organization to provide a grievance redressal platform for Online Curated Content consumers. The DPCGC will empower consumers to make informed viewing choices and promote creative excellence, which are keys to the long-term success of the Indian entertainment industry.

    The appointment of GRB members is a crucial step towards setting up an independent grievance redressal mechanism in alignment with IT Rules 2021, it said on Thursday. The GRB will oversee and ensure the alignment and adherence to the Code of Ethics by the DPCG Council members, provide guidance to member entities on the Code of Ethics, and address grievances that have not been resolved by the publisher within the stipulated period.

    The DPCGC currently has 14 publishers of online curated content as members, which include Amazon Prime Video, Alt Balaji, Apple, BookMyShow Stream, Eros Now, Firework TV, Hoichoi, Hungama, Lionsgate Play, MX Player, Netflix, Reeldrama, Shemaroo, and Ullu.

    Tags: IAMAI, Netflix, Amazon India, OTT, Streaming Service, New IT rules, Justice Sikri.

  • How television can increase time spent viewing with interactivity

    MUMBAI: With streaming video services like Netflix, Amazon, Disney+Hotstar, and Zee5 grabbing a majority of the headlines, and becoming the flavor of the moment, many believe that linear television in India is losing its moxie. Yes, broadcasting companies are indeed responding aggressively to Netflix and Amazon’s invasions into what was once solely their territory by acquiring, merging, and launching their own OTT platforms. Not just in the US, but almost every nation, including India.

    Yes, it’s true that India alone has around 70-80 streaming platforms – if you include those with dubious titillating content, and which are available on the google play store. Yes, it’s true that almost every trade and business publication has raised the alarm that streaming video platforms are going to steal viewers and pull the rug from under television’s feet.

    But the fact is that the reality is as far from this fear-mongering, as is mount Everest from Mumbai. Television is only on the rise in India. That is quite evident from the television data the Broadcast Audience Research Council (BARC) reported recently. The number of Indian television households grew to 210 million by the end of 2020. Some 13 million homes were added to the TV universe since the last BARC study in 2018; of this rural India accounted for nine million. TV viewership also rose to 892 million individuals from 836 million. Add to that the fact that more than 90 million households have yet to own a TV set.

    Now if you compare those figures with the OTT universe: the biggest OTT platforms in India – Disney+Hotstar and Zee5 – have monthly active users which are around one-third of TV’s viewing population and other streamers have significantly lower numbers. Subscribers to the premium OTT services are also only in the single and double-digit million range. Revenues too are not comparable; the free ad-supported television streaming platforms are dwarfed by the ad revenues that Indian television –both pay and free to air channels are mopping up.

    Clearly, broadcast television has long legs and will continue to stride ahead of streaming services. What can help it proliferate even more is if interactivity can be built into it; with viewers being able to interact with it live from their homes. Just like it is possible with the streaming video which is delivered over internet protocol or the internet as is the case with OTT platforms. Sports fans have been fascinated by what has been playing out on their mobile phones wherein they can make comments while watching the IPL action on their smartphones on Disney+ Hotstar. They can engage with the video on their phones. Fans have also been quite taken up with being involved in Kaun Banega Crorepati with the play-along option available on their smartphones. That has probably added to SonyLiv’s stickiness.

    But today technology is available which can bring similar – if not better – interactivity to television too. One of the best products available today is MegaphoneTV which allows viewers to interact with their programmes from the comforts of their sofas in their homes. It enables them to take part in opinion polls, trivia, social interaction, quizzes, express their fan love, expound their views on what’s going with the storylines and characters of their favourite TV shows – and their responses and names are transmitted to hundreds of millions of viewers all over India simultaneously immediately with a lag of fewer than 200 milliseconds. All they need is a smartphone. Megaphone TV allows TV to transform itself from being a dead one-way device to one with which viewers can correspond, that too without any latency.

