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MDA issues guidelines on pay TV contracts to protect consumers
MUMBAI: Consumers in Singapore can look forward to pay TV contracts offering greater consumer protection when the Media Development Authority (MDA) effects guidelines to its Media Market Conduct Code (MMCC) from 1 March 2012.
This move comes on the back of a growing and more competitive pay TV market which has seen the number of subscribers increase from 490,000 in Dec 2006 to more than 857,000 today. There are also more pay TV retailers today, offering content choices of 345 channels, representing a 150 per cent growth in channels over the last four years.
The pay TV market has become more vibrant benefitting consumers with greater choice while creating more switching opportunities as well. Against this backdrop, the guidelines will enable consumers to switch pay TV retailers more easily, while protecting their interest especially with regard to reasonable early termination charges (ETCs) should they wish to end their contracts prematurely.
These new guidelines come after a public consultation spanning five weeks between April to May 2011, drawing feedback from pay TV retailers and the Consumer Association of Singapore. To give pay TV retailers sufficient time to prepare for implementation, these guidelines will apply to new residential pay TV contracts signed or renewed from 1 March 2012.
Maximum contract period of two years: Under the new guidelines, pay TV retailers may implement a maximum subscription contract length of two years. This is consistent with the current industry norm where most pay TV contracts do not exceed two years. By capping the maximum term, consumers are not locked-in to excessively long contracts. As such, they have greater freedom to switch between operators and take advantage of new services and applications that are offered in a vibrant market environment.
Graduated early termination charges for contracts that are longer than three months: Consumers who wish to terminate their contracts before the stipulated period should not have to pay excessive charges. Consumers need only pay early termination charges or ETC that is commensurate with the remaining length of the unfulfilled contract. The ETC should be pegged to the agreed terms and conditions of the contract. For instance, if the contract was offered on a discounted rate, the consumer will pay his or her ETC based on the discounted rate. The ETC should also not include avoidable costs.
To ensure that consumers are more aware of their ETC obligations, pay TV retailers will also have to inform consumers of the ETCs payable at varying points of the contract, so subscribers know what to expect. This has to be conveyed at point-of-sale and upon contract renewal.
MDA highlights that consumer rights are protected under the MMCC, while the Consumer Protection (Fair Trading) Act also enables consumers to seek redress through the courts if they have suffered from specific unfair practices.
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Cloud nine in the capital Bharathcloud plugs Delhi into its AI plans
MUMBAI: Bharathcloud is bringing its cloud closer to power. The Hyderabad-based sovereign AI cloud services provider has opened its Delhi office, marking its formal entry into North India and setting the stage for its next phase of growth.
The expansion comes as India’s digital transformation fuels rising demand for AI-ready cloud infrastructure, driven by wider adoption of artificial intelligence, machine learning, the Internet of Things and data-heavy applications. With the new office, Bharathcloud plans to onboard more than 100 employees in 2026, strengthening its workforce to support customers across government, enterprises, MSMEs and social sectors.
The Delhi presence is expected to sharpen the company’s engagement with organisations seeking secure, scalable and cost-efficient cloud platforms that comply with India’s data sovereignty requirements. It also positions Bharathcloud closer to policy, public sector and enterprise decision-makers in the region.
Founded in Hyderabad, Bharathcloud offers AI-ready cloud infrastructure including Kubernetes-as-a-Service, zero-trust security architecture and multi-level data protection frameworks. Its platform supports AI and ML workloads, blockchain application migration from hyperscalers and distributed data management, with an emphasis on reliability, low latency and operational continuity.
“With the Delhi expansion, we are positioning Bharathcloud to engage more closely with AI-driven enterprises and technology hubs in North India,” said Bharathcloud co-founder Rahul Takallapally. He added that the move would help nurture local cloud and AI talent while accelerating the adoption of secure and resilient AI infrastructure across sectors.
The company currently operates in Hyderabad, Bengaluru, Mumbai, Kolkata, Lucknow and Chennai, employing over 200 people and serving more than 1,500 clients across manufacturing, healthcare, financial services, IT and media. Aligned with national initiatives such as Digital India and Make in India, Bharathcloud continues to focus on building indigenous AI-cloud infrastructure to support data localisation and the country’s growing appetite for next-generation digital solutions.
With its Delhi office now live, the company is signalling a clear intent: to make sovereign, AI-ready cloud infrastructure not just an alternative, but a mainstream choice for India’s north as well as its tech capitals.
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Meta forecasts up to $135 billion capex in 2026
CALIFORNIA: Meta Platforms is going all in. The Instagram and Facebook owner has sharply raised its capital expenditure for 2026 to between $115 billion and $135 billion, nearly double last year’s spend, signalling CEO Mark Zuckerberg’s aggressive push toward artificial superintelligence. Investors cheered, sending shares higher, buoyed by robust advertising growth.
