ITV

Tag: Sony

  • Sony makes a comedy comeback with Kapil Sharma

    Sony makes a comedy comeback with Kapil Sharma

    MUMBAI: A flurry of reports gave birth to waves of mystery, and sailing through rough seas was Kapil Sharma and his comedy enterprise. The water has now calmed as Sony Pictures Networks today (1 March 2016) announced the revival of comedy on its premier General Entertainment Channel (GEC) Sony. And the mantle for Sony’s return to comedy has been donned by Kapil Sharma and his crew. Jointly produced by Kapil’s own production house K9 Productions and Frames, the show will hit the small screen every Saturday and Sunday from 23 April at 9 pm. 

    “Comedy plays a vital role when it comes to viewership and is a very important part of Sony. Yes we took a break and now we are back and there is no better way to come back than with Kapil,” said SPN India CEO NP Singh.

    The show has been given a new sobriquet.  It is now The Kapil Sharma Show. SPN along with the televised show will also foray into a lot of on-ground initiatives. The first episode of the show will be the televised version of an on ground show in Delhi. Besides Delhi, SPN with Kapil and team will travel to Lucknow, Amritsar and Bhopal. 

    “Our major focus will be the Hindi Speaking Markets (HSM) and the four city tour is very much a part of a marketing plan. With Kapil, the buzz is already built, you don’t need to put in hefty investments. It’s just being at the right place at the right time. The eagerness for the show is already there and we will unveil our various campaigns in time” informed SPN SVP marketing Anup Vishwanathan.

    The Kapil Sharma Show show will go on air at a time when SPN’s biggest asset IPL will be at its peak and the channel is all set to utilize the huge reach of the million dollar league in order to promote it. “IPL is a great success and is very popular. But we believe The Kapil Sharma Show will have a totally different set of audience and both will have high viewership. IPL and The Kapil Sharma Show can both run successfully at the same time. Rather IPL is a big advantage for us, we will use it to promote and generate more awareness,” revealed Sony EVP and business head Danish Khan

    “There were sensibilities which did not match between us and Colors, therefore we could not reach a consensus and hence we parted. We will continue to do what we do the best, and that is to entertain people. The only difference is the network. I have had a great association with Sony and we are looking ahead for even better things,” said Sharma.

    SPN has already raked in a ‘presented by’ sponsor in Lava mobiles and is in the final set of discussion for powered by and associate sponsors category, “We are receiving a very positive response when it comes to advertisers and soon we will have more names to share,” informed Khan.

    The network is looking forward to a long term association with the comedian. “This is a long term investment and we are looking at the future. We want to take comedy to a new level, and we will do it together with Kapil and his team” Khan further added.  

    But how is it different? What is it that differentiates the new one from the one that he was doing for Colors? “Creating differentiation for the sake of creating it is not good” replied CEO NP Singh. He further added, “The team of writers and the team of actors they have will create a differentiation naturally everyday. The viewers will need to constantly re-invent themselves and that’s the magic the team can create.”

    The show will also be up on the digital platform Sony Liv through a yet to be determined business model. “We still have time to decide if we will put the show as AVOD or SVOD. But it will be available for the viewers on the digital platform,” asserted Singh.

    Due to copyright issues despite having the same crew Kapil will have to revamp the characterization all over again. Now it remains to be seen how Sony’s foray into comedy unfolds in days to come.

  • Sony makes a comedy comeback with Kapil Sharma

    Sony makes a comedy comeback with Kapil Sharma

    MUMBAI: A flurry of reports gave birth to waves of mystery, and sailing through rough seas was Kapil Sharma and his comedy enterprise. The water has now calmed as Sony Pictures Networks today (1 March 2016) announced the revival of comedy on its premier General Entertainment Channel (GEC) Sony. And the mantle for Sony’s return to comedy has been donned by Kapil Sharma and his crew. Jointly produced by Kapil’s own production house K9 Productions and Frames, the show will hit the small screen every Saturday and Sunday from 23 April at 9 pm. 

    “Comedy plays a vital role when it comes to viewership and is a very important part of Sony. Yes we took a break and now we are back and there is no better way to come back than with Kapil,” said SPN India CEO NP Singh.

    The show has been given a new sobriquet.  It is now The Kapil Sharma Show. SPN along with the televised show will also foray into a lot of on-ground initiatives. The first episode of the show will be the televised version of an on ground show in Delhi. Besides Delhi, SPN with Kapil and team will travel to Lucknow, Amritsar and Bhopal. 

