ITV

Tag: Satyamev Jayate

  • Bhansali’s TV debut ‘Saraswatichandra’ opens with 2.5 TVR on Star Plus

    MUMBAI: When Bollywood names get associated with television, the aspiration of the channels airing those shows rises. Be it Aamir Khan’s Satyamev Jayate or Amitabh Bachchan’s Kaun Banega Crorepati or Salman Khan’s Bigg Boss, these Bollywood personalities have time to time proved that their charisma can pull the audience to the television screen as well.

    This time it is someone who is not seen on camera but is someone who has been behind many Bollywood blockbusters like Devdas, Hum Dil De Chuke Sanam and Black. Director-producer Sanjay Leela Bhansali tried out the television medium with ‘Saraswatichandra’ – and the fiction show has worked well on Star Plus.

    ‘Saraswatichandra’ debuted with 2.5 TVR on 25 February. The average rating of the show in its opening week stood at 2.1 TVR, according to TAM data for the Hindi Speaking Market (C&S 4+) provided by a Hindi GEC.

    Helios Media CEO Divya Radhakrishnan believes the debut rating of ‘Saraswatichandra’ is pretty good. “Earlier prime-time was from 8 pm which has now shifted to 7 pm. Considering the Hindi GECs’ standards, it is a big show and the channel has spent a bomb on it. I had thought it would get a better slot on the channel but for a 7.30 pm slot, 2.5 TVR ratings is good and it has picked up pretty well,” she said.

    Star Plus VP-marketing Nikhil Madhok said, “We are happy with the way the show has opened up. It is the highest rated debut amongst past few launches of our channel.”

    As per TAM data (HSM including 5 new LC1 markets, C&S, 4+) sourced from a channel, Star Plus continued to maintain its leadership position in the genre with the addition of 17 GRPs to notch a total of 265 GRPs. The other shows of the channel like Diya Aur Bati Hum (5.9 TVR), Nach Baliye (2.9 TVR) and Yeh Rishta Kya Kehlata Hai (4.4 TVR) have seen rise in eyeballs.

    Zee TV climbed to second position with 226 GRPs, despite a loss of five GRPs. The channel’s recently launched kids’ reality show India Ke Best Dramebaz notched a whopping 4.4 TVR in the week ended 2 March.

    Following Zee TV is Colors that slipped to third position with a loss of 15 GRPs. The channel had earned 30 GRPs last week as it had aired Akshay Kumar-starrer ‘Khiladi 786’ on 23 January. The fiction shows of the channel recorded marginal difference in their ratings as it closed the week with 220 GRPs.

    Sony Entertainment Television lost 18 GRPs to clock 170 GRPs. The channel had gained numbers last week as it had aired the Filmfare Awards. Its recently launched fiction show ‘Khubsoorat’ opened with a TVR of 1 as it averaged 0.9 TVR in the week.

    Sab with 138 GRPs (same as last week) went ahead of Life OK in the ninth week of TAM. Life OK ended the week with 132 GRPs (last week 144).

    Sahara One with 24 GRPs (last week 24) remained at the bottom of the ladder.

  • ‘We will post robust double digit growth’ : Disney UTV executive director and Disney kids network business head Vijay Subramaniam

    ‘We will post robust double digit growth’ : Disney UTV executive director and Disney kids network business head Vijay Subramaniam

    The kids television market in India is a tough nut to crack. Disney UTV executive director and Disney kids network business head Vijay Subramaniam, however, believes that the brand-driven media conglomerate has got the right formula to break the nut.

     

    Two of the channels have succeeded to penetrate the ratings. Disney Channel houses its global brands like MickeyMouse and is growing these franchises. Hungama is a fun-filled channel and works on Japanese anime content. TheWalt Disney Company India is now pulling its resources behind Disney XD to make the comedic action channel popular in the Hindi speaking markets.

     

    The company‘s strategy is two-fold: offer a wide spread of content that entertains not just kids but also the family; support this with strong activation to connect directly with the TG through multiple touch points.

     

    The challenge is to expand the advertising revenue which is pegged at Rs 2.5 billion. The genre is under indexed and the growth in audiences is not translating to a corresponding increase in advertising monies.

     

    Disney is waiting for digitisation to develop other genres that will yield more subscription revenues. The company is determined to find potential in live action and has three shows in development stage. Local animation is another genre that it wants to explore actively. The superhero genre is also to be exploited as an opportunity.

