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Tag: Paramount

  • Netflix CEOs play coy about Warner Bros Discovery acquisition

    Netflix CEOs play coy about Warner Bros Discovery acquisition

    LOS ANGELES: Netflix is keeping its cards close whilst the rest of Hollywood scrambles for Warner Bros Discovery’s assets. Asked during Tuesday’s third-quarter earnings call whether the streaming giant might join the bidding war, co-chief executives Ted Sarandos and Greg Peters delivered a masterclass in strategic ambiguity: they ruled nothing out, but ruled nothing in either.

    “It’s true that historically, we’ve been more builders than buyers, and we think we have plenty of runway for growth without fundamentally changing that playbook,” said Sarandos. “Nothing is a must-have for us.” 

    Yet he added that Netflix looks at “all” merger opportunities through the same lens—a nod that Warner Bros Discovery’s studio and streaming empire, including HBO, HBO Max and Warner Bros Television, might just pique its interest.

    What Netflix definitely won’t touch are Warner Bros Discovery’s linear networks. “We’ve been very clear in the past that we have no interest in owning legacy media networks, so there is no change there,” Sarandos said. That rules out a bid for the whole company, which Warner Bros Discovery is splitting in two: one entity (Warner Bros) housing the streaming and studio jewels, the other (Discovery Global) lumping together cable channels and Discovery+.

    The carve-up comes after Warner Bros Discovery announced it was reviewing “strategic options” following “unsolicited interest” from “multiple” parties. Paramount is reportedly leading the charge, having offered $20 per share for the lot, then upping its bid to $24—both rejected. CNBC reports that Netflix and Comcast are also circling.

    Peters downplayed the threat of rivals bulking up through deals, pointing to mega-mergers like Disney-Fox, Amazon-MGM and Discovery-WarnerMedia that failed to shake up the landscape. “None of those mergers represented a fundamental shift in the competitive landscape,” he said. “Watching some of our competitors potentially get bigger via M&A does not change our view.”

    The caginess came as Netflix reported third-quarter revenue up 17 per cent year-on-year to $11.5bn, in line with forecasts. Operating income rose 12 per cent to $3.2bn, though it fell short of expectations after a $619m hit from a dispute with Brazilian tax authorities. Shares tumbled 6.5 per cent in after-hours trading, though Netflix insisted the tax spat won’t dent future results.

    By region, revenue in the US and Canada grew 17 per cent to $5.01bn, Europe, Middle East and Africa climbed 18 per cent to $3.7bn, Latin America rose 10 per cent to $1.37bn and Asia Pacific surged 21 per cent to $1.37bn. Netflix now commands 8.6 per cent of US television viewing time, up from 7.5 per cent in late 2022, and 9.4 per cent in Britain, up from 7.7 per cent.

    Hits last quarter included Wednesday season two (114m views), The Thursday Murder Club (61m) and My Oxford Year (81m). The Canelo-Crawford boxing match drew 41m viewers, making it the most-watched men’s championship bout this century, Netflix claimed.

    For now, Sarandos and Peters are content to watch the feeding frenzy from the sidelines. But their refusal to slam the door suggests they might yet crash the party—provided the price is right and the baggage left behind.

  • Fast channels surge 14 per cent this year as news and horror fuel boom

    Fast channels surge 14 per cent this year as news and horror fuel boom

    MUMBAI: Free ad-supported television (Fast) is enjoying a blistering run. The number of Fast channels worldwide has climbed nearly 14 per cent since the start of 2025 and 76 per cent since 2023, according to fresh analysis from Gracenote, the content data arm of Nielsen.

    The firm has expanded its Data Hub to track nearly 1,850 active Fast channels, enabling direct comparisons with subscription video-on-demand (SVOD) catalogues from the likes of Amazon Prime Video, Apple TV+, Disney+, Netflix and Paramount+. The enhanced tool now covers more than 645,000 TV shows, films and sports programmes across SVOD and a further 197,000 across Fast.