    “Our major focus will be the Hindi Speaking Markets (HSM) and the four city tour is very much a part of a marketing plan. With Kapil, the buzz is already built, you don’t need to put in hefty investments. It’s just being at the right place at the right time. The eagerness for the show is already there and we will unveil our various campaigns in time” informed SPN SVP marketing Anup Vishwanathan.

    The Kapil Sharma Show show will go on air at a time when SPN’s biggest asset IPL will be at its peak and the channel is all set to utilize the huge reach of the million dollar league in order to promote it. “IPL is a great success and is very popular. But we believe The Kapil Sharma Show will have a totally different set of audience and both will have high viewership. IPL and The Kapil Sharma Show can both run successfully at the same time. Rather IPL is a big advantage for us, we will use it to promote and generate more awareness,” revealed Sony EVP and business head Danish Khan

    “There were sensibilities which did not match between us and Colors, therefore we could not reach a consensus and hence we parted. We will continue to do what we do the best, and that is to entertain people. The only difference is the network. I have had a great association with Sony and we are looking ahead for even better things,” said Sharma.

    SPN has already raked in a ‘presented by’ sponsor in Lava mobiles and is in the final set of discussion for powered by and associate sponsors category, “We are receiving a very positive response when it comes to advertisers and soon we will have more names to share,” informed Khan.

    The network is looking forward to a long term association with the comedian. “This is a long term investment and we are looking at the future. We want to take comedy to a new level, and we will do it together with Kapil and his team” Khan further added.  

    But how is it different? What is it that differentiates the new one from the one that he was doing for Colors? “Creating differentiation for the sake of creating it is not good” replied CEO NP Singh. He further added, “The team of writers and the team of actors they have will create a differentiation naturally everyday. The viewers will need to constantly re-invent themselves and that’s the magic the team can create.”

    The show will also be up on the digital platform Sony Liv through a yet to be determined business model. “We still have time to decide if we will put the show as AVOD or SVOD. But it will be available for the viewers on the digital platform,” asserted Singh.

    Due to copyright issues despite having the same crew Kapil will have to revamp the characterization all over again. Now it remains to be seen how Sony’s foray into comedy unfolds in days to come.

  • How to get your story on screen?

    How to get your story on screen?

    MUMBAI: The key to survival in the cut-throat world of television programming is creativity and conviction. At a time when writers and good ones at that, are available nineteen to a dozen, television channels are picky-choosy about the scripts and scriptwriting talent that they hire. In such a scenario, many a scriptwriters with fire in their belly and the desire to be successful are left with no choice but to taken the route of becoming a producer by roping in investors.

    With a focus on how new age writers also have to don the hat of a producer not out of choice but out of compulsion, The Content Hub 2016’s session ‘The Age of Creative Producers’ set the ball rolling by focussing on issues of show-runners, C driving creativity as well as writers and directors turning producers.

    The session was attended by writers, producers, directors and broadcasters alike from the television industry. The session was chaired by Bodhi Tree Multimedia co-owner Sukesh Motwani and the panellists included Neela Telefilms owner Asit Modi, The House of Originals director Nivedita Basu, Sony SAB programming head Saeed Akhtar and Swastik Pictures founder Siddharth Tewary.

    Shedding light on the issue of writers and directors becoming producers, Tewary said, “Writers have no other option than to become producers because many a times, production houses don’t agree to produce their stories. So writers are left with no choice but to manage their funds and produce it on their own.”

    Basu opined, “The concept of writers and directors collaborating with production houses is nothing new. It already existed in the industry. Moreover, the collaboration between writer and production house as well as between the production house and channel has become a key factor.”

    For the smooth shooting for any television show, a ‘show-runner’ is a must. The show-runner is responsible for the show’s creative and financial aspects and also looks after the overall creative authority and management responsibility for television programs. Emphasising the importance of having an able ‘show-runner’ to helm the television show, Basu added, “Nowadays having a good concept is nothing. It’s all about how you build the characters. It is good to have a very experienced person as a show-runner by a channel.”

    Elaborating on the concept of show-runner, Modi opined, “It is important to have somebody who has knowledge about all aspects of creation rather than writing. Thus it is important to have a show-runner who has a better idea, vision and understanding about what the audience wants.”