    More than 160 channels globally are using Megaphone TV – from US broadcasters ABC, CBS, NBC, Bravo TV, CNN, Sky TV in the UK, and RTL in Germany. And they have benefited immensely from this tool with response rates and engagement with TV viewers going up exponentially.  

    Channels- both entertainment and news – globally have used MegaphoneTV to build loyalty by giving out rewards to loyal participants of the interactivity, thus increasing stickiness and spiking time spent viewing by TV viewers.

    New York-based Megaphone TV founder & CEO Dan Albritton points out that integrating the tool with the channel’s backend is extremely simple, adding that all that is needed are internet connectivity, two computers – one in the playout hub of the broadcaster, and one in the hands of a junior programming executive wherever he is located. He explains: “Being a white-label service, it takes on the channel’s packaging, branding, and look with no indication of Megaphone branding anywhere. The interactivity questions, polls, and quizzes can be entered to appear on-air on a TV channel on the fly by the junior executive after strategizing with the programming team. “

    Brands can be roped in by the channels ad sales team to sponsor the interactivity. And TV commercials by brands can also be created which encourage viewer responses live, thus in the process helping build sales funnels and consumer data, to which the broadcaster’s data teams and marketers have free access. “The American TV industry has recognized the value we are offering through Megaphone TV. We have won an Emmy Award for it, and have been nominated twice for some of the interactivity around other TV programmes,” says Albritton.

    In India, TV channel executives are just about getting exposed to Megaphone TV, he points out.

    “Two channels have been licensed to use this engagement driving tool. They will be coming out with their offerings soon. Some leading media agencies have seen it in action too, and are excited about the possibilities Megaphone TV offers,” he says. “I can visualize a time in the not too distant future when Megaphone TV will become ubiquitous in the very exciting Indian television ecosystem.”

  • Bob Bakish, ViacomCBS and the streaming war

    New Delhi: Over the last few weeks, a spate of mergers and acquisitions has taken the media and entertainment industry by storm. First WarnerMedia and Discovery, then Amazon and MGM – as the streaming war intensifies, US media giant ViacomCBS is also gearing up for a tough race, building one of the largest and diversified content slates.

    “We have what it takes to succeed in streaming. We spend about $15 billion a year on content, which makes us one of the largest producers of content on the planet. And all of that increasingly feeds our streaming ecosystem,” said ViacomCBS president and CEO, Bob Bakish at the first inaugural TMT Conference held virtually on Monday.

    The short and stocky Bakish said that ViacomCBS is in a good place in the streaming space. Free advertising-supported streaming television (FAST) service Pluto is on course to cross a billion dollars in revenue in 2021, despite all the scoffing from critics, who said he was putting $340 million into a lousy investment two years ago, as it had just 12 million monthly actives and $70 million in revenues then. Today, it has more than 50 million monthly actives and is present in more than 25 markets in the US, and is expected to roll out in more cities and states soon, and internationally thereafter.

    Of course, its Paramount+ (earlier called CBS All Access) premium service added six million new streaming subscribers in the first quarter of 2021, reaching a total of 36 million global streaming subscribers. While Pluto and Paramount+ delivered streaming revenue growth of 65 per cent year-over-year, the company expects the income uptick to accelerate in the second quarter, based on its differentiated strategy and tremendous momentum.

    Bakish is also quite sanguine that the recently launched Paramount+ Essential plan priced at $4.99 (which will show ads to viewers) will help expand its user base as well as give a leg up to advertising revenues going forward. Said he: “..given what we know about elasticity, we feel this lower price point of $4.99 will broaden the addressable market for Paramount+. …it also offers us another opportunity to serve the rapidly growing premium digital ad market… as we look at this product and the dynamics of the ad market, we actually believe analytically that the $4.99 version can generate higher average revenue per user (ARPU) over time than our $9.99 product. So we think that’s tremendously compelling because it – again, it broadens the consumer base and it drives higher ARPU.”