    Fast is skewing younger than its subscription rivals. Almost half of its content has been produced in the past five years, compared with only a third for SVOD. Stretching the timeframe to 15 years, Fast jumps to nearly 80 per cent of programming, versus 68.5 per cent for SVOD.

    Television dominates both formats, but especially Fast: 93.1 per cent of its content comprises TV programming by episode count, compared with 88.8 per cent on SVOD platforms.

    Genre trends are diverging. Documentaries make up the largest Fast slice at 16.1 per cent, followed by drama (10.6 per cent) and news (9.9 per cent). Yet it is news and horror that are powering growth, up 37 per cent and 30 per cent respectively. On SVOD, sports led the charge in the past quarter with a 13.2 per cent bump, ahead of films (10 per cent) and TV (9.2 per cent). Sports on Fast dipped 3.7 per cent in the last three months but remain up 14 per cent year to date.

    Among the big streamers, Amazon bulked up most aggressively, expanding its catalogue by 12.6 per cent quarter on quarter. Paramount+ followed with a 6.4 per cent increase. Overall, SVOD offerings grew 9.8 per cent in the same period.

    Gracenote, which covers video content in more than 70 languages and 80 countries, is pitching its Data Hub as a strategic compass for distributors, producers and advertisers eager to map where audiences are headed.

  • Parrot Analytics launches Sports Demand to put rigour into soaring media rights market

    Parrot Analytics launches Sports Demand to put rigour into soaring media rights market

    LOS ANGELES: : Parrot Analytics, the media analytics firm known for pioneering streaming valuation, has launched Sports Demand, billed as the most advanced global sports analytics system. The tool is designed to arm leagues, teams, broadcasters, streamers and sponsors with data-driven insights to navigate the fast-inflating sports rights market.

    Sports rights fees have surged in recent years, with Paramount’s $7.7 billion deal for UFC events, WWE’s $1.6 billion tie-up with ESPN, and the NFL’s equity-for-content swap with Disney underscoring the scale. Parrot says its system will allow buyers and sellers to measure fan engagement market by market, justify valuations, and extract stronger returns on investment.

    “For the first time, decision-makers can weigh the impact of acquiring a sports league against investing in scripted series or films, within a single framework,” said Parrot Analytics chief executive Wared Seger. By integrating with the firm’s Demand360 platform, Sports Demand lets clients benchmark sports against TV shows, films and on-screen talent.

    Capabilities include global fan mapping across 100 markets, integrated sports-entertainment benchmarking, empirical valuation models, content optimisation, and sponsor alignment analysis. Early adopters include leagues negotiating landmark streaming deals and operators launching direct-to-consumer sports services.

    Seger argued that in an attention economy where sports compete directly with films and television for time and spend, “rigorous, standardised data is essential.” 

    Sports Demand is now available worldwide to Parrot Analytics’ enterprise clients, with dashboard and API access for seamless integration into rights, content and sponsorship strategies.

  • Nicole Clemens makes the prime time move to Amazon’s streaming empire

    Nicole Clemens makes the prime time move to Amazon’s streaming empire

    MUMBAI: Nicole Clemens has swapped Paramount’s fading star for Amazon’s prime position, landing the plum role of vice-president and head of international originals for Prime Video and Amazon MGM Studios. The appointment, effective 7 July, sees her trading one streaming giant’s troubles for another’s triumphs.

    Fresh from her stint as president of the now-defunct Paramount Television Studios—where she presided over hits like Tom Clancy’s Jack Ryan, Reacher, and Cross that ironically ended up on Prime Video—Clemens will now orchestrate Amazon’s content conquest across more than 20 territories. Rather like poacher turned gamekeeper, but with better streaming numbers.

    Prime Video International, vice-president Kelly Day  clearly couldn’t contain her glee: “Nicole is a highly respected and experienced media executive who will guide our future international originals slate as we invest for the long term.” Translation: she knows how to make shows that people actually watch.

    The timing couldn’t be more fortuitous. Prime Video’s international division has been on a right tear, churning out more than 140 original series and films across two dozen territories last year—their biggest haul yet. With over 200 million Prime members globally, there’s clearly an appetite for content that doesn’t involve subtitles reading “Netflix Original.”