     

    In an interview with Indiantelevision.com‘s Javed Farooqui, Subramaniam talks about the potential the kids genre has amid tough revenue challenges.

     

    Excerpts:

    What is the challenge the kids broadcasting genre faces today?
    Some of the challenges that existed earlier even prevail today. Distribution, for instance, was a hard game to play when we launched in 2007. That situation continues and India is still one of the most expensive markets to procure distribution. So that definitely is a challenge. But we hope things will better with digitisation.

     

    Another challenge that has stuck around is that the kids market is highly under indexed. You can take a five year trend and you will find it is still under indexed, despite the fact that viewership on kids channels have grown overall. It’s a Rs 2.5-2.7 billion ad market. If you take the viewership, the total number of GRPs in 2007 was about 400-450 and currently it’s at about 700 GRPs. Every year this has been one genre that has added consistent growth, but it stays under indexed.

    Is that because the genre is highly fragmented?
    The question that advertisers need to ask is where the quality of viewership is and are they leveraging it. Going by the science of the marketplace, I don’t think advertisers have still realised the full potential of this audience.

    What could be done to overcome this hurdle?
    There are three things that we consistently do from a Disney kid’s networks standpoint and we believe it’s increasingly giving us returns. One is to have entertainment content that is completely family inclusive with the kid at the centre of it.

     

    Two, every single marketing activity that we have undertaken as a network has driven a very strong engagement value building loyalty through several intangibles. These become the talking points for advertisers and, more importantly, it deepens the relationship between the consumer and the channel. Take Jet Set Go as an example. We got six million entries from across the country and the best thing is that the contest was completely driven through Disney channels without cricket and Bollywood.

     

    Thirdly, we are constantly engaged in educating the advertising fraternity of the increase in value that the kids centric family brings. Yes, that’s a long journey to cover still. But the fact is that new categories of advertisers are walking in. Kids channels reach about 85 per cent of the genre’s universe.

     

    We are the leading kids network with 43 per cent share and we bring the power of terrific story telling through our franchises. The activations that we do are pretty wholesome and these are things that can be easily leveraged for value by brands. Having said that, it is a very competitive marketplace. And I don’t see enough attention being given to this segment when people strategise.

    So in an ideal situation what should be the size of the ad revenue market considering the audience delivery?
    That would be a hard one to say. I am of the view that brands that invest in kids channels should have a long-term view of building partnerships. We in Disney believe in evolving with the consumer and it’s important that brands demonstrate similar partnerships and evolve with us as we evolve with consumers. To illustrate a point, the engagement that we brought with Jet Set Go is something that money can’t possibly buy. Just imagine 33 families coming together and nobody knowing each other as they set out to experience the whole thing together at Disneyland. So these kinds of opportunities can be created by us. It’s more of a strategy that is driving this investment as opposed to asking ‘Can you spend a little more’? It’s not just about how you spend; it’s about how much you are staying invested with this important target audience.
    ‘The segment that we are going to drive as an opportunity as well as a strategy is the superhero genre. We have got the Marvel Universe premiering on Disney XD. That’s our first foray and we have got Marvel as a part of Disney‘

    Disney has been positioning itself as family entertainment channel. Do you think that works when you have to compete in the kids genre?
    The kids channel label is what prevents us from looking at family as a unit. If you look at it from the lens of a television professional, then that’s a limitation. But if you look at consumers in general and brand Disney in particular, we are a family entertainment channel worldwide. There are enough adults who buy Disney merchandise and then there is Disneyland which will give you an indication of just how big the Disney brand is.

     

    Agreed we are a young brand in India and we have not been here as long as the brand has been in other countries. But that said Disney stands for family entertainment. Secondly, if you look at consumers, they have at least one meal together and even as we live individualistic lives, the meaning of family is still very strong. We believe that Disney is a brand that provides the environment for families to come together. Yes, its kids centric but it’s something that is enjoyed by the family. And we believe that we have some of the best family comedy shows.

    But isn’t it still animation that works for kids channels?
    Agreed that animation is the staple diet for all kids channels. But it does not for a minute mean that the two cannot co-exist. In fact, there should be a healthy balance of the two.