    Streaming is still an early stage media business in general and certainly for ViacomCBS and the company’s strategy is to focus on usage, then revenue. “Right now, we’re building the base”, he said. “The ad growth has increased in the last three quarters and expect another quarter of strong double-digit ad growth in Q2 largely because the demand continues to improve and scatter pricing is really at all-time highs.”

    A proven hit-maker when it comes to content across formats and genres, ViacomCBS has been investing heavily in content. Its content production capability is driving the rapidly growing slate of exclusive originals on Paramount+.

    “We have talked about these numbers even before our capital raise, 36 original series this year, going over 50 next year, a large volume of movies, particularly in ‘22. And its content at that level of quality and scale is ultimately what drives success in streaming. It is an extremely scarce and valuable asset and it is the core of what ViacomCBS is,” averred Bakish.

    ViacomCBS is driving significant subscribers and increasing engagement, but it is also seeing churn come down and the average age comes down materially, according to Bakish. All of those metrics have improved since our Paramount+ launch, he added.

    Sports continue to be an important part of its strategy, which includes the NFL, the SEC on the football side, golf, UEFA, women’s soccer on the European football side. Most recently, it added some incremental international soccer rights. “We just had Paramount+ the UEFA 2021 Champions League Final. It was the most streamed non-NFL sporting event ever for us,” he added.

    Amid the increasing transformation from the linear to the digital side, Bakish said, all of its cable brands have exclusive originals in linear, including events, which supports the value proposition. “We closed multiple deals, including with Comcast, with Verizon, with YouTube, with Hulu. None of these are walk-in-the-park companies,” he added.

    With an incredible slate coming, and many more originals and films ramp up, the entertainment giant is expecting streaming revenue growth to accelerate in Q2 relative to what was posted in Q1 to compete with the likes of Netflix and Disney+ in the streaming arena. A part of its ambitious plan is to make Paramount+ available in 45 markets by the end of 2022 and have up to 75 million streaming subscribers globally by 2024. 

    “And in addition to the general market, we are seeing the benefit of truly going to market as a combined company. And that creates a real advantage for us because we have the scale and reach both in high-quality, brand-safe, digital environments and in the linear side. And in addition to that, we have these must-have offerings, the NFL, Primetime, Late Night, tentpoles, diverse audiences. So the ad market is looking very good to us. Our company is connecting with it. Our IQ product is a big part of our strategy, and that combines all our high-quality digital. We’re seeing tremendous growth there,” said the ViacomCBS president.

  • Netflix to open its first global post-production facility in Mumbai

    Netflix to open its first global post-production facility in Mumbai

    KOLKATA: Streaming giant Netflix is all set to open its first live-action, post-production facility in Mumbai. The facility with 40 offline editing rooms for use by showrunners, directors, editors and sound designers, will become fully operational by June 2022.

    With innovation and collaboration as the focus, it will pioneer advanced media management workflows to allow a seamless partnership with India’s post-production community, said the streamer.

    “Indian audiences love high quality and diverse stories available on-demand to suit their tastes and moods. We saw this last year with an increase in viewing of stories across formats, genres, and languages. Whether it’s our favourite preschool hit series Mighty Little Bheem, International Emmy winning series Delhi Crime, or our beloved films like Guilty, Ludo, Pagglait, and Paava Kadhaigal… it’s been an incredible ride,” Netflix said in a blog post.

    The US company has invested Rs 3,000 crores in local programming over 2019 and 2020 to build a universe of Indian stories. In March, it announced a lineup of 41 titles featuring more variety and diversity – from some of the biggest films and series to gripping documentaries and ingenious comedy formats. In 2020, it launched NetFX – a platform that enables multiple Indian artists to work on VFX for titles globally.

    Moreover, the company is investing in the latest technologies and skill development through multiple certifications and training workshops in post-production, scriptwriting, and other aspects of creative production.

