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Tag: Zee5

  • Bhagwat puts truth on trial as Arshad and Jitendra clash in Zee5 thriller

    Bhagwat puts truth on trial as Arshad and Jitendra clash in Zee5 thriller

    MUMBAI: When truth plays hide and seek with lies, the chase makes for dangerous cinema. Zee5, India’s largest homegrown video streaming platform, has lifted the curtain on its next original film, Bhagwat, a taut crime thriller inspired by true events. Produced by Jio Studios in association with Baweja Studios and Dog ‘n’ Bone Pictures, the film promises an edge-of-the-seat battle between morality and deception.

    At the centre of Bhagwat is Inspector Vishwas Bhagwat, played by Arshad Warsi, whose seemingly routine case of a missing woman mutates into a sinister labyrinth of secrets, suspected trafficking, and unrelenting deceit. In parallel, a fragile romance brews between Meera and Sameer, portrayed by Jitendra Kumar, a professor whose vulnerability offers a stark counterpoint to the dark suspense unfolding in Robertsganj, Uttar Pradesh.

    Directed by Akshay Shere, the film marks a fresh pairing of two powerhouse performers. Warsi, best known for his wry comic timing, plunges into gritty intensity, while Jitendra Kumar, beloved for his affable roles in Panchayat and Kota Factory, pivots into uncharted territory. Their face-off anchors a thriller where emotion and tension collide.

    “Bhagwat is a powerful reflection of our vision: a gripping thriller that’s as emotionally layered as it is suspenseful,” said Kaveri Das, Business Head – Hindi, Zee5. “Arshad Warsi brings remarkable nuance, while Jitendra Kumar’s compelling avatar is sure to surprise.”

    For Jio Studios COO & CFO Priyanka Chaudhary the film underlines a mission to deliver stories rooted in India yet resonant globally. “Bhagwat embodies that mission, a taut, heartland thriller that is as thought-provoking as it is entertaining. Building on the success of Mrs., this marks another exciting collaboration with Zee5,” she noted.

    Producer Harman Baweja echoed the sentiment, calling the film “a journey into the shadows of human nature, where love, deception, and justice collide.” For Baweja Studios, Bhagwat is another stride in backing stories that are bold, relevant, and emotionally compelling.

    Zee5, which has been steadily building a slate of original dramas that go beyond formula, sees Bhagwat as one of its standout offerings of the year. With its mix of crime, suspense, and romance, the film seeks not only to entertain but to leave viewers reflecting long after the credits roll.

    Streaming soon and exclusively on Zee5, Bhagwat promises to keep audiences guessing right until the final reveal.

  • Shin chan and Yakult team up for gut health drive

    Shin chan and Yakult team up for gut health drive

    MUMBAI: Belly laughs meet belly health. Shin chan is now on a mission to care for kids’ tummies.Yakult Danone India has roped in the mischievous Japanese cartoon character for a nationwide campaign to promote children’s gut health, timed perfectly with the India release of Shin chan: the spicy kasukabe dancers on 26 September.

    The drive blends fun with facts, highlighting how poor digestion affects nearly 30 per cent of Indian children, often lowering immunity, energy and nutrient absorption. Using Shin chan’s cheeky charm, the campaign explains why a healthy gut can help youngsters stay energetic, strong and happy.

    “Our association with Shin chan gives us an incredible opportunity to highlight Yakult’s core message on gut health in a fun, relatable way,” said Yakult Danone India  managing director Eiji Amano. “By starting these conversations early, we can inspire healthy habits that last.”

    The campaign is live across television and digital platforms including Youtube, Jio Cinema, MX Player, Zee5 and Airtel Xstream, alongside outdoor branding, hoardings and on-ground activations in cities from Delhi NCR and Mumbai to Hyderabad, Indore and Guwahati.

    Yakult Danone director – sales, pr & marketing Taku Otsuka added, “Gut health is vital for lifelong wellness. With Shin chan’s storytelling and Yakult’s science-backed probiotic, we’re making digestive health simple and fun.”

    By combining science, entertainment and a dose of Shin chan’s humour, Yakult hopes to make gut health a household conversation, proving that strong tummies really can lead to stronger kids.