     

    We will continue to invest on live action and we are very clear that we want to make it work. Ok, let me change the perspective and ask the same question about Satyamev Jayate. When you bring in a new format in a new slot, you will have people who will be very enthusiastic and supportive and there will be people who will be at the fence. As leaders, it is important to bring these new formats to the country. We have to drive it in a manner that Indian audiences find it most entertaining and relevant. We started with live action two years ago with Ishaan and we have three shows under development stage now. We genuinely believe that this is an added dimension for both kids and their families.

     

    Live action is fun but it is harder to do. We are fortunate that we have the repertoire of successful stories that have been scripted and aired successfully internationally.

    What is the ratio between live action and animation on Disney Channel?
    It’s between 15-19 per cent with just two shows – Suite Life of Karan and Kabir and Best of Luck Nikki.

    What is your content strategy for the three channels? Any specific genres that you are planning to experiment with?
    One segment that we have identified clearly is live action. It’s very rich and is something to which we are committed strategically and financially; we are going to drive that to build significant volume for us.

     

    We see huge opportunity in preschool content and have ambitious plans for it. Frankly, it’s a function of right timing because it can’t be driven using the ad sales model. This is a far younger audience and requires a lot more responsibility in managing it. This is one genre we would like to explore once we see where this digitisation piece is moving.

     

    The third genre that we want to play a role in is local animation. Indian animation has come a long way and we believe that there are lots of dimensions that are still to be explored. A day in the life of a kid is also an opportunity to explore much more; it doesn’t necessarily need to be mythology. So that’s the piece we are keen on.

     

    Musicals is something which is at the heart of everything we do. It is another interesting genre, but the challenge is how do we do so because development in some of these things is very difficult to do in an environment that is not necessarily seen as an opportunity through the eyes of the kid.

     

    Comedic action and adventure is an interesting genre that we are going to contribute significantly in.

     

    Lastly, the segment that we are going to drive as an opportunity as well as a strategy is the superhero genre. We have got the Marvel Universe premiering on Disney XD with Spiderman and Iron Man-Armored adventures on Saturday. That’s our first foray and we have got Marvel as a part of Disney. There are interesting stories to be built around them.

    How are Disney Channel, Hungama and Disney XD positioned?
    Disney Channel is the home of Disney brand and everything it stands for. All the Disney franchises are housed under this channel. Micky Mouse Clubhouse, Winny the Pooh and Phineas and Ferbs will be championed by Disney Channel as will the live action production that I spoke of – Suite Life of Karan and Kabir, Best of Luck Nikki and Art Attack (an art and craft show).

    Hungama is a brand aimed at the 4-14-year-olds. It is a total unbridled fun channel, so Japanese anime is the content expression there.

    Disney XD is an action and comedic brand channel targeting boys in the age group of 8-14 years.

    Hasn’t Disney XD been the weak link in your network?
    I would say Disney XD required the maximum amount of work among the three channels that we have in India. We have got Disney Channel and Hungama sitting pretty but our work is not finished yet. We have to stay on top of the live action game, something that I keep emphasising on. It has to be truly entertaining because that is what differentiates Disney from other entertainment products. Hungama is going to stay fun and enjoyable.

     

    With Disney XD, we are sure we will be able to take it to the position the other two are in. That’s really the game plan.

    What direction are you going to give Disney XD?
    Disney XD is a channel that has traditionally done well in the South and HSM (Hindi Speaking Market) was not a focus area. We are at a stage where we are going to focus a lot of our resources on Disney XD to make it strong in the HSM. We have made encouraging beginnings but we have a long way to go. We are pretty confident of reaching there. Prior to January, we were 30 odd GRPs, which is really nothing. But currently we hold about 60 GRPs on an average and are confident that it will be a 100+ GRP channel in the coming months, given that we have a whole lot of initiatives planned to give it the push.

    What are the growth projections for Disney network?
    I am not at liberty to share financials, but they are robust double digit numbers. The growth will be delivered by consistency of performance due to high quality programming and a discerning advertiser who is placing a premium on both brand value as well as consistency. As far as break-up of revenues is concerned, its 50-50 for us between distribution and ad revenue. Licensing and merchandising is a separate business altogether.

    How important is new media in the scheme of things?
    New media in most media companies is an extension of the linear product. But for us it’s a full-fledged digital universe onto itself. Disney is a unique brand that tells great stories and then disseminates them through as many platforms and environments as possible.