    “We want to continue to contribute to the Indian creative community. Our goal is to keep improving the overall experience for our talent and industry partners and equip them with the best resources to tell authentic stories most engagingly. We are in a golden age of entertainment in India – this is the best time to be a creator and consumer of great stories,” the blog post read

  • Amazon Prime Video tops Nielsen’s original movies list in US

    Amazon Prime Video tops Nielsen’s original movies list in US

    Mumbai : Amazon Prime Video’s Without Remorse has topped the most-watched list of original movies released by the US-based information, data, and market measurement firm Nielsen. Amazon Prime Video’s run to the top spot was unexpected, with Netflix dominating the list over the past few weeks with movies like Stowaway and Thunder Force. 

    Without Remorse sets OTT on fire

    Directed by Stefano Sollima, Without Remorse is based on the book with the same name written by Tom Clancy. The film stars Michael B. Jordan, Jamie Bell, Jodie Turner-Smith, Luke Mitchell, and Guy Pearce in lead roles. It revolves around the life of John Kelly, a US Navy Seal who sets out on a path of revenge after his pregnant wife and unit members are killed by Russian assassins. The film has received mixed to positive reviews, while critics have lauded Michael B Jordan for an amazing performance in action sequences. 

    The Mitchells vs. The Machines that is now available for streaming on Netflix bagged second spot in Nielsen’s original movies list. Directed by Mike Rianda, this computer-animated science-fiction comedy film was produced by Sony Pictures Animation. The film revolves around the life of young Katie Mitchell who embarks on a journey with her parents and younger brother. Things take an unexpected turn when all electronic devices in the world suddenly come to life and stage an uprising. 

    Things Heard and Seen grabbed the third spot, followed by Netflix’s Stowaway in the fourth spot. Other movies in the Nielsen list in the most-watched category of original films include Moana (Disney+), Green Zone (Netflix), Soul (Disney+), Thunder Force (Netflix), Frozen (Disney+), and Madagascar (Netflix). 

    Hulu marks its presence in the series category

    Netflix topped the series category with its new series Shadow and Bone created by Eric Heisserer. This fantasy series is based on two books; Shadow and Bone and Six of Crows, written by American author Leigh Bardugo. Actors Jessie Mei Li, Archie Renaux, Freddy Carter, and Amita Suman essay lead roles in the series. 

    Hulu’s The Handmaid’s Tale was an unexpected entry in this week’s Nielsen list of most-watched original series. Created by Bruce Miller, the series is based on the 1985 novel with the same name penned by Canadian author Margaret Atwood. The series is set in the backdrop of Gilead, a totalitarian society in what used to be part of the United States, ruled by a fundamentalist regime that treats women as property of the state. However, things take an unexpected turn when one woman decides to fight against all the odds in society. 

    The other original series that made their way into the Nielsen list are The Circle (Netflix), The Falcon and the Winter Soldier (Disney+), The Crown (Netflix), The Great British Baking Show (Netflix), Life in Color with David Attenborough (Netflix), Invincible (Amazon Prime Video), Longmire (Netflix), and Lucifer (Netflix). 

    The section of acquired series did not witness many changes from last week. All the ten inclusions in this list are from Netflix’s arsenal which includes, NCIS, Grey’s Anatomy, Criminal Minds, Cocomelon, Heartland, Supernatural, Nicky Ricky Dicky, and Dawn, Schitts Creek, Gilmore Girls, and New Girls. 

  • The Family Man 2 to Xtreme: OTT shows you do not miss

    The Family Man 2 to Xtreme: OTT shows you do not miss

    Mumbai: Amazon Prime Video, Disney+Hotstar, and Netflix, the most popular OTT platforms in India have lined up movies of multifarious genres for audiences this week. From thrillers to drama, these movies are expected to enthral audiences providing a whole new world of home entertainment. 

    Indiantelevision.com lists the must-watch movies on OTT, to be released this week. 

    The Family Man 2 (Amazon Prime Video)

    The Family Man 2 is undoubtedly the most anticipated series among Indian audiences. The series premiered on Amazon Prime Video on 04 June. The series has already succeeded in creating a huge pre-release hype, as the Tamil Nadu government recently sought a central government ban on the series claiming that this Amazon original portrayed Tamil Eelam (struggle) in a bad light. 

