Tag: Streaming Services

  • Airtel and Apple join hands to offer exclusive TV+ and Music perks

    Airtel and Apple join hands to offer exclusive TV+ and Music perks

    MUMBAI: Bharti Airtel has locked in an exclusive partnership with Apple, making Apple TV+ and Apple Music available for its home wifi and postpaid customers. The deal unlocks premium entertainment benefits for Airtel users, giving them access to Apple’s acclaimed content across multiple platforms.

    Airtel’s new offer ensures that home wifi users on plans starting at Rs 999 can enjoy Apple TV+, streaming on multiple devices without restrictions. Meanwhile, postpaid customers on plans above Rs 999 gain access to Apple TV+ and six months of free Apple Music—a major win for music and entertainment lovers.

    Bharti Airtel CMO & CEO – connected homes Siddharth Sharma highlighted the significance of this collaboration, “We are excited to join hands with Apple and bring their premium video and music content exclusively to Airtel users. This partnership is a game-changer, offering millions of our home wifi and Postpaid customers access to Apple’s world-class entertainment catalogue. We believe this will redefine how our customers consume content.”

    Apple India director – content and services Shalini Poddar echoed this enthusiasm, “Partnering with Airtel allows us to expand access to Apple TV+ and Apple Music to millions of users. Our goal is to make award-winning stories, music, and entertainment accessible to all, and this collaboration takes us one step closer to that vision.”

    Airtel subscribers can now binge on Apple TV+ originals, including hits like Ted Lasso, Severance, The Morning Show, Slow Horses, Silo, Shrinking, and Disclaimer. Upcoming releases such as Wolfs and The Gorge will also be available. Meanwhile, Apple Music users will experience an ad-free music catalogue, featuring expertly curated playlists, live artist interviews, and exclusive features like spatial audio and Apple Music sing.

    Airtel’s home wifi plans (Rs 999, Rs 1,099, Rs 1,599, and Rs 3,999) offer not just Apple TV+, but also streaming perks across platforms like Amazon Prime, Netflix, Zee5, and JioHotstar. The blazing-fast speeds of up to 1 gbps ensure an uninterrupted viewing and listening experience.

    Postpaid users on Rs 999, Rs 1,199, Rs 1,399, and Rs 1,749 plans can enjoy increasing data limits, multiple SIM add-ons, and access to a bundle of 20+ OTT services along with Apple TV+ and Apple Music.

    With Apple TV+ and Apple Music now exclusively bundled with Airtel, the telecom giant has upped the ante in India’s digital entertainment space. As content consumption continues to surge, Airtel is ensuring its users are at the forefront of the streaming revolution.

  • Music industry to hit $184.69 billion by 2029, riding the digital wave

    Music industry to hit $184.69 billion by 2029, riding the digital wave

    MUMBAI: The music industry is tuning up for a record-breaking encore, with projections forecasting a $184.69 billion leap in market value between 2025 and 2029. According to Technavio, the industry’s setlist for success includes digital music adoption, AI-driven innovation, and the ever-growing streaming revolution. With a CAGR of 18.1 per cent, the industry is not just keeping up with the beat—it’s rewriting the entire score for how we consume music in the digital age.

    Streaming services and AI

    Gone are the days of cassette tapes and MP3 downloads. The streaming era is in full swing, with platforms like Spotify, Apple Music, Tencent Music, and YouTube Music leading the charge. In 2024, streaming contributed to a significant chunk of the industry’s revenue, with consumers increasingly opting for on-demand access to their favourite artists rather than owning physical copies or digital files.

    AI is also playing maestro, transforming music discovery, personalisation, and even composition. From playlist curation to predictive analytics for record labels, AI-driven models are rewriting the rules of engagement between artists and audiences. As businesses fine-tune algorithms to keep listeners hooked, the industry continues its transition towards a more data-driven, user-centric model. AI is even entering the creative process, with some companies experimenting with AI-generated music compositions, raising both excitement and concerns about the future of human artistry in the industry.