    Broadcasters play a pivotal role in getting the content out on television and highlighting the criteria that broadcasters look for while choosing a show, Sony SAB programming head Saeed Akhtar opined, “An individual should have a vision on what they are creating. Today, a lot of shows on television are infinite, and thus it is very important to have a vision about the show as for broadcasters, the show is a product, which they need to sell to advertisers as well as the viewers. One should choose the right person internally to drive a particular kind of brand and maintain brand hygiene. If the channel identifies a person who has the capability to drive a particular idea into a good show and everyone’s conviction is on that show, then broadcasters helps in creating an ecosystem so that the essence of the core idea always stays.”

  • How to get your story on screen?

    How to get your story on screen?

    MUMBAI: The key to survival in the cut-throat world of television programming is creativity and conviction. At a time when writers and good ones at that, are available nineteen to a dozen, television channels are picky-choosy about the scripts and scriptwriting talent that they hire. In such a scenario, many a scriptwriters with fire in their belly and the desire to be successful are left with no choice but to taken the route of becoming a producer by roping in investors.

    With a focus on how new age writers also have to don the hat of a producer not out of choice but out of compulsion, The Content Hub 2016’s session ‘The Age of Creative Producers’ set the ball rolling by focussing on issues of show-runners, C driving creativity as well as writers and directors turning producers.

    The session was attended by writers, producers, directors and broadcasters alike from the television industry. The session was chaired by Bodhi Tree Multimedia co-owner Sukesh Motwani and the panellists included Neela Telefilms owner Asit Modi, The House of Originals director Nivedita Basu, Sony SAB programming head Saeed Akhtar and Swastik Pictures founder Siddharth Tewary.

    Shedding light on the issue of writers and directors becoming producers, Tewary said, “Writers have no other option than to become producers because many a times, production houses don’t agree to produce their stories. So writers are left with no choice but to manage their funds and produce it on their own.”

    Basu opined, “The concept of writers and directors collaborating with production houses is nothing new. It already existed in the industry. Moreover, the collaboration between writer and production house as well as between the production house and channel has become a key factor.”

    For the smooth shooting for any television show, a ‘show-runner’ is a must. The show-runner is responsible for the show’s creative and financial aspects and also looks after the overall creative authority and management responsibility for television programs. Emphasising the importance of having an able ‘show-runner’ to helm the television show, Basu added, “Nowadays having a good concept is nothing. It’s all about how you build the characters. It is good to have a very experienced person as a show-runner by a channel.”

    Elaborating on the concept of show-runner, Modi opined, “It is important to have somebody who has knowledge about all aspects of creation rather than writing. Thus it is important to have a show-runner who has a better idea, vision and understanding about what the audience wants.”

    Broadcasters play a pivotal role in getting the content out on television and highlighting the criteria that broadcasters look for while choosing a show, Sony SAB programming head Saeed Akhtar opined, “An individual should have a vision on what they are creating. Today, a lot of shows on television are infinite, and thus it is very important to have a vision about the show as for broadcasters, the show is a product, which they need to sell to advertisers as well as the viewers. One should choose the right person internally to drive a particular kind of brand and maintain brand hygiene. If the channel identifies a person who has the capability to drive a particular idea into a good show and everyone’s conviction is on that show, then broadcasters helps in creating an ecosystem so that the essence of the core idea always stays.”

  • I&B steps up content regulation with directive on horrow show timings

    I&B steps up content regulation with directive on horrow show timings

    NEW DELHI: Rapped by the government, the Indian Broadcasting Foundation (IBF), an apex body of broadcasters operating in India, has formed a panel which will look into the slotting of horror shows on private satellite channels so that such shows are not easily accessible to children.

    Reason: a missive from the Information and Broadcasting ministry on the issue of horror shows and their effect on children. The formation of the panel on horror shows – comprising Star India chief executive Peter Mukerjea, SET India chief executive Kunal Dasgupta and Sri Adhikari Brothers’ vice-chairman Markand Adhikari – also coincides with certain steps on content regulation that the Indian government proposes to take. 

    The Parliamentary Consultative Committee attached to the I & B ministry will be meeting tomorrow to discuss ways which can possibly give the government powers to control what it feels is undesirable programming on TV channels.

    Broadcasting industry sources confirmed that the IBF has formed a panel to look into the issue of horror shows as it received a letter from the I&B ministry saying various representations have been made to it on rampant airing of horror and thriller shows during prime time which can have negative effects on children. 