    Created by Raj and DK, The Family Man 2 revolves around the life of a middle-class man who secretly works as an intelligence officer for the Threat Analysis and Surveillance Cell (TASC), a fictitious branch of the National Investigation Agency (NIA). The Family Man 2 stars Manoj Bajpayee, Samantha Akkineni, and Priyamani in the lead roles. 

    The Dead Don’t Die (Netflix)

    Last week, Netflix had released Army of the Dead, a zombie movie that received rave reviews from all corners. And this week, the OTT giant is releasing a 2019 movie named The Dead Don’t Die for zombie movie lovers. 

    Directed by Jim Jarmusch, the film stars Bill Murray, Adam Driver, Chloë Sevigny, Steve Buscemi, Tilda Swinton, Tom Waits, Danny Glover, Caleb Landry Jones, Rosie Perez, Iggy Pop, Carol Kane, and Selena Gomez in the lead roles. The Dead Don’t Die revolves around the life of a team of police officers who are on a mission to combat a zombie invasion. The film will be streamed on Netflix on 04 June. 

    Raya and the Last Dragon (Disney+Hotstar)

    Raya and the Last Dragon, one of the most acclaimed animation movies released this year will be streamed on Disney+Hotstar on 04 June. The film takes audiences on an exciting journey to the fantasy world of Kumandra, where humans and dragons lived together long ago in harmony. However, when an evil force invaded the land, dragons sacrificed themselves to save humanity. 

    Directed by Don Hall and Carlos López Estrada, this animated movie’s voice cast includes Kelly Marie Tran, Awkwafina, Gemma Chan, and Izaac Wang. 

    Dom: Season 01 (Amazon Prime Video)

    Brazilian series Dom: Season 01 will be streamed on Amazon Prime Video on 04 June. The series which is originally shot in Portuguese will be available in other languages that include English, Hindi, Tamil, and Telugu. 

    Dom revolves around the life of Victor, a police officer who is determined to demolish the narcotic mafia in the country. Apart from wiping out the evil forces from society, Victor should also help his son Pedro, a drug addict who became one of the most wanted criminals in Brazil. The series stars Gabriel Leone, Flávio Tolezani, and Filipe Bragança in the lead roles. 

    Xtreme (Netflix)

    Netflix is offering a treat to action movie lovers with the movie Xtreme, which will be streamed on 04 June. The film is directed by Daniel Benmayor, and it stars Oscar Jaenada, Sergio Peris-Mencheta, Óscar Casas, Luis Zahera, and Teo García in the lead roles. 

    The film revolves around the life of a retired hitman, along with his sister and a troubled teen who takes revenge on his lethal step-brother. 

  • The drama unfolding over OTT content self-regulation

    The drama unfolding over OTT content self-regulation

    KOLKATA:  There was a time when no one even believed that over-the-top platforms like Netflix, Amazon Prime Video, Hotstar (now Disney+Hotstar) would go beyond the premium urban audience. The digital fillip that most of India  got since Jio’s rollout, and the pandemic and lockdowns has seen streamers not only reach out to nooks and crannies in interior India, but also become a must-have service for hundreds of millions of Indians. The rapid spurt in popularity of the edge-of-the-seat risque content that these platforms have been serving has brought with it some woes as well – the main one being regulatory intervention by the Indian government.

    While praise has been showered on them for unlocking creative freedom in terms of stories, the OTTs have been flagellated more than once by an audience set whose sentiment was hurt either on account of some “objectionable” scenes or dialogue. The aggrieved folks fled to the courts and filed public interest litigation after litigation against several series and films as well.

    When there’s a hue and cry from a certain section of society, politicians obviously have no option but to take a closer look-see and then force the government to step in. Which is exactly what happened when the Modi-led central government started paying close attention to the streamers and eventually introduced new rules to regulate OTT content at the beginning of this year which came into effect on 26 May.

