Tag: New York Times

  • GoaFest 2025: Future Tense Rishad Tobaccowla urges leaders to rewrite the rules before AI does  

    GoaFest 2025: Future Tense Rishad Tobaccowla urges leaders to rewrite the rules before AI does  

    GOA: Change sucks, but irrelevance sucks harder. With that disarming one-liner, author and Publicis Groupe senior advisor Rishad Tobaccowala had the GoaFest 2025 crowd hooked. In a sharp and soul-searching fireside chat with Publicis Groupe CEO of  South Asia Anupriya Acharya Tobaccowala offered a crash course in survival and soul in an era increasingly dominated by algorithms, automation and AI anxieties.

    Tobaccowala’s core thesis was clear: AI won’t replace you, someone using AI better will. But the real danger isn’t the technology, it’s complacency. “Too many companies are trying to use AI to make their broken models slightly more efficient,” he warned. “You don’t just want faster printing presses you want a new way to communicate entirely.”

    To prove the point, he spotlighted the New York Times, a legacy media brand that reinvented itself from a print-first paper to a digital-first platform with 12 online subscribers for every print one. Today, 35 per cent of its revenue comes not from news, but from games, recipes, and other lifestyle content. “They don’t call themselves a newspaper anymore, they’re an entertainment brand with a news vertical,” he quipped.

    Referencing Andy Grove’s classic Only the Paranoid Survive, Tobaccowala argued that the age of paranoia has passed. In its place? Dual thinking. “Successful companies must run two business models at once, one for today, and one for tomorrow,” he said.

    His advice: Spend five to 10 per cent of your money and 20–25 per cent of your best talent building the future. “Don’t assign tomorrow’s strategy to the person you don’t know what to do with,” he warned. “That’s like watering your grandfather’s grave instead of feeding your kids.”

    “I worked 37 years in one company, lived 45 years in the same city, and met my wife 53 years ago,” he said. “So when I say I hate change, I mean it. But irrelevance? That’s worse.”

    He dismantled the sugar-coated corporate approach to transformation. “Telling people change is good is a lie. It’s painful. It makes you look stupid. It scrapes your knees like learning to ride a bike.” What works instead? A three-part formula: incentives, training, and personal relevance. “Tell employees what’s in it for them, not just what’s in it for the company,” he urged.

    Tobaccowala didn’t mince words about leadership either. “We’ve entered the age of de-bossi-fication. Nobody wants a boss. They want a leader.”

    Monitoring, allocating, and measuring won’t cut it anymore. Today’s leaders must inspire, create, and mentor. If you’re not spending at least 50 per cent of your time leading instead of managing, he warned, “you’ll be retired by machines or Gen Z sooner than you think.”

    Tobaccowala also had sharp advice for younger professionals: “You’re in a 50-year career. Stop thinking in 6-month cycles.” He urged them to chase growth over glam, pick the right boss, and resist jumping ship just because the grass looks greener. “The grass is greener because it’s fertilised with… well, you know what,” he joked.

    Despite all the AI hype, Tobaccowala believes the machines may help us rediscover what makes us human. In 2023, the most popular AI tools weren’t just about productivity, they were about relationships, purpose, and self-growth.

    “AI will amplify your creativity, but it can’t replace your conviction,” he said. “It’s not about resisting AI. It’s about partnering with it without outsourcing your soul.”

    As he signed off, Tobaccowala reminded the audience of something many forget. “India is not the future. It is the present. Publicis gets 65 per cent of its workforce and a growing chunk of its global revenue from India, China, and the US,” he noted. “You’re not a footnote. You’re a headline.”

    He ended with a final, cheeky mic-drop about his book’s global release: “My publisher didn’t want to launch in India first. Said it wouldn’t sell. Now India is the only place it’s sold out twice.”

  • HBO US to air documentary on Joe Biden’s first year as US President

    HBO US to air documentary on Joe Biden’s first year as US President

    Mumbai: In the recently released trailer, HBO announced a documentary, Year One: A Political Odyssey, which chronicles Biden’s first year as US president.

    The documentary is directed by Emmy-winning filmmaker John Maggio, executive produced by Pulitzer Prize-winning New York Times journalist David Sanger, and produced by Caroline Cannon and Caroline Pahl. HBO’s Nancy Abraham and Lisa Heller serve as executive producers, while Tina Nguyen is the senior producer. It is set to debut on 19 October on HBO and HBO Max.