    Clemens brings serious pedigree to the role. During her Paramount tenure, she shepherded everything from the Emmy-nominated Station Eleven to George Clooney’s Catch-22, plus the entire Star Trek universe for Paramount+. Before that, she spent five years as executive vice-president at FX Networks, overseeing crowd-pleasers like Atlanta and Snowfall.

    Her new empire will span teams across Europe, Latin America, and Asia Pacific, with regional heads including Javiera Balmaceda (Latin America, Canada, and Australia), Tara Erer (Northern Europe), and Nicole Morganti (Southern Europe) all reporting directly to her.

    Additionally, Nikhil Madhok, head of international originals for India, will continue reporting to Gaurav Gandhi, VP of Prime Video APAC and Mena, but will remain a part of Clemens’s leadership team. 

    Supporting the division are Marc Hausmaninger, head of content strategy for international originals, and Sam Semon, responsible for international business affairs. This expanded team underscores Prime Video’s commitment to tailoring content across regions, with Clemens at the helm steering the international creative and strategic direction.

    She’ll initially set up shop at Amazon MGM Studios’ Culver City headquarters before decamping to Prime Video’s London office—presumably for the superior biscuit selection.

    The appointment signals Amazon’s serious intent to challenge Netflix’s global dominance. With international hits like Germany’s Maxton Hall and Spain’s Red Queen already in the pipeline, Clemens will be tasked with ensuring Prime Video’s international slate remains anything but secondary viewing.

  • Streaming ahead of the curve with springserve’s ad tech revamp

    Streaming ahead of the curve with springserve’s ad tech revamp

    MUMBAI: Magnite is turning up the volume in the streaming ad world with the next-gen launch of its Springserve video platform, an upgraded OTT/CTV solution that fuses the precision of its award-winning ad server with the programmatic prowess of Magnite’s Streaming SSP. It’s a bold move aimed at simplifying ad delivery and maximising monetisation for major players like Disney, Roku, LG, Paramount, Samsung and Warner Bros. Discovery.

    Tailored for the evolving needs of global streaming giants, the platform now connecting buyers to 99 per cent of US streaming supply and has been validated by Jounce Media’s March 2025 Supply Path Benchmarking Report. For media owners, the new tech means smarter yield, streamlined workflows and real-time visibility across ad operations.

    “As the CTV space matures, there’s a significant opportunity to enhance the advertising process for media owners and buyers,” said Magnite president for revenue Sean Buckley. “We’re building this next generation of Spring Serve specifically to help our clients and partners stay ahead of these emerging opportunities. By unifying the programmatic layer as a complementary step in the buying process, not only does it give buyers greater transparency, predictability, and control over their ad placements, but it lays the foundation for more effective monetisation and yield management for media owners.”

    “Disney continues to expand our global streaming footprint in collaboration with Magnite—unlocking more premium inventory and making it even easier for advertisers to access our portfolio at scale,” said Disney SVP for addressable sales Jamie Power. “Together, we’re advancing a shared vision for innovation—one that prioritizes automation, flexibility, and smarter tools to help our partners drive meaningful impact in the live streaming space.”

    “Controlling demand sources and optimizing ad placements in real time is essential to our strategy,” said LG Ad Solutions SVP of operations Kelly McMahon. “SpringServe gives us the power to orchestrate everything in one platform balancing programmatic demand and direct deals more effectively, without compromising the viewer experience.”

    “Working with valuable partners like Magnite has enabled Paramount to further optimize our programmatic demand sources, driving greater efficiency and performance while preserving a seamless viewing experience for our audiences,” said Paramount SVP of partnerships Christopher Owen. “Continued advancements in programmatic play a meaningful role in our ongoing success both as a company and as part of the broader industry.”

    “Together with Magnite, we can create more opportunities for advertisers that offer platform transparency and flexibility across monetization, demand access, and user experience optimization,” said Roku SVP of global media revenue and growth Jay Askinasi. “SpringServe connects us more directly with DSPs, streamlining operations and augmenting revenue potential. This is an approach we believe will help attract greater advertising investment into the CTV ecosystem.”