  • Cinema Halls to Smartphones: The Shift in Indian Entertainment Consumption

    Cinema Halls to Smartphones: The Shift in Indian Entertainment Consumption

    India has long been among the world’s biggest film markets in terms of ticket sales, number of films produced, and theatre infrastructure. Over the past decade, the rise of digital streaming, cheaper data, and changing consumer behavior has pushed for a rebalancing.

    According to a recent EY research, the Indian media and entertainment (M&E) industry increased by 3.3% in 2024 and was valued at approximately INR 2.5 trillion (US$29.4 billion).

    Within that, digital media is the largest segment, and contributed around 32% of total revenues. In contrast, traditional media, like TV, print, and radio, saw drops in both advertising and subscription income.

    The Legacy of Cinema Halls

    For so long, the cinema has been the centrepiece of Indian entertainment. Big festivals, major star vehicles, and regional cinema in language hubs built the live-theatre experience. It was in the 2000s and 2010s when multiplexes in large cities boomed. Single screens remained relevant in smaller towns, and cinema halls generated major portions of film revenues.

    However, it can’t be denied that experiencing entertainment at the cinema can be a bit pricey. The cost of theatre tickets, travel, and supplementary expenses (food, parking) slows attendance for many films. Some mid-budget or smaller regional films struggle to recoup costs via theatrical alone. The impact of COVID-19 also forced many delayed releases or direct-to-OTT experiments, which in turn raised questions about the sustainability of cinema as the only route.

    Rise of OTT and Mobile-First Viewing

    India’s OTT universe in 2025 stands at 601.2 million people who watched at least one streamed or online video in the past month. That accounts for about 41.1% of the population.  
    Of those, 148.2 million are active paid OTT subscriptions (including through telecom bundles and OTT aggregators).

    Connected TV usage has surged: the number of Connected TV users is now 129.2 million, up 87% year-on-year.  This shift shows streaming is no longer confined to phones only, as viewers want larger screens and living room experiences as well.

    Data costs have fallen, smartphones have become ubiquitous, and broadband penetration has improved in urban and rural areas alike. Streaming platforms like Netflix, Amazon Prime Video, Disney+ Hotstar (now JioHotstar), Zee5, SonyLIV, and many regional players have scaled voice, subtitle, language localisation, and pricing to reach broader audiences.

    Sports-related platforms or communities, both legal streaming and fan engagement spaces, show another angle of audience shift. For instance, users who follow cricket or other live sports not only stream matches on OTT platforms but also use various digital forums and social media platforms.

    10CRIC and other similar websites are some of those online spaces where fans get access to the latest odds, team stats, and more. That reflects the way entertainment and live content spill over into related digital spaces, though the core viewing remains on OTT and smart devices.

    Regional Content and Language Diversity

    Regional language content is a key driver in this transformation. Ormax Media reports show that in 2024, the number of streaming originals in India dropped by about 18% compared to the previous year, after peaking in 2023. Still among originals, fiction series dominate (around 70% of OTT originals), and Hindi remains the dominant language with 65%share.

    Other languages, such as Bengali, Telugu, and Tamil, have growing representation. Platforms focused on regional content (e.g., those devoted to one language) are just really seeing stronger engagement in their markets.

    Viewers increasingly prefer content in local languages, with dubbed or subtitled versions helping content move across state borders. Films originally released in theatres are seeing extended life on OTT in regional markets.

    Economics: Theatrical vs OTT

    Releasing a film in theatres is expensive. Studios spend on distribution, digital or print delivery, big marketing campaigns, and then share a large cut with theatre owners. If a film doesn’t get a strong opening weekend, it often struggles to recover those costs.

    An OTT release works differently. Platforms can cut down distribution expenses, reach audiences across cities and smaller towns at once, and earn through subscriptions or ads. This makes it a safer option for mid-budget or niche films that may not draw big crowds in cinemas.

    Subscription Video On Demand (SVOD) and Advertising Video On Demand (AVOD) are also coexisting. Many platforms give both options. There is also bundling through telecom providers. Some films release theatrically and land on OTT after a window. Some would have direct-to-OTT release strategies, especially for smaller budgets or niche content.

    Technology, Platforms, and Interactivity

    Better mobile networks (4G, growing 5G), cheaper data, improved video compression, and smart TVs all push streaming quality up. Platform features like offline downloads, profiles, parental controls, and multi-device sync help retain users.