    The sources indicated that the IBF panel might look at shifting such programming on to late night slots or at times when children are not likely to be watching television.

    Programmes like Aahat and Achanak on Sony, Shhh…Koi Hai on Star Plus and Khauff on Sabe TV usually air at 9 pm or 10 pm on weekends currently. 

    The parliamentary panel tomorrow will discuss ways on how the government can enforce a control on content being put out on television channels, including commercials that have been termed objectionable like the Fair & Lovely cream ad – which, as per a petition to the I&B ministry by a human rights commission, promoted colour prejudice and is biased against the dark skinned girl child.

    According to government sources, the move to get some hold over content on television also comes in the wake of frequent objections raised by members of Parliament on un-Indian like programming on the small screen. 

    Meanwhile, the Indian Broadcasting Foundation (IBF) is close to finalising a programming code that is to be followed by the member-broadcasters. 

    According to early information available with indiantelevision.com, the IBF programming code, aimed at self-regulation, is a lengthy document running into almost 100 pages. It will be put up for the board’s approval once it is finalised. 

  • I&B steps up content regulation with directive on horrow show timings

    I&B steps up content regulation with directive on horrow show timings

    NEW DELHI: Rapped by the government, the Indian Broadcasting Foundation (IBF), an apex body of broadcasters operating in India, has formed a panel which will look into the slotting of horror shows on private satellite channels so that such shows are not easily accessible to children.

    Reason: a missive from the Information and Broadcasting ministry on the issue of horror shows and their effect on children. The formation of the panel on horror shows – comprising Star India chief executive Peter Mukerjea, SET India chief executive Kunal Dasgupta and Sri Adhikari Brothers’ vice-chairman Markand Adhikari – also coincides with certain steps on content regulation that the Indian government proposes to take. 

    The Parliamentary Consultative Committee attached to the I & B ministry will be meeting tomorrow to discuss ways which can possibly give the government powers to control what it feels is undesirable programming on TV channels.

    Broadcasting industry sources confirmed that the IBF has formed a panel to look into the issue of horror shows as it received a letter from the I&B ministry saying various representations have been made to it on rampant airing of horror and thriller shows during prime time which can have negative effects on children. 

    The sources indicated that the IBF panel might look at shifting such programming on to late night slots or at times when children are not likely to be watching television.

    Programmes like Aahat and Achanak on Sony, Shhh…Koi Hai on Star Plus and Khauff on Sabe TV usually air at 9 pm or 10 pm on weekends currently. 

    The parliamentary panel tomorrow will discuss ways on how the government can enforce a control on content being put out on television channels, including commercials that have been termed objectionable like the Fair & Lovely cream ad – which, as per a petition to the I&B ministry by a human rights commission, promoted colour prejudice and is biased against the dark skinned girl child.

    According to government sources, the move to get some hold over content on television also comes in the wake of frequent objections raised by members of Parliament on un-Indian like programming on the small screen. 

    Meanwhile, the Indian Broadcasting Foundation (IBF) is close to finalising a programming code that is to be followed by the member-broadcasters. 

    According to early information available with indiantelevision.com, the IBF programming code, aimed at self-regulation, is a lengthy document running into almost 100 pages. It will be put up for the board’s approval once it is finalised. 

  • Sony Pictures Networks launches Max HD, targets urban movie buffs

    Sony Pictures Networks launches Max HD, targets urban movie buffs

    MUMBAI: Sony Pictures Networks (SPN) India has launched the High Definition (HD) version of its Hindi movie channel Sony Max. Although the HD channel has arrived admittedly late in the market, the network plans to steer clear of the replica model for most HD avatars to channels, by taking on a completely different brand position – ‘Jee Ke Dekho.’

    Sony Max HD goes on air from 25 December and will be available in a separate HD package with the popular DTH players.

    When queried as to why the network waited so long to launch the channel’s HD feed, Sony Max and Sony Max2 senior executive vice president Neeraj Vyas says, “We were very clear that we didn’t want an HD channel just for the sake of it. We were also waiting for the right kind of content to come along so that we could showcase Hindi movies with a completly new approach and brand message altogether.”

    The other reason for the delay, Vyas reveals was from a technical standpoint. “We have taken at least 120 classic Hindi films like Anand and remastered them for High Definition airing. Who would not want to see these classics remastered digitally for HD in 5.1 Dolbi sound?” he questions, adding that such movies would mostly air on every Saturday on a special programming slot.