    Where is the music industry humming the loudest? North America leads the symphony, contributing 40 per cent of the global market share, thanks to a massive subscriber base and an appetite for premium content. Europe, APAC, south America, and the middle east & Africa follow suit, each playing a crucial role in the global expansion of streaming services.

    Key markets driving growth include the United States, Germany, Canada, the United Kingdom, China, France, Japan, South Korea, Italy, and the Netherlands. These regions are witnessing a spike in digital music consumption, boosted by faster broadband speeds, affordable smartphones, and a younger, tech-savvy audience. The rise of smart speakers and voice-assisted technologies like Amazon Alexa and Google Home has also contributed to the seamless integration of music into daily life.

    Music Market Scope
    Report Coverage Details
    Base year 2024
    Historic period 2019 – 2023
    Forecast period 2025-2029
    Growth momentum & CAGR Accelerate at a CAGR of 18.1 per cent
    Market growth 2025-2029 $ 184692.4 million
    Market structure Fragmented
    YoY growth 2022-2023 ( per cent) 15.6
    Regional analysis North America, Europe, APAC, South America, and Middle East and Africa
    Performing market contribution North America at 40 per cent
    Key countries US, Germany, Canada, UK, China, France, Japan, South Korea, Italy, and The Netherlands
    Key companies profiled Amazon.com Inc., Apple Inc., Bertelsmann SE and Co. KGaA, Curb Records Inc., Deezer SA, Kobalt Music Group Ltd., NORTHERN MUSIC Co. Ltd., Pioneer Music Co., Sirius XM Holdings Inc., Sony Group Corp., Spotify Technology SA, Tencent Music Entertainment Group, THEME MUSIC Co. Pvt. Ltd., TIDAL, Universal Music Group N.V., Vivendi SE, Warner Music Group Corp., Yamaha Corp., YouTube, and Zee Entertainment Enterprises Ltd.

    Industry heavyweights? The music industry is no longer just about record labels. Today, it’s a battlefield where tech giants and traditional players are battling for dominance. Key industry movers include Amazon, Apple, Warner Music, Universal Music Group, Spotify, Tencent Music Entertainment, and YouTube, among others.

    Strategic alliances, mergers, and acquisitions have become the name of the game, with companies aggressively expanding their footprint. Whether it’s Amazon Music integrating voice-activated streaming with Alexa or Spotify’s push into podcasting, innovation is at the heart of market competition. Additionally, artists are increasingly taking control of their own music distribution, bypassing traditional labels in favor of independent digital distribution platforms, enabling them to retain a larger share of their revenue.

    Now despite the roaring success of digital music, challenges persist. Piracy remains a major headache, especially in regions where copyright enforcement is weak. Countries like Portugal, Spain, and the Netherlands are grappling with rampant illegal downloads, impacting revenue streams for artists and labels alike. Efforts to combat this include advanced watermarking technologies and blockchain-based rights management systems, which help trace music usage and ensure fair compensation.

    Another hurdle is the intensifying battle between traditional record companies and digital platforms. While streaming services provide unparalleled reach for artists, they also disrupt conventional revenue models, raising concerns over fair compensation and artist royalties. Some artists have voiced frustrations over the paltry earnings from streaming platforms, prompting new discussions around fairer pay structures and potential regulatory intervention.

    Future trajectory? 

    Looking ahead, the music industry is expected to lean further into AI, metaverse concerts, and blockchain-powered rights management. Live performances and immersive digital experiences are set to be the next frontier, allowing fans to engage with their favourite artists in new and exciting ways. Some companies are already developing virtual concert venues in the metaverse, enabling artists to perform for global audiences without the need for physical tours.

    Additionally, NFTs (non-fungible tokens) are emerging as a revolutionary way for artists to monetise their music, offering exclusive digital collectibles, album releases, and even fractional ownership of song royalties. These blockchain-based assets provide a new revenue stream, reducing reliance on traditional streaming platforms and giving fans unique ways to engage with their favorite musicians.

    As the industry dances to the rhythm of digital transformation, one thing is certain: music consumption will never be the same again. Whether through AI-generated beats, VR-powered gigs, or hyper-personalised playlists, the future of music is as thrilling as its past. With constant innovation, the industry is ensuring that music remains an integral part of people’s lives, adapting to changing consumer behaviors and technological advancements at an unprecedented pace.