    Bookended by Inauguration Day 2021 and the state of the union speech of March 2022, this is a front-seat account of the Biden administration’s tense first year, marked by security threats both at home and abroad. Assuming office only two weeks after the 6 January 2021 attack on the Capitol, Biden’s presidency entered the maelstrom of an ongoing global pandemic, renewed conflicts with Russia and China, and America’s international standing in decline.

    The documentary follows the US President’s inner circle, taking viewers inside the White House, the State Department, the CIA, and the Pentagon, while it dives deep into America’s response to a number of unfolding historical events: the effort to immunise a nation against an ever-morphing pandemic; continued divisiveness following 6 January; the withdrawal from Afghanistan; the rise of autocratic regimes across the globe; and increasingly adversarial relations with two nuclear superpowers: Russia and China. Russia’s invasion of Ukraine in February of 2022 became the crucible by which America’s fragile alliances were measured-and created new forms of nuclear menace. The documentary explores each developing situation with chronological immediacy and intimate, unprecedented access to Biden’s cabinet members, tracing history as it happens.

    It combines archival news footage with revealing insider interviews with key players from Biden’s cabinet, providing contemporaneous accounts of history in the making. Participants include secretary of state Antony Blinken; national security advisor Jake Sullivan; secretary of defence Lloyd Austin; CIA director William Burns; White House chief of staff Ron Klain; special presidential envoy for climate John Kerry; White House press secretary Jen Psaki; counsellor to the president Jeff Zeints; representatives Adam Schiff and Jim Jordan; senator Chris Coons; journalists; global ambassadors; and covid-19 advisors. David E. Sanger of The New York Times guides the interpretation of the fast-moving events in global politics.

  • Audiences realise that they need to pay for quality news: Alistair McEwan

    Audiences realise that they need to pay for quality news: Alistair McEwan

    NEW DELHI: 2020 has been an interesting year for news organisations, their journey marked by various peaks and troughs. It was no different for the global news outlet BBC, too. From gaining the highest spike in audience numbers on both TV and digital format to struggling with lower ad revenues, the firm managed to clock in a rather productive year. In a recent chat with Indiantelevision.com founder, CEO, and editor-in-chief Anil Wanvari, at the recently concluded Pubnation (print & digital), BBC Global News SVP – commercial development for Asia & ANZ Alistair McEwan talked in details about the same. Edited excerpts follow: 

    On how BBC tackled the Covid2019 lockdown

    Our experience was, probably, not dissimilar to many publishers around the world, where we have been on a roller coaster. I think there is a sweet irony in the fact that we’ve never seen bigger audiences coming to our platforms, whether that’s television or digital. And that has pretty much sustained through the year. We saw about a 180 million unique visitors coming to BBC.com in March and we have just beaten the figure in November with the US elections. 

    But whilst the audience flocked to BBC in millions, advertisers who were deeply impacted by the lockdown remained cautious. So, in ordinary times, you would hope to be able to monetise that effectively but of course, at the moment, that has not been the case. 

    On how they managed to deliver to the audiences 

    We have seen massive audio and digital growth this year. For us, TV production remained a challenge with lockdown norms and 
    health hazards. Albeit, one good thing that this crisis promoted was the agility and the ability of the people to pivot into new processes. And that’s what we have exactly done at BBC. It has driven high levels of productivity. 

    For example, on the news side, we’ve been creating a lot of Covid-related content. And it is not just reporting but also solutions-oriented stories and non-news reporting. That’s where we have seen, probably, the biggest growth levels coming across all the verticals. So, from a consumer consumption perspective, we have grown immensely. 

    Read more on BBC News 

    On Indian audiences

    Indian audiences have stayed very true and loyal to us, certainly through the early stages of Covid. We saw significant growth on both television and BBC.com. We saw a 5X growth in our audience. We have 18 to 20 million unique audiences on our digital side and through our television channels. We have over 300 journalists across the BBC World Service Group, including our Delhi bureau. We prioritise our investment into India as a market – we now publish in eight different languages in India in addition to our English language output. 

    On virality and its rules

    My personal line on virality is that it's almost completely unpredictable anywhere in the world. There are so many different levellers that are variables to it but there are certain sort of formats that you can use to try to encourage it; for example, ensuring the format fits the devices, the context is right, and you are having a singular message across the products. With respect to BBC, we are globally producing world-class output that becomes highly emotive and highly shared. 

    It is much more difficult to achieve that kind of virality effect with branded content, which is why we always sort of try to pin our branded content style right back to what we do in the editorial. 