    “Our long-standing partnership with Magnite has been instrumental in shaping our video monetization strategy, and we’re excited to partner with Magnite as they advance the SpringServe video platform,” said Warner Bros. Discovery SVP for revenue strategy and operations Jill Steinhauser. “We’re particularly looking forward to benefiting from the performance enhancements that enable faster ad loads and real-time pacing.”

    “Magnite helps fuel the premium, open internet,” said The Trade Desk SVP of inventory development Will Doherty. “Combined with tools like OpenPath, the next generation of SpringServe is accretive to advertisers and publishers and most importantly so consumers can continue to enjoy the content we all love like CTV, journalism and more.”

    “Magnite’s unified SpringServe platform offers significant clarity and cohesion in the streaming TV marketplace,” said Groupm US  chief media officer, Susan Schiekofer. “By providing deeper insight into the supply path and stronger alignment with premium inventory at scale, it empowers us to make smarter, faster buying decisions and ultimately deliver better outcomes for our clients.”

    “At OMG, we believe it’s a core right for advertisers to control and know where their ads deliver,” said Omnicom Media Group SVP of video and programmatic Ryan Eusanio. “Magnite’s SpringServe video platform helps us give our clients more control of their premium video strategy and enables better curation and targeting for campaigns.”

    The new SpringServe boasts a centralised deal dashboard, intelligent ad decisioning, automated routing for optimal ad delivery, and seamless integration with Magnite Access for data-driven targeting. It also simplifies operations with a revamped user interface and real-time reporting tools.

    As competition in CTV heats up, Magnite’s play positions it as the adtech partner of choice for streaming’s biggest names where precision meets premium, and innovation gets centre screen.

  • Red Lorry rolls out with September 5 as opening film at festival

    Red Lorry rolls out with September 5 as opening film at festival

    MUMBAI: The Red Lorry Film Festival is shifting into high gear, opening with the critically acclaimed September 5, a tense, true-to-life thriller directed by Tim Fehlbaum. Hosted by Bookmyshow, India’s premier international film festival will set the stage with this Academy Award-nominated film that dives into one of modern media’s most tension-filled moments, the 1972 Munich Olympics hostage crisis.

    Blurring the lines between history and cinema, September 5 reconstructs the gripping real-time coverage by Abc Tv, transporting audiences straight into the nerve-wracking newsroom that found itself reporting on an unfolding tragedy. Featuring a stellar cast including John Magaro, Leonie Benesch, Peter Sarsgaard, Ben Chaplin, and Benjamin Walker, the film seamlessly integrates archival footage, bringing an unparalleled level of authenticity to the screen.

    “September 5 is a testament to human resilience and the power of storytelling. Opening the Red Lorry Film Festival with such a film reflects our vision of curating globally significant narratives that inspire and challenge audiences,” said Bookmyshow COO for cinemas Ashish Saksena.

    Beyond September 5, the festival’s stellar lineup promises a cinematic feast with contemporary award-winning films like Anora and The Last Showgirl, timeless classics like Pretty Woman, Karz, and Qayamat Se Qayamat Tak, and premieres fresh from the Berlin Film Festival. With over 120 films spanning languages, genres, and cultures, this year’s festival expands its footprint with Red Lorry: Take 2 in Mumbai and the all-new Parallel Verse in Hyderabad.

    Running from  21 to 23 March 2025, the festival invites cinephiles to book their tickets exclusively on Bookmyshow, starting at Rs 750. With a promise of unforgettable storytelling, the Red Lorry Film Festival, powered by Bookachange, continues its mission of empowering emerging artists and celebrating the transformative power of cinema.

  • Six US media firms account for 51 per cent of global content spends: Ampere Analysis

    Six US media firms account for 51 per cent of global content spends: Ampere Analysis

    MUMBAI: The big media and entertainment boys are at it, despite all round murmurings that the content production business is seeing a massive slowdown. At least, that’s what new intelligence from Ampere Analysis has revealed. 