    Interactivity now matters. Live trivia, polls during shows, social features built into streaming apps, and second-screen experiences. Streaming of sports or live events gets further amplified by chat, fan forums, commentary, and behind-the-scenes clips.

    Hybrid content consumption (combining cinema and streaming) is becoming standard. Consumers may watch big action or festival films in theatres, but a large part of their weekly content diet comes from OTT. As streaming grows, the role of theatres adjusts.

    What the Future Looks Like

    Growth projections are strong, and the FICCI-EY report estimates the M&E sector will grow 7.2% in 2025. So, that’s about INR 2.7 trillion at a CAGR of about 7% to reach around INR 3.1 trillion by 2027.

    OTT audience and adoption are also expected to increase, though growth rates might moderate. Connected TV adoption will likely continue its sharp rise.

    However, platforms will still need to combine technology investment, pricing innovation, content localisation, and strong marketing to retain audience loyalty. Those who will are the ones likely to remain relevant for a long time. 

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  • Reshmy Warrier returns to WPP Media to lead Unilever business planning

    Reshmy Warrier returns to WPP Media to lead Unilever business planning

    MUMBAI: Reshmy Warrier has rejoined WPP Media as head of business planning and operations for Mindshare’s Unilever account, marking a homecoming after more than 14 years shaping content strategy at Star and Zee5.

    Warrier will steer advanced planning, strategic insights, product development and automation for WPP’s Team Unilever, bringing a mix of media savvy and data-driven flair to one of the world’s most powerful brand portfolios.

    She spent nearly six years at Zee5 as senior vice-president of global content strategy and platform operations, driving a 30 per cent surge in SVOD conversions and an 8 per cent rise in viewership. Earlier, at Star, she led strategy and programming for the English entertainment business, keeping shows like MasterChef Australia and Koffee with Karan at the top of the ratings.

    This is Warrier’s third stint at WPP Media and her second at Mindshare Fulcrum, where she once handled Unilever’s beauty and haircare brands, managing a Rs 200-crore media budget and executing high-profile campaigns such as Dove’s “Hair Damage Meter” and India’s first logo-based augmented reality ad.

    Her career began in outdoor advertising with Cactus Imaging and Kinetic Worldwide before moving into client leadership at Mindshare. Warrier described the move as “a new chapter powered by AI, tech and data to deliver impact-driven solutions for Unilever.”

  • Siju Prabhakaran named chief business officer at Zee5

    Siju Prabhakaran named chief business officer at Zee5

    MUMBAI: Zee Entertainment Enterprises Ltd has appointed Siju Prabhakaran as chief business officer of its streaming platform, Zee5, in a move aimed at bolstering its digital play.

    Reporting to Amit Goenka, president of digital business and platforms, Prabhakaran will shape and execute Zee5’s strategy in India and international markets. He will oversee monetisation, profitability and consumer engagement, marrying content with technology to build scale.

    A nearly two-decade veteran at Z, Prabhakaran has led the south cluster of linear television channels and driven localised content strategies in Tamil, Telugu, Kannada and Marathi. His new remit involves leveraging synergies between linear and digital businesses to deepen audience connect and push growth.

    The company, which has prioritised frugality, optimisation and premium content, sees Zee5 as a core driver of its next phase. The appointment signals a sharper focus on digital revenues while harnessing Z’s language strengths.

  • Priyadarshan Garg takes charge as IDPL’s chief business officer

    Priyadarshan Garg takes charge as IDPL’s chief business officer

    MUMBAI: From print to pixels, Priyadarshan Garg knows how to make headlines. The seasoned media executive has now stepped into a new chapter as chief business officer at Indiadotcom Digital Private Limited (IDPL), the digital arm of Zee Media Corporation Limited.

    The move is more than just a leadership shuffle. It signals IDPL’s ambitions to scale up its digital-first strategy, sharpen its editorial edge and build content ecosystems that attract both audiences and advertisers.

    Garg brings more than 25 years of industry experience, with stints at Zee5, Alibaba, Dainik Bhaskar and TV Today. Known for combining newsroom instincts with business smarts, he has already made waves at IDPL since joining in April by driving the successful launch of Pinewz, one of the company’s fastest-growing digital-first ventures.