    On offerings to the advertisers

    For advertisers, we bundle and package our offerings across TV, radio and digital media. All of these have a fundamentally important part in the way you bring a holistic solution to an advertiser. And, of course, audiences exist independently in all of those different areas. So for us on the commercial side, it's really all about where the target audience is, discovering those audience insights and then being able to deliver to those custom targets across group assets and really utilising all of the data insights. 

    The media industry, so far, has not been able to drive empirical measurement of the content it produces; how the audience feels about it and how it impacts society. We are using a variety of neuroscience technology, eye-tracking, and facial decoding to be able to track emotional engagement. That's actually allowed us to measure all the different suites of platforms that we have there. 

    On taking news industry behind the paywall

    The industry has reached a tipping point and it has been a while back that we have consumer acceptance towards paying for quality news content. Take the New York Times, for instance. They have been the benchmark international news organisation in this space. They started way back in 2008 and the initial commentary was that they would struggle to survive post this move. But today, they are earning 64 per cent of their revenues from paid subscriptions. So that boat has sailed. Audiences have been conditioned to understand and accept the need to pay for quality news. We have to fund it. You can be the Guardian and ask people to fund it out of goodwill and love for the brand or whether you are requiring people to pay through a paywall; you need to figure out a sustainable way to go ahead. In India, it will take some time to evolve. 

  • Agencies in India Have 18 Finalists in 45th Annual One Show,  Including 10 for McCann Worldgroup India

    Agencies in India Have 18 Finalists in 45th Annual One Show, Including 10 for McCann Worldgroup India

    Agencies in India have 18 finalists’ entries for the 45th annual One Show, as announced by The One Club for Creativity, the world’s foremost non-profit organization celebrating creative excellence in advertising and design.

    McCann Worldgroup India, Mumbai leads the way with 10 finalists, including seven with McCann Health, Delhi for Ministry of Public Health, Afghanistan “The Immunity Charm”.  

    Hindustan Petroleum has five finalists for its own “Roads That Honk”.  

    Agencies in India with one finalist each are Ogilvy & Mather, Mumbai for RNW Media “#NotMusicToMyEars”, FCB India, Mumbai for Times of India“Shindoor Khela – No Condition Apply” and Famous Innovations, Mumbia for CaratLane “The Personalised Ring Box That’ll Get You a Yes”.

    To view the complete list of The One Show 2018 finalists by discipline, please visit http://www.oneshow.org/finalists/2018/.

    This year’s One Show has 1,643 finalists representing 42 countries, selected from 19,800 total entries.  The US has the most finalists with 669, followed by the UK with 117, Japan with 94, Canada with 86, Germany with 78, Brazil with 70, France with 65 and Australia with 59.

    Globally, BBDO New York is the agency office with most One Show finalists with 68, including 10 for Downtown Records’ “Live Looper” featuring the band the Academic and eight for P&G “The Talk”. 

    Ogilvy & Mather, Chicago has 34 finalists, including 16 for SC Johnson “Kiwi Portraits Completed” campaign and individual ads, and Wieden+Kennedy, Portland has 33 finalists, including 11 for a variety of KFC work and eight each for Old Spice and Nike entries.  

    Other offices with the most One Show finalists entries are Dentsu Tokyo with 32, McCann New York with 29, Droga5 New York with 25, Jung von Matt in Hamburg and DDB Paris both with 21, and AlmapBBDO, São Paulo and DAVID Miami with 20 finalists each.

    The entry collecting the most finalists is SC Johnson “Kiwi Portraits Completed” campaign and individual ads by Ogilvy & Mather, Chicago with 16 spots.  

    Droga5 New York’s “The Truth is Hard to Find” campaign and ads for The New York Times picked up 14 finalists, while McCann New York’s “Fearless Girl” for State Street Global Advisors has 13 finalists spots.  Both Cossette Toronto’s “SickKids VS” work for SickKids Foundation and DAVID Miami’s “Google Home of the Whopper” for Burger King have 11 finalist spots.

    The One Club for Creativity awards shows each have their distinct focus.  The The One Show focuses on creativity of ideas and quality of execution, while theADC Annual Awards maintains its historical concentration on craft, design and innovation.

    This year’s winners will be announced on two nights of The One Show during The One Club for Creativity’s Creative Week, May 7-11, 2018 in New York (http://www.oneclub.org/creativeweek/).  

    The first night of The One Show, covering Branded Entertainment, Design, Direct Marketing, Health, Wellness & Pharma, Intellectual Property, Moving Image Craft, Public Relations, Responsive Environments, Green Pencil and Cultural Driver will be Wednesday, May 9, 2018, 6:00 pm-12:00 am at the Ziegfeld Ballroom, 141 West 54th St.