  • YouTube’s Primetime Channels to bring more than 30 services in one single place

    YouTube’s Primetime Channels to bring more than 30 services in one single place

    Mumbai: Digital video social network YouTube has announced the launch of ‘Primetime Channels.’ Users will be able to sign up, browse, and watch TV shows, movies, and sports from streaming services such as Showtime, Starz, Paramount+, AMC+, ViX+ and more, all directly on YouTube.

    In a blog post, YouTube director of product management Erin Teague wrote that the digital video social network will roll out an early version of ‘Primetime Channels’ in the US. To sign up, users can head to the movies and TV hub, where they will see over 30 channels that they can buy directly through YouTube, with streaming services such as NBA League Pass and more coming soon.

    “‘Primetime Channels’ adds even more content that you just can’t miss to our collection of thousands of movies and shows available for rent or purchase, or for free with ads. Choosing between sci-fi or horror? Well, we got both options covered with the Paramount+ original Star Trek: Picard and Anne Rice’s Interview with the Vampire on AMC+. Are you itching to see Spider-Man: No Way Home for the hundredth time? We have that too, through Starz. Or maybe you’ve been meaning to catch up on a great drama. From 1883 on Paramount+ to The Chi on Showtime, you can enjoy it all right on YouTube,” wrote Teague.

    “We are excited to expand our partnership with YouTube to offer customers of Paramount+ another way to stream the content they love. This new feature gives us the opportunity to expand our presence on YouTube, broadening our reach and giving consumers even more choice when it comes to streaming the best in entertainment,” said Paramount Streaming chief strategy officer & business development officer Jeff Shultz.

    “Once users sign up, content from your ‘Primetime Channels’ will be reflected in the YouTube experience you know and love. For fans who like to go deeper into what they’re watching, ‘Primetime Channels’ will feature shows and movies with curated trailers, behind-the-scenes footage, and cast interviews. When searching for content from your purchases, you’ll be able to quickly identify and access them in the search results, alongside videos from your favourite creators. And YouTube recommendations will also include programmes from ‘Primetime Channels,’ delivering a personalised selection of content across YouTube that appeals to all your interests.

    “People already come to YouTube to watch trailers for highly anticipated movies or clips of scenes from their favourite TV episodes. Now you can continue watching directly on YouTube. And you will continue to have choice and control over your accounts with the ability to manage all of them in one place.

    “Whether it’s subscribing to Nerdist to find favourite clues after watching a Yellowjackets episode on Showtime or finding makeup tutorials from Trixie Mattel to recreate your favourite looks from Paramount+’s original series RuPaul’s Drag Race All Stars, you can now immerse yourself in all the content YouTube has to offer.”

    “We’ll continue working with our partners to bring even more content options to ‘Primetime Channels,’ build new unique features that only YouTube can deliver, and expand to our international users, so please let us know what you’d like to see next!”, wrote Teague.

     

  • Vidnet 2022: Industry experts to come together to evaluate the way ahead for the OTT sector

    Vidnet 2022: Industry experts to come together to evaluate the way ahead for the OTT sector

    The over-the-top (OTT) landscape is growing significantly in India and new paid features are increasing regularly. Time spent viewing content on OTT has surged and viewers are looking out for new choices & innovative content. Despite the changes and increase in prices, the viewers are still subscribing to different OTT platforms currently. We expect the scenario to boost further as the consumers are looking forward to the growth of OTT based content and streaming services in India.

    Indiantelevision.com has come up with an insightful two-day long VIDNET Summit to understand the changes in the OTT space and evaluate its way forward. The event will take place between 20-21 April 2022 at Sahara Star Hotel, Mumbai.

    The changing OTT ecosystem will certainly grow further as there will be new partnerships, new relationships and new opportunities, which will further emerge eventually. The idea behind this year’s VIDNET is to analyse the changing OTT ecosystem and find answers to some of the critical questions such as what is the way forward for the OTT platforms? Where do the opportunities lie? What are the challenges?