    In his new role, he will steer editorial direction, unlock revenue opportunities and strengthen IDPL’s position as a digital powerhouse. As he put it, “Digital is not just about content delivery. It is about creating immersive and trustworthy ecosystems where audiences feel engaged and empowered. At IDPL, I see huge potential to harness data, technology and creativity to fuel growth while maintaining the highest standards of journalism.”

    Zee Media Corporation Limited, ceo, Karan Abhishek Singh welcomed him on board and said, “Priyadarshan’s leadership comes at a crucial time when IDPL is scaling new heights in digital reach and influence. His industry insight and ability to deliver transformative strategies will play a vital role in shaping IDPL’s future.”

    For IDPL, the appointment is a step towards reimagining digital journalism in India. With Garg at the helm, the focus will be on truth-driven storytelling, innovative formats and building long-term value for users and partners alike.
     

  • Love at first sight unseen in Zee5 rom-com Aankhon Ki Gustaakhiyan

    Love at first sight unseen in Zee5 rom-com Aankhon Ki Gustaakhiyan

    MUMBAI: Who says love needs eyes to see? Sometimes, it only takes a train ride, a song, and a spark to light up a story. That’s the heart of Aankhon Ki Gustaakhiyan, a tender rom-com inspired by Ruskin Bond’s The Eyes Have It, premiering on Zee5 on 5th September.

    Produced by Mini Films and directed by Santosh Singh, the film follows Jahaan (Vikrant Massey), a blind musician with a gift for melody, and Saba (Shanaya Kapoor, in her debut), an aspiring actress with fire in her heart. Their chance meeting on a train sets off a connection not bound by sight but built on shared dreams, witty banter, and moments that toe the line between humour and heartache. Adding depth to the journey is Zain Khan Durrani in a supporting role.

    The soundtrack, composed by Vishal Mishra and featuring vocals by Jubin Nautiyal, Asees Kaur, and Mishra himself, adds another emotional layer to this story of love beyond appearances. Zee5’s Kaveri Das calls it a “refreshingly unconventional rom-com that speaks to both heart and humour.”

    For Massey, playing Jahaan was “an enriching experience that revealed strength in vulnerability,” while Shanaya Kapoor describes her role as “the perfect story to begin my journey with.” Their chemistry promises both light-hearted fun and stirring emotion.

    With its playful warmth and soulful undercurrents, Aankhon Ki Gustaakhiyan invites audiences to “dil se dekho” see with the heart. On 5th September, when it streams exclusively on Zee5, viewers might just find themselves falling for a love story that proves sometimes the most powerful connections are the ones you don’t see coming.

  • Drama draws the crowd as Zee5 hits 105 billion streaming minutes in FY25

    Drama draws the crowd as Zee5 hits 105 billion streaming minutes in FY25

    MUMBAI: If content is king, then drama is the undisputed emperor of India’s OTT court. Zee5 has revealed its FY25 viewership numbers, clocking a colossal 105 billion minutes of watch time, with audiences binging on high-stakes drama and high-definition screens.

    Drama ruled the charts, pulling in over 40 billion minutes alone, proving that when it comes to streaming, heightened emotions and tangled plots still reign supreme. And where are viewers watching? A solid 64 per cent of premium content watch time came from smart TVs, making the living room the new theatre of choice for Indian families.

    Leading the charge in high-res viewing, South India accounted for 46 per cent of all 4K consumption. Tamil, Telugu and Kannada titles like Aindham Vedham, Paruvu, Thalaimai Seyalagam, and Vikkatakavi featured in the most-watched lists, while films such as Sankranthiki Vasthunam, Hanu-Man, and Identity dominated screens. Meanwhile, Bengali viewership surged, breaking into the top three languages across Hindi-speaking markets.

    Zee5 Originals also had their blockbuster moment. Mrs., starring Sanya Malhotra, shattered records with the platform’s biggest opening weekend ever over 150 million streaming minutes. The socially charged narrative around gender roles and individual agency resonated across metros and smaller towns alike.

    Hindi thriller Gyaarah Gyaarah led as the most-watched web series pan-India except in the South, where homegrown dramas continued to take the spotlight. Bingeing peaked between 5 pm and 11 pm, with half of total prime-time viewing happening post 7 pm.