    The second night of The One Show, awarding work in Cross Platform, Film, Interactive, Mobile, Print & Outdoor, Radio, Social Influencer Marketing, Social Media, UX / UI, Penta Pencil, Best of Show and other special awards, takes place on Friday, May 11, 2018, 6:00 pm-2:00 am at Cipriani, 55 Wall St.  

    The preeminent festival showcasing the intersection of advertising, innovation and creative thinking, Creative Week also includes the ADC 97th Annual Awards, the dynamic Young Ones Education Festival, inspiring sessions with some of the biggest names in the industry at the Creative Summit, and the exclusive Executive Creative Summit, open to a limited number of top-level leaders (founders, CCOs and managing partners).

    The One Club for Creativity (http://www.oneclub.org), producer of the prestigious One Show, ADC Annual Awards, Creative Week and Portfolio Night, is the world’s foremost non-profit organization recognizing creative excellence in advertising and design.  The ADC Annual Awards honors the best work across all disciplines, including Advertising, Interactive, Design and Motion. Creative Week takes place in New York City every May and is the preeminent festival celebrating the intersection of advertising and the arts.

  • The Quint is Facebook’s Indian digital partner for instant articles

    The Quint is Facebook’s Indian digital partner for instant articles

    MUMBAI: Social media giant Facebook’s has partnered with The Quint in India to launch Instant Articles. Quint is Facebook’s only fully digital partner in the country

     

    Instant Articles loads videos and photos up to 10 times faster claims a release from The Quint. Auto-play videos come to life on scrolling through an article. High-resolution photos can be tilted to explore in detail, to see the location where the photo was clicked with interactive maps  and even hear the author’s voice with embedded audio captions.

     

    “We quickly saw that this was going to lift the user experience to an altogether different level. So when Facebook reached out, they had us at hello. We fast-tracked the implementation and had The Quint’s Instant Articles (test) out in a few weeks. We’re still fine tuning the experience, but we’re very happy with the results so far’’, shared The Quint CEO Ritu Kapur. 

     

    Facebook’s News and Global Media Partnerships director Andy Mitchell said, “We’re seeing great responses from readers who are enjoying the fast and interactive experience of Instant Articles and are excited to bring that to readers Quint in India. Since its launch in April this year, The Quint has grown really quickly on Facebook and given Quint’s focus on mobile-first journalism and publishing, it is a great fit for Instant Articles.” 

     

    Prior to this, Facebook had launched Instant Articles in the US with partners like New York Times, The Guardian, BBC, NBC and National Geographic.

  • Tandem to adapt Ken Follet’s ‘Code To Zero’ as TV series

    Tandem to adapt Ken Follet’s ‘Code To Zero’ as TV series

    MUMBAI: Tandem Productions has optioned thriller novel Code To Zero penned by New York Times best selling novelist Ken Follet. While attending MIPCOM in Cannes, Tandem partner and CEO Rola Bauer signed a temporary adaptation of the novel into a limited television series with worldwide distribution by Studiocanal.

     

    In this adaptation of Code to Zero, a man awakens to find himself lying on the ground in a railway station, his mind stripped bare of all recollection. He has no idea how he got there; he does not even know his own name. Slowly, he rediscovers his entire life by detective work, uncovering secrets of a conspiracy, set against the battle for global space supremacy between the US and China.

     

    “I am delighted that Tandem Productions will be making a television series of Code to Zero,” says Follett. “We have had a long and successful relationship and I am looking forward to them bringing my book to a new audience in this exciting way.”

     

    Prior to this, the production house produced two event series of Follet’s bestselling novels of the same title namely the Emmy-winning and Golden Globe-nominated, The Pillars of the Earth, which featured Eddie Redmayne, Ian McShane and Donald Sutherland; and the Emmy-winning, World Without End, starring Cynthia Nixon, Charlotte Riley and Miranda Richardson.

     

    “We have enjoyed a wonderful collaboration with Ken Follett over the years and are thrilled to be working with him again. Code to Zero lends itself beautifully to a present-day thriller that today’s audiences will find thoroughly relevant,” added Bauer.

  • China blocks website of BBC, New York Times, Bloomberg as tensions grow

    China blocks website of BBC, New York Times, Bloomberg as tensions grow

    NEW DELHI: Chinese censors have blocked the website of the British Broadcasting Corporation (BBC) as tensions rise in Hong Kong between pro-democracy protesters and police.
     