    VIDNET 2022 is India’s largest OTT streaming summit, which will bring together the industry experts on one platform. It is an ideal hotspot for technology service providers, OTT and video platforms, broadcasters, short video professionals, martech professionals, content creators, producers, studios, adtech professionals, venture capitalists and everyone with a keen interest in technology.

    The VIDNET 2022 summit will have speakers from film and OTT space. The speakers will include Filmmaker and CineMan Productions Ltd. & Oho Gujarati founder Abhishek Jain; Endemol Shine India chief executive officer Abhishek Rege; SYSKA Group head of marketing Amit Sethiya; Synamedia senior solutions consultant Arun Raghuraman; Zee Studios head-content Ashima Avasthi Chaudhuri; Lyca productions CEO Ashish Singh; Mediacom India chief product officer Averill Sequeira; ALTBalaji SVP – marketing, partnerships & revenue Divya Dixit and including other industry experts.

    The event will witness some really interesting panels giving deep insights of the industry and some proven tricks to grow in OTT space from the expert panelists.

    The first panel will see a discussion on one of the most important topics currently, “The Magic 100 Million. How Do We Get There?” moderated by Indian Television Dot Com founder, CEO & editor-in-chief Anil Wanvari. The panel will include Endemol Shine India CEO Abhishek Rege; International Media Acquisition Corp chairman & CEO Shibasish Sarkar and others.

    This is not it, there will be more than 12 panels on different topics such as “Demystifying the French OTT Landscape”, “Advertising On OTT – Connecting The New Brand Order” and so on. During the event, there will be deliberations, thought sharing, engagement and discussion of various other topics that are relevant in today’s scenario.

    VIDNET is one of its kinds of initiatives that will gather experts across the industry. It will allow you to meet and interact with industry experts. The summit will also help you to learn some tips and tactics from like-minded people. The attendees will get to hear about new tools and the key problem areas from the experts. The interesting sessions will make you learn from the experts by listening to their journey, experiences and how they overcome the challenges. Moreover, this is the biggest platform to learn beyond your field of interest.

  • 79% Indians prefer bundling of streaming services: Amdocs-Vanson Bourne Survey

    79% Indians prefer bundling of streaming services: Amdocs-Vanson Bourne Survey

    Mumbai: Amdocs, software and services provider to communications and media companies, on Wednesday, released the findings of its latest Streamer 2021 report which surveyed 1,000 consumers in India about their streaming and subscription services preferences. The data revealed the respondents’ inclination towards mega bundles comprising content and communications services.

    According to the report, 76 per cent of all surveyed consumers expect to add to their current subscriptions video streaming services, wellness and e-health, and e-learning services, in that order of preference. Consumers have explored the vast array of content and services available to them, discovering that there are plenty of offerings that stretch beyond the satellite/cable and video streaming status-quo.

    When asked how their live and on-demand consumption habits are set to change compared to the last 12 months, over two-thirds (69 per cent) of consumers expect the overall time spent on it to increase in the next six months from the current average of 14 hours per week.

    Customers are also showing high levels of interest in mega bundles comprising content and communication services: The next generation of bundles will still allow consumers to control key aspects such as subscription management, with user settings being controlled centrally for an added level of privacy. Just under four-fifths of respondents (79 per cent) would be interested in a bundle of video streaming, entertainment, and communication services, followed by multiple video streaming services (73 per cent), and video streaming and communication services (72 per cent).

    Quality of content is a major loyalty driver (71 per cent), which trumps even attractive prices (45 per cent).

    Customers want to create their own content package. The call for a packaged bundle continues, even as most customers cite that they would prefer to create and pay for a content package that is limited to content that they are interested in versus paying more for access to the provider’s entire library. This is most likely to be the case for consumers if they can pick content that can be accessed across video streaming services (69 per cent), satellite/cable (67 per cent), music streaming services (61 per cent), and gaming (55 per cent).

    Customers also shared that if they could create a ‘perfect’ bundle of their subscriptions, they would be most likely to pay more to include on-demand binge-worthy TV series (56 per cent), all games for one specific sporting team (49 per cent), virtual classes/training (46 per cent) and fitness classes with a ‘celebrity’ trainer (45 per cent).