    The report also flagged a doubling of 4K pack adoption in FY26, a clear marker of India’s pivot towards quality-led viewing. With regional storytelling, multi-language packs and big-ticket dramas leading engagement, Zee5’s language-first strategy is paying off delivering not just what India wants to watch, but exactly how and why they want to watch it.

  • Applause Entertainment marks eight years with bigger bets

    Applause Entertainment marks eight years with bigger bets

    MUMBAI: Eight years may seem young, but Kumarmangalam Birla-owned, Sameer Nair-led Applause Entertainment has already muscled into the top tier of India’s content business. Since its 2017 launch, the studio has churned out more than 50 original series, films and documentaries across every major streamer — from Netflix and Amazon Prime Video to Disney+ Hotstar, Zee5 and Sony Liv.

    Operating on what it calls a “hub and spoke” model, Applause invests upfront in content, collaborates with producers such as Banijay Asia, BBC Studios, Rose Audiovisuals and Emmay Entertainment, and then syndicates the finished work to platforms worldwide. Its catalogue includes both original dramas and Indian adaptations of acclaimed books and international formats.

    After shaking up the digital series  market, Applause has shifted gears into films with titles like Iftikaar, The Rapist and Aruvi. It has also launched Applause Productions, whose debut project is the Indian remake of Fauda. In animation, it has struck an exclusive deal with Amar Chitra Katha to reimagine 400-plus comics for global audiences and under the Appla Toon brand on YouTube.

    It recently partnered with author Jeffrey Archer to adapt his books into series or movies. 

    Nair has built a seasoned team backing him up, with Deepak Segal as chief creative officer, Prasoon Garg as chief business officer, Sunil Chainani heading films, Maansi Darrbar heading Applause Productions,  Siddharth Khaitan heading special projects like Gandhi and Scam, and Devnidhi Bajoria overseeing marketing.

    With scores of projects in the pipeline, the studio is plotting a push beyond India into documentaries, infotainment and even gaming.

    Eight years in, Applause is just clearing its throat. And loving the viewing audience’s critics’  applause.

  • Loss signal as Dish TV Q1 net loss widens and revenue falls 27.6 percent

    Loss signal as Dish TV Q1 net loss widens and revenue falls 27.6 percent

    MUMBAI: Dish TV is still buffering and this time, the picture is far from rosy. The DTH operator reported a consolidated net loss of Rs 94.53 crore for the quarter ended 30 June 2025, a sharp plunge from the mere Rs 1.56 crore loss logged in the same period last year. Revenue from operations shrank 27.6 per cent year-on-year to Rs 329.36 crore, down from Rs 455.29 crore, while total income stood at Rs 334.11 crore, aided by Rs 4.75 crore in other income.

    Costs, however, went in the opposite direction. Total expenses climbed to Rs 425.92 crore, led by operating costs of Rs 142.10 crore, employee benefits of Rs 42.16 crore, and finance costs of Rs 64.12 crore. Depreciation and amortisation weighed in at Rs 105.28 crore.

    The company’s balance sheet remains under heavy strain, with accumulated losses now exceeding equity share capital, pushing net worth into the negative. Adding to the pressure is a long-running license fee battle with the Ministry of Information and Broadcasting (MIB) Dish TV has set aside Rs 4,680.24 crore for the dispute, even as the MIB slapped a fresh Rs 8,735.67 crore demand (including interest) in April, which the operator is contesting in court.

    For FY25, Dish TV’s annual loss narrowed to Rs 487 crore from a massive Rs 1,966 crore in FY24, but total revenue slid 15.6 per cent to Rs 1,567.6 crore, hit by falling Pay TV subscriber numbers and stagnant ARPU. EBITDA came in at Rs 529.1 crore, with margins easing to 33.75 per cent from last year’s 40.6 per cent.

    While exceptional items of Rs 335.4 crore, a pre-tax loss of Rs 152.3 crore, and mounting competition from DTH rivals, cable, telecom, and OTT players dimmed the outlook, the company is leaning on its digital play. Watcho, its OTT arm, crossed the 10 million paid subscriber mark, thanks to premium content aggregation from Jiocinema, Zee5, Sonyliv and others, the launch of Watcho Fliqs for creator-led IP, and smart set-top boxes like the Dish Smrt Hub.

    The strategy now is clear: retain quality subscribers, push regional content, and keep hybrid offerings in the mix because in today’s entertainment market, staying in the game might just be about playing on every screen available.