    “That is the first battle we lost. We wanted to resist the government’s interference but the new rules have been introduced,” a senior official with a leading OTT platform commented, on condition of anonymity.

    On 27 May, the ministry of information and broadcasting (MIB)  sent a letter seeking compliance reports to the new rules from OTT platforms as well as digital news publishers in 15 days. The government is within its rights to ask for the information as the law has been notified. At this juncture, the information it is asking appears to be harmless, albeit the spirit of the law is questionable, a legal expert with a leading law firm explained.

    But what is more concerning at the moment is the action that is taking place amongst the various players around the rules.  There is the Internet & Mobile Association of India (IAMAI) – under whose umbrella most of the digital publishers and early-mover  OTT platforms – had banded  over the past few years. The association had been consulted by the authorities for members’ feedback before the new rules were drawn up. And announcements had been made that a structure would be created  under it to meet the regulatory requirements. But there was talk all along that all was not well among its members, some of whom were not agreeable with the direction that the legislation was taking.

    That there are differing points of views became more than apparent last week when the  Indian Broadcasting Foundation  (IBF) – the association for linear television  broadcasters – announced that it would extend its purview to cover digital streaming platforms under a new name the Indian Broadcasting & Digital Foundation (IBDF). It would also form a self-regulatory body, the Digital Media Content Regulatory Council (DMCRC), as required under a three-tier oversight mechanism.

     According to the official quoted earlier, some of the players were not happy with the way the IAMAI was dealing with the situation. With so much back and forth, the body also started losing its relevance before the MIB, he added. Hence, the broadcaster-led OTT platforms like Disney+Hotstar, SonyLIV wanted to look out for other options, especially when the top management of these organisations wanted to ensure their rapidly  expanding digital business does not fall foul of the law..

    On the other hand, the IAMAI has formed the Digital Publishers Content Grievances Council (DPCGC) as part of the self-regulatory and grievance redressal framework for online curated content [OCC] publishers. Ten OTT platforms including Netflix, Amazon Prime Video have confirmed their allegiance to the IAMAI structure. The reason, the official told us, is that they did not want to be a part of a body that is dominated by broadcasters.

    Top MIB officials are today bewildered by the situation that has cropped up. Where earlier, there was a vacuum in terms of industry responding to demands to get its act together on content self-regulation, now it is grappling with problems of plenty. A question that is begging for an answer, according to sources, is should the two bodies be recognized or not? 

    Although no rule under the new guidelines restricts two independent bodies having oversight over the sector,  a part of the ministry is skeptical about the efficacy of such a step. Others however, point out to the news broadcasting vertical – which  also has two independent bodies overseeing , one serving the old guard of early newscasters, and the other, the newbies.

    In this situation, what is more important for both bodies is to reach out to the ministry with all their compliance reports, an industry observer noted.  IBDF has announced that it will file a new content code and self regulatory mechanism that is going to be similar to the Broadcast Content Complaints Council (BCCC) model that the MIB has been asking for.   

    On the other hand, the OTT platforms are in talks with the ministry asking for more time to fall in line, which it has been loath to do. According to multiple industry sources, the platforms are putting in their best efforts to comply with the timelines. Although digital publishers have challenged the regulation in courts, it is unlikely that OTT platforms will take that route. Moreover, observers believe that MIB will not take any cohesive proactive  step against non-compliant platforms in the first instance.

    The days ahead will reveal in which direction the OTT sector and the MIB  will tilt. In the meanwhile, streamers have achieved what they do best: come sharply under the spotlight, once again.

    (Indiantelevision.com reached out to all the players in the streaming sector. No one was willing to speak let alone come on record, keeping in mind how delicately posed the situation is. However, a couple of the platforms finally agreed to share their views with us, but they preferred to stay anonymous.)