    “The pandemic has led to increased consumption of media and entertainment services,” said Amdocs Media GM and chief commercial officer, Raman Abrol. “Availability of multiple streaming options under one roof has resonated well with the comfort levels of consumers who are confined at home and on the lookout for new means of entertainment. As we know that the customer is the king, this is an exciting opportunity for service providers to give them the option to bundle their services where they can access all their media and entertainment subscriptions in one place.”

  • Disney+ paid subs hit 103.6 mn, Disney+Hotstar accounts for around $34.5 mn subs

    Disney+ paid subs hit 103.6 mn, Disney+Hotstar accounts for around $34.5 mn subs

    KOLKATA: With a higher-than-ever growth of streaming services in the last year, The Walt Disney Co.’s (Disney) direct-to-consumer venture Disney+ has also grown quickly to surpass 100 million subscribers.

    Although its overall subscriber addition in q2 has fallen short of the Wall Street expectations, Disney+ paid subscribers have reached 103.6 million subscribers. Disney+Hotstar currently has nearly 34.5 million subscribers.

    In the same quarter a year ago, Disney+ had 33.5 million subscribers. Although it has not been able to reach the expected 109 million subscriber base, the growth is indeed fast amid an array of big-ticket rivals. Along with the likes of Netflix, Amazon Prime Video, a bunch of new entrants HBO Max, Apple TV+ is also betting big on their streaming services.

    “Results at Disney+ were comparable to the prior-year quarter as an increase in subscribers was largely offset by higher programming and production, marketing, and technology costs. The increases in subscribers and costs reflected the ongoing expansion of Disney+ including launches in additional markets,” the earnings press release mentioned.

    Disney+ touched the milestone of 100 million subscribers in early March. It indicates the last month of the quarter has seen faster growth compared to the first two months, Disney CFO Christine McCarthy said in the earnings call.

    “Between q1-q2, Disney+Hotstar was the strongest contributor to net subscriber addition and made approximately a third of total Disney+ subscriber base as of the end of q2. However, ARPU at Disney+Hotstar was down significantly compared to Q1 due to lower ad revenue as a result of the timing of the IPL cricket matches and impact of Covid in India,” McCarthy added further.

    In the quarter, Disney+ reported an ARPU of $3.99 falling 29 per cent over the same quarter of last year. The decline in ARPU has been attributed to Disney+Hotstar as overall Disney+ ARPU excluding it was $5.61. However, the average monthly revenue per paid subscribe for Disney’s other streaming services ESPN+ and Hulu grew slightly.  

    Direct-to-Consumer revenues for the quarter increased 59 per cent to $4.0 billion and operating loss decreased from $0.8 billion to $0.3 billion, the company stated. The decrease in operating loss was due to improved results at Hulu, and to a lesser extent, at ESPN+, it added. Overall, the media conglomerate has around 159 million total subscribers across its streaming services as of the end of the q2.

  • Amazon Prime Video boasts 175mn+ viewers, investment in content & live sports to grow

    Amazon Prime Video boasts 175mn+ viewers, investment in content & live sports to grow

    KOLKATA: Video has emerged to be a key play for the tech giants, especially over the past year. After Google’s YouTube knocked over the industry with astounding ad revenue and viewership in the last quarter, and now, Amazon has also revealed how its streaming service Prime Video has fared in recent times.

    In what may sound warning bells for market leader Netflix and upstart Disney+, Prime Video’s viewer base has surpassed 175 million. In a letter to shareholders, Amazon boss Jeff Bezos shared he’s proud to have Prime Video in the family.

    “As Prime Video turns 10, over 175 million Prime members have streamed shows and movies in the past year, and streaming hours are up more than 70 per cent year over year. Amazon Studios received a record 12 Academy Award nominations and two wins. Upcoming originals include Tom Clancy’s Without Remorse, The Tomorrow War, The Underground Railroad, and much more,” wrote Bezos.

    In mid-April, Bezos revealed that the e-commerce behemoth’s Prime service now has over 200 million subscribers, up 50 million from the beginning of 2020. The service includes fast free shipping, music, video, reading, gaming which is priced at Rs 129 per month, and Rs 999 per year in India.