    “Apart from the new popular movies, which the audience nevertheless enjoys, we also wanted to expand our purview to give out more holistic content,” he adds.

    With an aim to reach out to Hindi cinema lovers with a cultivated palate for not just the mass entertainers but alternate and critically acclaimed cinema, Max HD has created a special programming slot for quality cinema with a niche following. “The new HD channel will have something called ‘Friday Select,’which will largely air critically acclaimed movies like Paan Singh Tomar, Shahid, City Lights etc. These are brilliant films but do not usually find exposure through normal standard definition channels as they are mostly mass focused,” Vyas explains.

    Vyas also agrees that acquiring licenses for such alternate movies for Max HD will also be relatively cheaper. “They will definitely be cheaper than any Shah Rukh Khan starrer. But primarily, it’s not about a better deal for us, but about setting up the right tone for the channel.”

    Max HD will be targeted at a niche audience and Vyas informs that the varied content is to broaden the appeal of the channel. “Our target audience is clearly SEC AB 18 – 45 years of age. Our target markets are also metros and cities and towns with plus one million population,” Vyas shares.

    Speaking on the advertisers, Vyas says, “Advertisers are excited about Max HD as the channel will offer them a very premium and wider audience.” Currently the channel is in talks with two to three brands. Deals are expected to be signed within a month of launch.

    Having said that, Max HD will not turn away from the mainstream blockbusters audience either. “We will have our Dhooms, Krrish, and PKs as well, while at the same time we will curate a list of alternate cinema for them,” he says.

    When asked as to why the focus is on urban audience when the industry is abuzz with BARC India’s rural inclusive ratings, Vyas simply points out that while the rural audience always existed, High Definition television’s market is still growing, and enjoying a more profitable business in the urban areas. “Within the industry, it has been noted that premium HD channels have recorded ten-fold top line growth according to the 2015 FICCI KPMG report,” he further adds.

    “I expect this channel to run profitably with its subscription and advertisement based revenue models. HD is a growing base and it’s not something I see becoming stagnant. Even at its nascent stage it is at six million homes. That’s a great growth story. If you go by the year’s television sales, 55 per cent have been HD enabled TVs. I think HD is the future. Not to mention, with digitisation coming in place, channels will get more exposure in smaller markets. For digital, it may take some more time due to the space constraint as digital pipe is bigger than the analog,” Vyas explains.

    The network’s effort to make Max HD different from its Standard Definition version will also be seen in the entire packaging. “We have changed the colour palate for our packaging completely to bronze, gold and glitter, whereas Max is essentially reds, blues and greens. So the whole attempt was to set a different tone with Max HD.”

    This can be seen in the several new promos of the channel. With strategic use of popular Hindi cinema dialogues that evoke nostalgia, they successfully capture the moments that make cinema larger than life for us, while highlighting the significance of High Definition feed. In fact, identifying their target audience as social media savvy netizens, the channel has gone ahead with digital first campaign to launch the channel. From contests like ‘Your Jee Ke Dekho Moments’running on their social media platforms, to the promotion videos releasing on 23 December, the build up the HD channel’s launch is mostly digital heavy with some print promotions as well.

  • Decoding Colors’ voyage to top in TAM ratings: wk 50

    Decoding Colors’ voyage to top in TAM ratings: wk 50

    MUMBAI: With the year 2015 coming to end, the Hindi general entertainment channels’ (GEC) genre has got itself a new leader in Colors, as per analysis conducted by S-Group, an analytical arm of TAM Media Research.

    The analysis depicts airing of the Kapil Sharma starrer – Kis Kisko Pyaar Karoon and Big Boss Double Troublein the weekend playing a pivotal role in the channel’s ascend to the pole position.

     

    Additionally on an overall level, the genre has seen a growth of 51 GRPs compared to week 49. Zee TV was the highest gainer in the genre growing to 181 GRPs in week 50 from 152 GRPs in week 49.

    For Colors, the growth was majorly driven by the back-to-back airing of Kapil Sharma starrer Kis Kisko Pyaar Karoon on 6 December, 2015 (first airing – 13:00 to 15:54 & second airing – 15:59 to 18:53) driving up the performance of the entire time band.

    Besides Kis Kisko Pyaar Karoon, Big Boss Double Trouble – Weekend was another major contributor to the growth of the channel due its increased time spend levels.