     

    We have Disney Interactive Media Group. Like DisneyConsumer Products, it is a separate company altogether that works across the length and breadth of the digital universe. When we did the Princess movie festival on the channel, we also built a game on mobile and they then fed it to over 7-8 million consumers. So that’s the scale we can build for our stories across platforms.

  • Ormax launches tool to measure brand association effectiveness

    MUMBAI: Media research and consulting firm Ormax Media has launched a proprietary model for brand association measurement. The tool, Mpact, measures the strength of association of a brand with a big-ticket, high-impact media property.

    With this tool, Ormax claims that brands and media agencies will now be able to test the effectiveness of their association with high-impact properties across media like sporting event associations, reality shows sponsorships, AFPs, print and television innovations and roadblocks, product placements, co-branded campaigns using this new scientific tool.

    Mpact uses consumer data to calculate the Mpact Score which results in a single-number measure of the effectiveness of the association for the brand. This new measurement tool has been developed and tested across more than 50 media associations including Aamir Khan‘s talk show Satyamev Jayate on Star Network channels.

    Ormax Media CEO Shailesh Kapoor said, “When an advertiser pays a premium to associate with an impact property such as IPL, KBC or Bigg Boss, takes a false cover on Times Of India, plans a roadblock on a top channel, or associates with a big film such as Ra.One or Bodyguard, it expects returns that go beyond just the day-after recall of the association. Mpact is a simple but powerful method of measuring how effective the association has been for the brand, beyond just a recall score which is extremely transient in nature. In effect, the Mpact score is a surrogate RoI measure of the association.”

  • Assamese film on female foeticide to release on 13 July

    Assamese film on female foeticide to release on 13 July

    MUMBAI: Assamese film Me and My Sister, based on the issue of female foeticide, is scheduled for release in seven languages on 13 July.

    The Rajesh Bhiyan directed film throws light on cases of exploitation of women and ill-treatment prevalent in the state of Assam.

    Initially, the film was made in Assamese for the people of Assam. But the recent storm created by Aamir Khan‘s show Satyamev Jayate on female foeticide forced producer Nepon Dhoula to dub the film in languages such as Hindi, Marathi, Bengali, Bhojpuri, Rajasthani and English.

    Said Dhoula, “The film deals with the fate of girl child. Currently, under the Indira Gandhi child Welfare scheme, Government of India presents an amount of Rs 25,000 on the birth of first girl child to the families and Rs 20,000 on the birth of second which we feel is not enough and should be increased.”

    The film, shot in cinemascope, has been produce under banner NBDK Production.

  • Aamir Khan’s debut TV show Satyamev Jayate opens with 4.1 TVR

    Aamir Khan’s debut TV show Satyamev Jayate opens with 4.1 TVR

    MUMBAI: Star India‘s biggest programming property of the year and Aamir Khan‘s debut TV show Satyamev Jayate has made an impact, energising the Sunday morning slot.

    The one-and-a-half-hour first episode on female foeticide, telecast at 11 am, opened with an aggregate rating of 4.09 across the country for viewers above four years and reached out to 27 million viewers.

    The TAM data is for the entire Indian market, including cable and terrestrial homes where Doordarshan beams. Satyamev Jayate airs on seven Star network channels, ETV Telugu and pubcaster Doordarshan.

    The show recorded a rating of 4 in the Hindi speaking market of C&S homes, according to TAM.

    Says Star India executive vice president marketing and communications Gayatri Yadav, “The 11 am slot was not at all active. We are happy that our strategy has worked and the time spent by audiences has been quite good. It seems to have worked both in the upper SEC audiences and terrestrial homes. Beyond anything, it‘s the buzz of the show that has been historic; it‘s connecting well with the viewers.”

    But isn‘t Star disappointed with the show‘s rating of 3 on its flagship channel Star Plus? Yadav feels that the show should be seen in its totality and not in isolation.

    “We are happy with the ratings on Star Plus. We also need to get used to this concept of simulcast as networks have game changing show properties. We will put such properties across our network channels. We must expand our lexicon and see it as an aggregate. The aggregate viewership has been very encouraging,” says Yadav.

    How advertisers view the ratings

    Advertisers, who have bet big monies on the show across the channels, tend to agree. Says GroupM CEO Vikram Sakhuja, “The debut

    ratings have been very good and must be viewed in totality. The reach of the show is also fantastic.”