  • One Digital talent Prajakta Koli gets global recognition

    One Digital talent Prajakta Koli gets global recognition

    MUMBAI: It’s champagne-popping time at One Digital. For both COO and cofounder Gurpreet  Singh and One Digital talent Prajakta Koli otherwise known as Mostly Sane.   For starters, a  short film starring her is to be screened in a prestigious New York festival in mid-June. Twelve days later, when the forty-eighth daytime Emmy Awards show is telecast  on Paramount+ it will become clear whether the Emmy-nominated  YouTube Original documentary  2020 Creators for Change  will hold aloft the shiny globe carrying golden lady. 

     

    The documentary features former First Lady Michelle Obama in conversation with Prajakta, Liza Koshy and Thembe Mahlaba and tracks the experiences of adolescent girls in Vietnam, India, and Namibia overcoming adversity to pursue their education. Prior to her rendezvous with Michelle Obama, Prajakta had travelled to Lucknow and interacted with the students of Prerna Foundation to get a better perspective on the challenges of education in smaller districts and towns of India.

     

     

    Aside from this massive feat, her maiden acting innings will be recognised globally with her short film, Khayali Pulao, being screened at north America’s oldest and most prestigious Indian film festival, the New York Indian Film Festival which will be held from 4 June  to 13 June 2021. The film, produced by One Digital Entertainment, revolves around a 17-year-old small town girl’s attempt to get into the local girl’s handball team. The film navigates between her struggles as an amateur handball enthusiast to her triumph in breaking ancient stereotypes and traditional archetypes associated with womenfolk. With grassroot-level girl empowerment forming the crux of the narrative, the film which has won critical acclaim subjectively touched upon themes like inevitability of freedom of choice, banishment of archaic prejudices and importance of street hustle.

     

    Says Prajakta: “..this news is unbelievable. The Emmys are such prestigious awards. Being nominated for a project this special is a win in itself. Big hugs to YouTube and Michelle Obama for giving me the opportunity of being a part of something so amazing.  Another very special project has been Khayali Pulao. A film, very very close to my heart. Getting noticed across the globe on such a precious platform is our honour. Thanks to the jury of the New York Indian Film Festival.”

     

    On the workfront, after her notable acting stint in Netflix’s Mismatched, Prajakta will be seen essaying a pivotal role in Jug Jugg Jeeyo also starring Anil Kapoor, Neetu Kapoor, Varun Dhawan and Kiara Advani.

    With over 6.1 million subscribers on YouTube and over 3.7 million followers on Instagram, MostlySane is a household name acknowledged for narrating relatable comic skits that have a strong connect with viewers.  Known for being an active campaigner for socially relevant youth centric issues, she tackled subjects such as body image and online bullying with “Shameless” as part of her campaign #iPledgeToBeMe which she launched on World Mental Health Day in 2016.

     

    Being a global ambassador for YouTube’s Creators For Change, she threw light on trolling, female subjugation and homophobia through No Offence which was showcased on International Tolerance Day at the United Nations headquarters in New York. In 2018 Prajakta was seen in WhatsApp’s first ever TVC which addressed the importance of not spreading fake news. Later in the same year she partnered with YouTube for Social Impact Girl’s Education campaign, with Instagram on their Safer Internet Week campaign and One.org for their Girl Education campaign. In 2019 she was invited by the Bill and Melinda Gates Foundation for their annual Goalkeepers Summit.

     

    Recently India’s foremost female content creator announced Pretty Fit, a light-hearted six-episode fitness-based chat show featuring Kareena Kapoor Khan, Sanya Malhotra, Malishka Mendonsa, Mithila Palkar, Neha Kakkar and Sumukhi Suresh. Being one of the first creators in the world to interview American technology veteran, Susan Wojcicki, CEO of YouTube , Pretty Fit also marked a first for the 26-year-old digital superstar who became India’s first content creator to have her own YouTube Originals. Prajakta was part of Unite, a 24 hours live streamathon organised by Call to Unite and Room To Read to promote education amongst children during this pandemic and included global personalities like George Bush, Bill Clinton, Oprah Winfrey, Julia Roberts, Jennifer Garner and many more.