    The numbers are not only talking. Prime Video is making its way into critics’ mind too as it has shined in recent award ceremonies. It earned 12 Academy Award nominations across four films this year; moreover, Sound of Metal won an Oscar in the newly-created sound category.

    Interestingly, the OTT is not limiting its video aspirations to original titles and movies but has thrown its hat into the competitive sports content too. “The live sports offering for Prime Video continues to grow internationally,” Bezos said in the letter. Very recently, it became the first streaming service to secure an exclusive national broadcast package from the prestigious NFL. It has ventured into cricket too, the most popular game in India, by acquiring the India territory rights for New Zealand cricket through 2025-2026. It may look at other popular cricket rights in India in the coming year to bolster its sports library.

    The company looks at video as a component of broader prime membership. Prime members who watch video have higher free trial conversion rates, higher renewal rates, higher overall engagement, an Amazon spokesperson said in the earnings call.

    “There’s great examples of places like Brazil where you launch a video only subscription for example that preceded the broader Prime membership with shipping components and that was as an example a great way to expose people to Amazon. And as we launched a broader Prime in Brazil, it was a great mechanism to get folks into that program,” he added.

    The content spend is expected to grow and the investment will go beyond original content to boost the live sports portfolio.

    Overall, the e-commerce giant has continued to cash in on our new shop-work-relax-from-home habits in the first three months of this year, reporting a huge rise in sales and a tripling of profits.

    Amazon’s overall revenue has gone up by 44 per cent year-on-year basis to reach $108.5 billion revenue. Net income skyrocketed to $8.1 billion compared to the corresponding quarter of 2020, when it stood at $2.5 billion. As online shopping has been one of the businesses to benefit in the ongoing pandemic, the quarterly results show how the digital drive is still fuelling its business.

    Net sales are expected to be between $110.0 billion and $116.0 billion for the next quarter, or to grow between 24 per cent and 30 per cent as against the second quarter 2020, the company guided. Operating income is expected to be between $4.5 billion and $8.0 billion. The company will also host its Prime Day event sometime in the second quarter.

  • Voot Select hits one mn subscribers within first year of its launch

    Voot Select hits one mn subscribers within first year of its launch

    KOLKATA: Launched with the brand promise of ‘made for stories’ that are differentiated and compelling, Viacom18’s premium SVoD offering Voot Select has hit the landmark milestone of one million active direct paying subscribers in less than a year of its debut. The newest kid on the block has in a short period of time emerged as a formidable game changer by creating disruptive and innovative viewing experiences through fresh stories and category defining initiatives.

    Digital first strategies like 24 hours before television windowing of network content, high decibel immersive experiences, international content and multi award winning originals have all been growth drivers for the platform. Adding to the content diversity, Voot Select will also be the new home to Showtime content in India and the exclusive destination for upcoming Paramount+ shows in the country. The diverse repertoire of international content will include much awaited titles such as Dexter (Limited Series), Ray Donavan Feature-Length Film,  The First Lady from Showtime, and Frasier (Reboot) and Why Women Kill S2 from Paramount+ amongst others, expected to premiere on the platform in India.

    Despite being launched at the cusp of the global health crisis, Voot Select has delivered a phenomenal first year. In an industry first innovation, the brand took their digital-first strategy a step ahead on the back of originals, before TV content and multi genre international offerings. With content available 24 hours before TV, access to 24 Hours Live channel of Bigg Boss and producing pandemic-based fiction thriller series ‘The Gone Game’ – the first series in the category to be shot during the lockdown, Voot Select drove high engagement throughout the year. The award-winning line up of originals like the breakthrough series Asur that emerged amongst the top three shows of 2020, Illegal, Raikar Case, Marzi, and Crackdown amongst others added to the diverse content experience of viewers on the platform.

    With strengthened tech partnerships and more than 40 per cent of watch time on smart TVs, the platform has attracted a cohort of premium customers, providing them with an enhanced viewing experience.