    The research firm stated that while recent market challenges have impacted the TV and film production landscape, spending across the top six global content providers – Disney, Comcast, Google, Warner Bros. Discovery, Netflix, and Paramount Global – has grown since the pandemic. Combined spending across these groups will reach a new high of $126  billion in 2024 and account for 51 per cent of the total content spend landscape, up from 47 per cent in 2020. Original content spend remains the leading spend type across these providers, accounting for over $56 billion in investment and 45 per cent of their total spending since 2022.
    Despite announced cutbacks among its linear and theatrical brands, Disney remains the largest contributor to the media landscape at 14 per cent of global investment in TV and film content in 2024. This has been supported by the full acquisition of Hulu at the beginning of 2024, adding an additional $9 billion in to Disney’s spend total.

    Netflix is the top investor in global streaming content. It has averaged a total of $14.5 billion in annual investment in original and acquired programmes since the pandemic. Further growth is expected in 2025 through the acquisition of sports tights for NFL matches and WWE entertainment.

    In total, $40 billion of the $126 billion is currently spent on these six operators’ subscription streaming services (including Disney+, Peacock, and Paramount+). This highlights the growing importance of these platforms as audiences move away from linear television in favour of the convenience and expansive catalogues available via streaming.

    Google’s contribution to the content market comes via YouTube, and investment in programming through its revenue-sharing arrangements with content creators. While a different entity to other TV and film groups, YouTube continues to build its global presence through partnership deals with major content owners, making it the third largest contributor to the content landscape.

    Despite production shutdowns caused by the US writers’ and actors’ strikes, streamers have continued to support the production landscape by pivoting towards more global strategies. International (non-US originating) programming accounts for 40 per cent of Paramount+’s and 52 per cent of Netflix’s spend in 2024. Such content is typically cheaper to produce, and effective in motivating new and niche audiences to subscribe to a platform, supporting revenues.

    “Ongoing investment by major studios and streaming platforms into new programming will be key to keeping audiences engaged and entertained. We can expect the content landscape to see low-level growth in 2024 as production schedules recover from disruptions caused by the pandemic and the writers’ and actors’ union strikes. Looking forward however, overall growth in spend is set to plateau as companies look to refocus their output. This will include limiting commissioning volumes and prioritising strategic investments and profitability to counter the current challenges of the media market,” said Ampere Analysis investment analyst Peter Ingram, in his recent analysis made public today. 

    Pix Courtesy: The Walt Disney Company

  • Mipcom Cannes unveils lineup for Mip Innovation Lab

    Mipcom Cannes unveils lineup for Mip Innovation Lab

    Mumbai: Mipcom Cannes announced the full details and programme for its newly expanded Mip Innovation Lab, which brings together a high-profile lineup of key players from over 60 international companies for a series of thought-leading talks, summits, networking events and demonstrations at the forthcoming 40th edition of the international co-production & entertainment content market (21-24 October).  

    Covering the area at the intersection of content, technology and changing audience behaviours, and housed in a new dedicated purpose-built space within the Palais des Festivals, The Mip Innovation Lab will host a daily curated programme with dedicated summits on FAST, AI, streaming and connected TV aimed at equipping companies with the latest insights and introductions to potential partners in these rapidly evolving sectors.

    “The fastest developing areas that are shaping the future direction of the television industry are now at the heart of the Palais and of the market.” said Mipcom Cannes and Mip London director Lucy Smith. “We’ve built a destination with a ‘who’s who’ of key players speaking, a host of cutting-edge technology-led companies exhibiting and unrivalled matchmaking opportunities. Everything in the Mip Innovation Lab is geared to helping businesses adapt, identify opportunities, find potential partners and unlock further potential revenue streams. We expect it to be energising, prescient and highly productive.”