    BBC said in a statement that the move seemed to be ‘deliberate censorship’ but did not say what may have prompted the move by Beijing.
     
     “The BBC strongly condemns any attempts to restrict free access to news and information and we are protesting to the Chinese authorities. This appears to be deliberate censorship,” said BBC World Service Group director Peter Horrocks.
     
    China has also blocked the websites of the New York Times, newswire Bloomberg and the BBC’s Chinese-language website.
     

  • Danny Boyle may direct biopic on Steve Jobs

    Danny Boyle may direct biopic on Steve Jobs

    MUMBAI: According to a report filed by The Hollywood Reporter (THR) negotiations are mid-way with Danny Boyle on the Steve Jobs biopic with Aaron Sorkin attached to write the screenplay, based on Walter Isaacson’s New York Times bestselling book. The deal is not yet sealed, but the studio is moving quickly to get this to the start line.

     

    A report in THR says Leonardo DiCaprio is the choice to star, and his name was in circulation at the very beginning when the book first was optioned by Sony with producers Mark Gordon and Guymon Casady, who were joined by Scott Rudin when Sorkin came aboard to adapt. However, DiCaprio has just committed to The Revenant with Alejandro Gonzalez Inarritu directing scheduled for the fall, so the timing might not work.

     

    Walter Isaacson’s bestseller is based on more than forty interviews with Jobs conducted over two years, as well as interviews with more than a hundred family members, friends, adversaries, competitors, and colleagues. The author has written a riveting story of the roller-coaster life and searingly intense personality of a creative entrepreneur whose passion for perfection and ferocious drive revolutionized six industries: personal computers, animated movies, music, phones, tablet computing, and digital publishing.

     

    He built a company where leaps of the imagination were combined with remarkable feats of engineering. Although Jobs cooperated with this book, he asked for no control over what was written nor even the right to read it before it was published. He put nothing off-limits. He encouraged the people he knew to speak honestly. And Jobs speaks candidly, sometimes brutally so, about the people he worked with and competed against.

     

    His friends, foes, and colleagues provide an unvarnished view of the passions, perfectionism, obsessions, artistry, devilry, and compulsion for control that shaped his approach to business and the innovative products that resulted. Driven by demons, Jobs could drive those around him to fury and despair. But his personality and products were interrelated, just as Apple’s hardware and software tended to be, as if part of an integrated system. His tale is instructive and cautionary, filled with lessons about innovation, character, leadership, and values.

  • Tarantino to premiere leaked script with an exclusive stage reading

    Tarantino to premiere leaked script with an exclusive stage reading

    MUMBAI: Many of the Film Independent, The New York Times Film Club and Los Angeles County Museum of Art (LACMA) members are geeking out over the news that Film Independent is presenting what’s sure to be one of the most exciting happenings in the film world this year: Quentin Tarantino is going to direct a staged reading of The Hateful Eight for Film Independent at the LACMA!

     

    On Thursday, 24 April at 8:00 pm, the iconic director will show up with a hand-picked cast to LACMA’s Bing Theater for a world premiere reading of the unmade script that’s been causing a ruckus since January, when Tarantino pulled the plug on the picture immediately upon learning that the script had been leaked by someone connected to the small circle of actors he’d circulated it to.

     

    “I like the fact that people like my shit, and that they go out of their way to find it and read it,” an outraged Tarantino told Deadline. This staged reading could be an once-in-a-lifetime opportunity to see something that has never been seen before and probably won’t be seen again. It will not be recorded or live-streamed. Also, the cast is likely to remain secret until they appear on stage that night at the Bing.

     

    The Hateful Eight follows the steadily ratcheting tension that develops after a blizzard diverts a stagecoach from its route, trapping a pitiless and mistrustful group, which includes a competing pair of bounty hunters, a renegade Confederate soldier and a female prisoner in a saloon in the middle of nowhere.

  • Peyton Reed to adapt The Fifth Beatle

    Peyton Reed to adapt The Fifth Beatle

    Peyton Reed, who directed Bring it On will adapt the best-selling graphic novel, The Fifth Beatle that chronicles the final years of Beatles manager Brian Epstein.

    The graphic novel that released recently has been on the New York Times best-selling list and recounts the story of Epstein, the visionary who discovered The Beatles and helped guide the band to international stardom. Epstein also secured the band’s first record deal at a time when no one else was interested.

    The movie will be produced by Oscar winner Bruce Cohen and Vivek J. Tiwary, who has written the graphic novel. Tiwary is also writing the screenplay. The production of the film is slated to begin in 2014.