    Viacom18 Digital Ventures chief operating officer Gourav Rakshit said, “We launched Voot Select to engage and entertain audiences in India, with the most compelling stories from across the world. Despite being a recent entrant in the crowded subscription industry, we're thrilled to have made a mark, being the fastest to a million subscribers and delighting audiences on the back of our unique and innovative approach.  Now that we have gotten a better sense of what they loved (and some of the stuff they didn't), we're excited to bring an even bigger and better entertainment extravaganza to their screens in 2021."

    Voot Select, Viacom18 international business head Ferzad Palia added, “It has been a phenomenal year for Voot Select. We have, ahead of our estimates, made the fastest run to a million active paying direct to consumer subscribers in the category in less than a year of launch. Our success story through the year has been scripted on the back of a digital first strategy that keeps consumers at its core as well as a multi genre slate of originals and international content experiences. With our upcoming slate of content and partnerships, we aim to build our leadership position as we continue to entertain our members. We have had a fantastic start to this journey and will continue to invest in quality content and enhanced product experience driving Select towards new echelons of growth.”

    The platform has accelerated its growth with an enhanced viewing experience and continues to be an industry disruptor. With a stellar growth trajectory and offerings such Bigg Boss being available on the platform before TV, launch of premium content and originals like The Gone Game, Asur, Raikar Case, and the robust multi-genre international slate, the platform is all set to further accelerate its growth with an enhanced viewing experience for its users.

  • Netflix India in step with global trend of nearly 50% female representation: Srishti Behl Arya

    Netflix India in step with global trend of nearly 50% female representation: Srishti Behl Arya

    KOLKATA: Netflix added inclusion as its cultural value in 2017. Recently, the streaming giant released its first ‘inclusion report’, which revealed that women comprised 47.1 per cent of its workforce. The company, a vocal proponent of gender equality, has featured women in the lead role in many of its original shows and films as well. The balance between an inclusive internal community and female representation on screen is being followed in India as well, Netflix India international original film director Srishti Behl Arya said.

    Since joining Netflix in 2018, Behl Arya has been front and centre in building the streamer’s local content library. She has seen the industry grow and evolve – from the time when there were only a handful of women on film sets, before streaming platforms had entered the scene. She used to be the only woman on set as an assistant director; things have come a long way since then, but there is still a lot to be done. For starters, said she, we need to reach a point when we stop referring to “women director” as something extraordinary.

    “As far as Netflix is concerned, we have even put out an inclusion report globally, we are showing that almost 50 per cent of our workforce is women and that’s the same thing we are seeing in India as well. Not just in the workforce but also in leadership positions,” Behl Arya shared during a virtual interaction. In 2021, the company will be working with 18 women directors and it is already collaborating with over 1,000 women creators in various roles.

    She further added that last year, 50 per cent of Netflix’s film titles had a woman producer or a woman director. Nearly half of its entire content had women playing central roles. Moreover, the company is giving equal opportunity to newer people as well, rather than riding on established names alone.

    “As you see all the members, you see all our subscribers are divided between male and female. When the population of the world is divided in such a way, it’s not right to not represent half the population of the world. That’s a very logical next step for us. And I think what has happened is more and more female members are also finding their voice now. That itself is giving rise to more and more stories about women and more stories, very importantly, from women’s point of view,” she noted.

    Behl Arya reemphasised how Netflix is committed to diversity of all types. According to her, it will come by including more and more voices and stories, as more people want to see themselves reflected on screen.

    The Netflix executive also said the change is also about giving women access to tools to aid their quest for equality and representation. The streaming giant recently created a $100 million global fund for creative equity aimed at more inclusive pipelines behind the camera. $5 million of that fund will be deployed for women all over the world. As part of the initiative, Netflix will be conducting screenwriting workshops for women over the course of a year. In India, the company had many first time female producers, writers, directors.

    “The idea is to enable women to come forward and provide comfort for them to share their stories and that is something that we are actively working on. In fact, right now, in one of our titles, we have a first-time female cinematographer,” she commented.