    Global Streamer Talks – New for 2024

    A series of interviews by media cartographer Evan Shapiro with leaders from streaming and digital platforms on their strategies, market challenges, and effective collaborations. Speakers include David Eilenberg, head of content, Roku; Claire Basini, deputy general manager, TF1; Olivier Jollet, EVP and international general manager, Pluto TV, Paramount; Cédric Dufour, CEO & president, Rakuten TV; Maxime Carboni, chief business officer, Euronews; and Justin Sampson, chief executive, Barb Audiences. Starting on Tuesday, 22 October at 09:00.

    Connected TV Summit – New for 2024

    This summit covers the influence and innovations in TV operating systems, including user experience dynamics and advertising models. Speakers include key players from All3Media International, Anoki, NEW ID, Numila Advisory, Samsung TV Plus, TVREV, Veed Analytics, VIZIO, Whale TV, and Wurl. Starting on Wednesday, 23 October at 09:00.

    Global FAST & AVOD Summit

    An established summit at Mip markets since 2022, focusing on the international growth of FAST and AVOD through talks and round tables. Speakers include representatives from Banijay Rights, BBC Studios, Blue Lucy, Dataxis, FilmRise, Fremantle, Gracenote, Little Dot Studios, OKAST.TV, Roku, Samsung TV Plus, The Local Act, Tubi, Vevo, Warner Bros. Discovery, Whale TV, Xumo, and ZDF Studios. Starting on Tuesday, 22 October at 14:30.

    Applied AI Summit

    A day dedicated to demonstrating the latest applications of AI in production and monetization, as well as ethical and legal challenges. Leading companies include Adventr, Aive, Alix Partners, Banijay Entertainment, BetaSeries, Calliope Networks, DLA Piper, FanTrust, Google, Largo.ai, TF1 Group, Newen Studios, Papercup, Runway, Social Department, and Variety Intelligence Platform. Starting on Monday, 21 October at 10:15.

    Why YouTube Matters: Engaging Audiences & Boosting Revenue

    A session analyzing trends and opportunities in driving viewership and revenue on YouTube, featuring Neil Price, UK film and TV partnerships lead, YouTube, and Wayne Davison, chief revenue officer, Little Dot Studios. On Wednesday, 23 October at 14:00.

    Insights That Matter: Fueling Your Next Strategic Move

    A wrap session featuring three trend reports and takeaways from RTLAdAlliance, 3Vision, and Omdia. On Wednesday, 23 October at 14:45.

    Partners for the Global FAST & AVOD Summit include Xumo, OKAST.TV, Vevo, Gracenote, Blue Lucy, Abema, OTTera and Tevefy; and for the Connected TV Summit, Samsung TV Plus and Wurl. DLA Piper is the conference partner of the Applied AI Summit.

    Companies confirmed to exhibit in the new Mip Innovation Lab include Amagi, aurbit by Adease Media Intelligence, Dubformer, ElevenLabs, FASTHub by MuxIP and Largo.ai; with Bango, Dramatify, Digital Convergence Technologies, Motion Tech and Triforce both exhibiting and demonstrating within the new set up.  

    The mother of all entertainment content markets, Mipcom Cannes was attended by over 11,000 delegates from over 100 countries in 2023. The 40th edition takes place in Cannes 21-24 October 2024.

  • Paramount Global get $11 billion buyout offer from Apollo Global

    Paramount Global get $11 billion buyout offer from Apollo Global

    MUMBAI: Even as the dust is settling on the $517 million Viacom18 television stake sale deal between Reliance and US media behemoth Paramount Global, comes the news that the latter itself is the target of a a buyout offer. The Wall Street Journal has reported that private equity firm Apollo Global Management, has made a $11 billion offer to the buy the film and television studio. 

    This is not the first acquisition offer that a reluctant controlling shareholder Shari Redstone has received. Earlier, the David Ellison-controlled production company Skydance Media had  proposed to buy Paramount parent National Amusements and fuse it with his firm as a whole. Skydance had bid in excess of $4 billion for a 70 per cent stake. Ellison’s offer – which plans to keep all the studio  assets but sell off the rest – is still on the table.

    Paramount Global’s assets include Paramount Pictures, broadcaster CBS, Viacom cable networks including MTV as well as PlutoTV. The media conglomerate has a current valuation in excess of $7.7 billion. 