    The biggest benefit is that the Aamir Khan show circulated on other platforms beyond television. Satyamev Jayate, in fact, was the most searched term in Google in India on 6 May, the day of its launch. The show trended 1-9 on the top Twitter Trends.

    Says associate sponsor Axis Bank CMO Manisha Lath Gupta, “The ratings support our strategy. We have integrated with the show and have got a lot of traffic from people who aren‘t necessarily our consumers. We have a presence towards the end of the show when we say that ‘to make contribution you can reach out to Axis Bank‘. We have got a lot of value by associating with the show.”

    Lodestar UM CEO Shashi Sinha believes the initial response has been positive, particularly among the upscale

     audiences. “The rating that the show has got is very good. What is more interesting is to see how it is doing in SEC A. Four is a good opening for a Sunday morning slot.”

    Satyamev Jayate has also got a very high interactive value. “If you look at social media, the show has generated a lot of interactivity and buzz. The most difficult audience to get today is SEC A, but the show has managed to tap them,” says Sinha.

    Not everybody, though, is convinced. Lintas Initiative Media CEO Sudha Natrajan is disappointed with the ratings that Star Plus has got, though she thinks it was a bold step to start something like this on Sunday mornings. “It is their way of recapturing the Sunday morning time band. It will take a bit longer for the viewership to build up on Star Plus during this time zone. The show is very tightly produced and there are topics of high interest,” she says.

    As per Tam data provided by the channel, the show opened with roughly 50 per cent higher ratings in Upper SEC audiences (SEC A 5.9 TVR All 4+). In C&S homes, the show garnered 14.4 TVR in the 15-34 age group, (Digital homes, HSM Million+).

    Terrestrial viewers have got hooked on to the show. Doordarshan has posted ratings of 11 (Non C&S Households).

    “One should not only see the show from the pure TVR point of view. One has to also notice the amount of buzz that is being created

     in the market . The show has done very well on that front. It is more valuable for the brands that it is being talked about so much,” concludes Starcom MediaVest Group chairman and LiquidThread (Asia-Pacific) MD CVL Srinivas.

    How the Hindi GECs rank

    The pecking order of the Hindi general entertainment channels remains the same. Star Plus leads, adding 14 GRPs in the week ended 12 May, according to TAM data (C&S 4+ HSM).

    The channel‘s fiction property Diya Aur Baati Hum leads with 4.92 TVR. Diya Aur Baati Hum has edged past Zee TV‘s homegrown dancing reality show DID lil Masters, pushing it to No. 2 on the ‘top 10 shows‘ list.

    Despite losing 15 GRPs, Zee TV continues to hold its position as the second most watched Hindi GEC. The drop comes as DID lil Masters sees a dip in viewership in its third week. The show, which had garnered 6.2 and 5.8 TVR in the first two weeks respectively, could manage 4.82 TVR this week. Zee TV‘s fiction property Punarvivah has seen improved performance, securing a position in the top 10 most watched shows with a 3.42 TVR.

    Meanwhile, Sony Entertainment Television (Set) has also lost three GRPs to end the week with 217 GRPs.

    Colors has added six GRPs to cross the 200 mark. The channel closed the week with 201 GRPs. Its biggest fiction property, Balika Vadhu, saw a rise in viewership, clocking 4.48 TVR and ranking fourth.

    Sab added 27 GRPs to close the week with 131 GRPs. The channel has seen ratings jump across weekend prime-time, weekday prime-time and weekday afternoon prime-time slots.

    Life OK, the second GEC from Star, also added six GRPs to end the week with 91 points.

    Sahara One remained at the bottom of the ladder with 40 GRPs.

  • Satyamev Jayate notches 4.27 TVR in 6 Metros

    Satyamev Jayate notches 4.27 TVR in 6 Metros

    MUMBAI: Aamir Khan’s television debut show, Satyamev Jayate, has recorded an overall rating of 4.27 TVR (including terrestrial of DD) in the six metros of Delhi, Mumbai, Kolkata, Chennai, Bangalore and Hyderabad.

    The show, launched on 6 May at the 11 am-12.30 pm band, was simulcast on Star Plus, Star Pravah (Marathi), DD National, Star Utsav, ETV (Telugu), Vijay (Tamil), Star Jalsha (Bengali), Star World (English) and Asianet (Malayalam).

    The show reached out to 8.96 million people in the age group of 4+, as per data provided by TAM Media Research.