    There is a common notion that companies hire women leaders in tried and tested roles. However, the scenario is entirely different for Netflix. “We have great representation in the tech side at our Los Gatos office. We have lots of women working on our film side, all our regions, we have them in our production management, VFX, we have women working in marketing and different aspects of it. India office is also following the global trend of close to 50 per cent representation of females. There is no function we can say that is not touched by women,” she remarked.

    While many OTT platforms boast their ratio of female viewership, Netflix India takes a different approach. Behl Arya clarified that Netflix does not divide viewers on the basis of gender, age. It’s the viewing of the title that matters.

    “We have the same high bar for all the countries we are programming and for all the employees and the same standard, we want to maintain all our subscribers. It helps us think things a little differently from how other traditional players think,” she stated.

    Overall transformation in the industry, including at Netflix, was not easy to come by. Women have increasingly stepped up in uncomfortable circumstances to prove their competence. Along with that, men also frequently supported and enabled them.

    “As we break more and more bastions, we will find more and more opportunities to prove how good we are and we are here to entertain and do it really well and it just makes sense to work with more and more people bringing in the diversity,” Behl Arya shared on a confident note.

    Despite the positive changes, one may observe there are only a few women in the upper echelons, which applies to video streaming services too. However, Behl Arya begged to differ. She cited the example of industry leaders like Ekta Kapoor who runs the OTT platform ALTBalaji; Reliance media segment has Jyoti Deshpande at the top, south-based Annapurna Studios CEO Supriya Yarlagadda, ex-Sony Pictures Networks’ (SPN) film production division head Sneha Rajani. Having said that, she raised an important point.

    “There are women in the position but I think that we are still not used to seeing them so they stand out. That’s exactly my dream is that one day gender will not stand out because it will be so common,” she summed up.

  • High-end TV production spend in the UK hits £2.6bn in 2019

    High-end TV production spend in the UK hits £2.6bn in 2019

    MUMBAI: 2019 has seen a significant boost in high-end television productions made in the UK. The UK ‘high end’ TV 2014-2019 report by analyst Ben Keen states that investment in UK shows using the high-end TV tax credit has doubled since 2014. Spend per hour is up: Average spend/hour has risen by 60 per cent since average budget allotted to shows has nearly doubled – partly due to average number of hours per show increasing substantially.

    There has beena 56 per cent increase in HETV productions commissioned solely by streamers in 2019. Number of shows with third party involvement, or co-commissions, has nearly doubled, up 17 per cent. In fact,third parties now contribute more to thefunding of Public Service Broadcaster (PSB) dramas than PSBsthemselves. The trend shows no sign of slowing.
    Owing to this spike in collaboration between traditional broadcasters and SVoDs, investment in UK TV dramas has more than doubled since 2014, hitting a record high of £2.6 billion (US$3.5 billion)in 2019, up 31 per cent from 2018 and over 3X the 2014 total.

    Sole commissions have also increased across the sector, with PSBs, pay-TV operators and SVoD streamers all increasing activity. The BBC alone commissioned 26 HETV shows.

    Number of shows per year is up 25 per cent since 2014, and total number of HETV productions rose 19 per cent to 142last year. Hours made per year increased 59 per cent since 2014.

    The report states that co-commissioning is more important for drama HETV productions than any single broadcaster or streaming platform. Amazon, AMC, Netflix, PBS, HBO & Hulu have been the most important partners for PSB productions; 28 different partners since 2014. 

    Streamers like Amazon, Netflix & Hulu have become increasingly important partners for PSB drama productions. Netflix participation in PSB co-commissioning peaked in 2017, but active in 2019 with four in year-to-date. 


     
    The report further highlights that third parties – like global streamers have become increasingly important to funding of PSB dramas via co-commissioning. A record £664million was invested in making original PSB drama last year, but 56 per cent was contributed by third parties – like global streamers. As a result, original drama hours on PSB channels have stabilised since HETV tax break was introduced in 2014.

    The average spend per hour for all HETV productions has increased, jumping almost 60 per cent to £4.1m last year. However, total number of screen hours of HETV productions fell to 643 – fewer than in 2016.
    On the other hand, with their production budgets boosted by higher third-party spending, PSBs themselves actually reduced their direct spend per hour by £45,000, while increasing the hours of drama they were able to air compared with 2018.