    Earlier this month, Paramount’s chief financial officer Naveen Chopra had dismissed any move towards selling the company at a Morgan Stanley media conference. “From management’s perspective, we are focused on execution. And we believe the continued execution of our plan will unlock value. We’re very conscious of the fact that our job as management is to create value for all of our shareholders…To the extent that there are other alternatives, we’ll be diligent about exploring them,” he had said. 

    The company has been grappling with the changing dynamics of content consumption under CEO Bob Bakish. In its latest quarter overall revenue shaved six per cent year-on-year to $7.64 billion, worse than an expected $7.9 billion. TV media revenue and filmed entertainment revenues respectively fell 12 per cent to $5.17 billion and 31 per cent to $647 million. The saving grace was direct to consumer revenues which rose 34 per cent to $1.87 billion.

    “Our disciplined execution and strong content offering drove our results in 2023, as we continue to evolve our business for profitable growth in 2024 and beyond. In Q4, Paramount+ revenue increased 69 per cent,  direct to consumer adjusted Operating income before depreciation and amortization (OIBDA) improved for the third consecutive quarter, and we now expect to reach domestic Paramount+ profitability in 2025 – a significant milestone,” Bakish had told shareholders at the time of the earnings release. “Looking ahead, we continue to be focused on maximizing the return on our content investments and scaling streaming, while transforming the cost base of our business. And I couldn’t be more thrilled with the early momentum we’ve had across every platform in 2024, demonstrating the power of our strategy and assets.”

  • Paramount+ premieres In Bloom with MTV partnership

    Paramount+ premieres In Bloom with MTV partnership

    Mumbai: Paramount+  announced that an anthology of five compelling short films In Bloom, will premiere on the service globally on Friday,  1 March. Available in tandem with International Women’s Day (Friday, 8 March), the unique collection spans countries and cultures, delving into the complexities of gender issues following characters on the brink of life-defining moments, by choice or circumstance.    

    In Bloom has been produced by MTV Staying Alive Foundation with continued support of Paramount Global and grant support by the Bill & Melinda Gates Foundation. The thought-provoking collection tells unheard stories addressing a range of crucial issues including period poverty, child marriage, gender-based violence, HIV self-stigma, family planning and women’s economic empowerment. The anthology comes from five female filmmakers from Nigeria, Kenya, India, the US and Brazil, creatively championing new voices and enabling insightful conversations to dismantle systemic injustices.

    Paramount+ premieres

    The five films are:

    ●    Period – Like many of her classmates at her underserved school, Fay cannot afford menstrual products, so she sets out on a crusade to get them for free. Written and directed by Nicole Teeny, featuring Yasmina El-Abd.

    ●    Alta – A defiant teenager refusing to come out of the bathroom forces her helpless father to seek help to reason with the girl, but things take a turn when their true relationship is revealed. Written and directed by Priyanka Banerjee, featuring Mazel Vyas.

    ●    Maré – A mother on the edge of her sanity seeks solace from a tumultuous life situation. Written and directed by Giuliana Monteiro, featuring Vanessa Giácomo.

    ●    Kifungo – An ambitious romantic struggles with self-acceptance after finding out that she is HIV positive. written and directed by Voline Ogutu, featuring Brenda Wairimu.

    ●    Aféfé – When her elderly and ailing mother-in-law moves in unexpectedly, life for an impassioned local beautician takes a frightening turn. Written and directed by Dolapo ‘LowlaDee’ Adeleke, featuring Folu Storms.

    In Bloom will also premiere on Pluto TV globally on Friday, March 1, prior to a further debut on Friday, March 8, International Women’s Day, on BET and MTV. The anthology will also be available on the In Bloom YouTube Channel in India and Africa.

    Alongside the five female directors, In Bloom is executive produced by Georgia Arnold, Richard Chang-Warburton and Sara Piot for MTV Staying Alive Foundation.

    The anthology builds upon Paramount’s commitment to make gender equity a focus across the entire ecosystem, a shared journey that the company started long ago, leading to an increased representation of women in leading roles across its content.