    In the 4+ market, the six-metro rating stood at 4.08 and the show reached out to 8.15 million people in C&S homes.

    Indiantelevision.com was the first to report the individual ratings of the show on Star Plus and other channels in the respective metros.

    Also Read:

    Aamir Khan’s Satymev Jayate debuts with 3.8 TVR on Star Plus

  • ‘GEC programmers need to understand IPL viewing behaviour’ : Ormax Media co-founder and CEO Shailesh Kapoor

    ‘GEC programmers need to understand IPL viewing behaviour’ : Ormax Media co-founder and CEO Shailesh Kapoor

    Ormax Media, the consumer knowledge and consulting firm for the media and entertainment industry, has entered into its fourth year of operations with plans to expand its product offerings and business. 

    Launched jointly by research specialist Vispy Doctor and former Filmy business head Shailesh Kapoor in July 2008, the company boasts of growth across sectors, including television, radio and media agencies.
     

    In an interview with Indiatelevision.com‘s Gaurav Laghate, Kapoor talks about the trends in entertainment television across genres – GEC, Sports, English entertainment and infotainment.

    Excerpts:

    What are the significant changes you are witnessing in the Hindi GEC space, both in terms of programming and marketing?
    There has been a definite movement towards light-hearted treatment of content. Stories may still be based around families and social change, but the treatment is less heavy and emotional than what it was before. Meanwhile, reality shows are going through a tricky phase, with no new ideas coming up, except Satyamev Jayate. We seem to have saturated the formats available to us.

    How do you see GECs getting affected from IPL this year?
    There is definitely diversion of viewer attention, but like Bollywood, GECs too have realised that at some point, they will have to take the IPL on. The key is to identify which programmes to focus on during IPL and which to duck. Understanding of IPL viewing behaviour becomes critical for that.

    What do you think of all the sports entertainment properties that are coming up…like Super Fight League? Will they gain traction?
    Mixed Martial Arts, being presented through UFC and SFL, is a very popular International sport. It should surely find its audience.

    What are the trends in sports viewership? Are non-cricket sporting events growing?
    Yes, the growth is there, but slow. Marketing is the key. I‘m glad that a new channel (Sony Six) has launched, as any channel launch always gives impetus to sports in general.
    ‘Language feed is the way forward as C&S penetration will continue to increase in smaller towns. Subtitling has helped English language channels a lot, and so have language feeds for English infotainment‘

    Your view on declining viewership of IPL?
    All trends and data we have suggest IPL viewership is actually 20 per cent higher than last year. I will not like to comment on the ratings.

    Is too much cricket causing viewers’ fatigue?
    A lot of it depends on India‘s performance. Having said that, we have a fairly lean period over the next few months, so cricket should be back in its full glory later this year.

    What are the trends in English infotainment and niche programming? Do you see language feeds getting more eyeballs?
    Language feed is the way forward as C&S penetration will continue to increase in smaller towns. Subtitling has helped English language channels a lot, and so have language feeds for English infotainment.

    And what about programming trends in the English general entertainment space?
    The genre needs some Indian programming desperately. The issue is – are the costs affordable. But a good Indian show, especially comedy or non-fiction, can definitely prove to be a game changer.

    What do you think about English music channels – now three… Will they manage to get viewers share without appointment viewing?
    The genre is very niche and its business model is based largely on imagery, perception, innovations and client servicing. So viewership doesn‘t matter that much.

    How has been the year for Ormax Media in terms of revenue and business growth?
    2011-12 has been an excellent year. We showed 62 per cent growth in our revenue, and added 24 new clients. Our proprietary product line now stands at 19 in number. Film research has been a big growth area for us last year, and should continue to grow this year too. But overall, growth has been across sectors, including television, radio and media agencies.

    What all new clients and new tools and products the company has launched or is launching in the near future?
    We recently launched the third edition of our IPL ad tracking study, Day After Cricket. Our music countdown product ‘Heartbeats‘ is now available in a Kolkata edition also, where we track Hindi and Bangla music in the Kolkata market. Our flagship products Cinematix and Showbuzz recently went through major market expansions. Cinematix expanded from 6 cities to 16 cities, while Showbuzz expanded from 6 to 14 cities. In the coming months, we have a huge product launch lined up. Without revealing much, we can say that it will be a product every advertiser and media agency will find extremely useful and relevant.