    The growth story for Zee TV was its self created property – Zee Rishtey Awards 2015. The award night, which aired on 6 December, 2015, garnered close to 2.8 TVR for the entire event. Moreover the channel saw the launch of the new season of India’s Best Dramebaaz on 12 December, 2015, which saw a rating of 2.3 TVR for the entire episode of 92 minutes.

    Sony Entertainment Television’s 14 GRP growth was driven to a large extent by the premier of Indian epic film – Bahubali: The Beginning, which was aired twice on Sony during week 50. The first airing on 6 December, 2015 garnered 3.2 TVR for the entire movie followed by the second airing on 12 December, 2015, which saw a rating of 1.02 TVR for the entire movie.

  • Backed by three sponsors PWL can rake in over Rs 25 crore in debut year

    Backed by three sponsors PWL can rake in over Rs 25 crore in debut year

    MUMBAI: Kartikeya Sharma and Vishal Gurnani’s joint venture Pro-Sportify’s decision to foray into wrestling is off to a flying start. The league has roped in Dabur Chyawanprash as the title sponsor while cola giant Thums Up has joined in as powered by sponsor. Jaguar Lighting has also been roped in as co-sponsor. 

    Gurnani and Sharma are both buoyed by the preparation. “We are all set for Pro Wrestling League season 1, we kick off today at seven and its certain that the sport will emerge as a clear number two after cricket in India” said the duo.

    The telecast rights of the league is with Multi Screen Media (MSM) and the network is planning to dish out the tourney in three different channels. Sony Six will relay the English feed while Sony Pal and Sony Max will broadcast the Hindi commentary.

    The network in association with DDB Mudra has unveiled an intriguing campaign to garner high number of eyeballs. “We are extremely happy with the marketing campaign that they have done. Over 600,000 television minutes spread across numerous channel with separate creatives for man and woman. It cannot get any better” said the duo.  
        
          
    A senior media planner on condition of anonymity said, “Wrestling as a sport in popular in India, it’s just it has never been packaged properly. They are putting in some serious money and the network is also promoting it aggressively too. Moreover the league will be aired on Sony Pal which is an FTA available on Sony Pal so with BARC Rural data in now I won’t be surprised if they emerge as the number two after cricket. Overall in my opinion the first year will create the buzz, but the packaging and follow ups will decide the long term fate.”

    If sources are to be believed then the league has already raked in close to Rs 20 crore as sponsorship revenue and have a few deals are still at the last stage. “I think season one will generate close to Rs 25 crore. Which will be shared among Sony and Pro-Sportify. The broadcasting rights were given to MSM for a little more than 100 crore” said a source.          

    The league kick-starts today (10 December 2015) and will conclude on 27 December 2015. The matches are slotted at a prime time slot of 7 Pm. 

  • IPL: Sanjeev Goenka’s New rising wins bid for Pune team, Intex wins Rajkot

    IPL: Sanjeev Goenka’s New rising wins bid for Pune team, Intex wins Rajkot

    MUMBAI: The speculations are finally over. The Indian Premier League (IPL) will be an eight team affair in 2016 as the Board Control for Cricket in India (BCCI) auctioned the two new franchises, Pune and Rajkot. Sanjeev Goenka’s New Rising won Pune franchisee while the Rajkot team is owned by the mobile phone manufacturer Intex.

     

    The two interim teams will not get a slice of BCCI’s franchise revenue instead Goenka’s will dish out Rs 16 crore, while Intex will pay Rs 10 crore to the board as they acquired the franchises for the respective amount in the reverse bidding process.  

     

    Pune and Rajkot will now have the option to choose from the top five players of CSK and RR. This will be decided during a players draft on 15 December 2015.

     

    After series of controversies, rounds of introspection, intervention by the Supreme Court of India, the BCCI decided to ban the N Srinivasan owned Chennai Super Kings and Raj Kundra’s Rajasthan Royals for two years.

     

    The decision posed a grave threat to the IPL fixture that would have otherwise been curtailed to an event with just six teams, and hence a lower number of matches. With the inclusion of the two new teams the tourney is back to eight teams. So the official broadcaster Multi Screen Media will have the same time span to monetise the cash rich league. 

     

    The rights acquisition cost were sold at $1 billion for a period of ten years to Multi Screen Media (MSM) which will conclude after 2017 edition.