Speaking to analysts, Zuckerberg called 2026 a “pivotal year” for Meta, highlighting the focus on delivering highly personalised AI capabilities while reshaping internal operations.
The spend surge is driven by infrastructure costs, higher depreciation from AI data centres, and rising operating expenses linked to compute-intensive workloads. Meta has secured capacity deals with external providers including Alphabet, CoreWeave and Nebius, though capacity constraints are expected through much of the year, according to chief financial officer susan li.
Meta’s fourth-quarter performance underpinned confidence in the strategy. Advertising revenue, still the core engine, jumped 24 per cent year on year to $58.14 billion, up from $46.78 billion a year earlier. Strong ad cash flows helped the company beat earnings expectations and issue a first-quarter revenue forecast of $53.5–$56.5 billion, well above analyst estimates.
Despite the ad boom, capital expenditure surged 49 per cent, contributing to a decline in operating margin as infrastructure costs accelerated. Meta has been able to fund its AI ambitions largely through advertising, which benefits from AI-driven improvements in targeting and campaign automation. New monetisation channels on WhatsApp and Threads, and competition in short-form video via Instagram Reels, have further strengthened the ad engine.
Meta also projected total expenses for 2026 between $162 billion and $169 billion, reflecting infrastructure costs and rising employee compensation as the company hires aggressively for AI roles in a tight talent market.
“2026 will redefine how Meta works as AI reshapes teams and productivity,” zuckerberg said, underscoring the company’s commitment to superintelligence, a theoretical stage where machines outperform humans across a broad range of tasks.
Market watchers said investors appear comfortable with Meta’s high-stakes strategy, noting that generative AI returns may take time, but the company’s advertising cash flows are strong enough to absorb heavy spending. The outlook contrasts with Microsoft, which also ramped up capital expenditure but saw shares fall amid modest cloud growth.
Meta is charging full throttle into 2026, betting big on AI while keeping the ad engine roaring — and the world is watching.
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Spotify paid out over $11bn to music industry in 2025; eyes artist-first push in 2026
SWEDEN: Spotify paid out more than $11bn to the global music industry in 2025, cementing its position as the single largest annual payer to music creators in history and setting the stage for a renewed push to help artists break through in an increasingly crowded market.
“I’m proud to share that, last year alone, Spotify paid out more than $11bn to the music industry,” said Charlie Hellman, head of music at Spotify, in a note published on the Spotify for Artists blog. The figure marks a year-on-year increase of over 10% from 2024, significantly outpacing growth across other industry income streams.
Independent artists and labels accounted for half of all royalties paid out during the year, reinforcing the platform’s growing role as a revenue engine beyond major labels.
“Big, industry-wide numbers can feel abstract,” Hellman said, “but that growth is showing up in tangible ways.” He pointed to a structural shift in music economics, noting that there are now more artists earning over $100,000 a year from Spotify alone than were ever stocked on record-store shelves at the height of the CD era.
Despite what Hellman described as “rampant misinformation about how streaming is working today”, Spotify now contributes roughly 30 per cent of recorded music revenue worldwide. In 2025, Spotify’s payouts grew by more than 10%, while other industry income sources expanded by closer to 4%, making the platform the primary driver of industry revenue growth.
That growth, Hellman said, is ultimately fan-led. More than 750 million people globally now pay for music streaming across all platforms each month. As audiences expanded, Spotify also raised subscription prices. With nearly two-thirds—almost 70%—of its revenue paid back to rightsholders, rising platform revenues translated directly into higher payouts for artists.
“The other third is our fuel,” Hellman said, referring to Spotify’s retained revenue. That capital is reinvested into product innovation designed to convert more listeners into paying subscribers and deepen fan engagement.
The challenge, however, is visibility. With more than 100,000 new songs released every day, emerging artists are competing not only with each other but with the entire recorded history of music. Spotify’s priority for 2026, Hellman said, is helping new artists “cut through the noise and form real connections with fans”.
A key pillar of that strategy is artist storytelling. As artificial intelligence floods the internet with content, Spotify is betting that human context will become more valuable, not less. The platform is expanding features that explain who artists are, what inspires them, and how songs come together.
An upcoming feature, SongDNA, will allow fans to explore the creative networks behind tracks—such as Addison Rae’s collaboration with Luka Kloser and Elvira Anderfjärd—and trace those links into wider catalogues, including Kloser’s work with Ed Sheeran and Anderfjärd’s with Alec Benjamin.
Video is another focus area, with Spotify leaning into authenticity over polish. Live takes, rehearsals and behind-the-scenes studio moments are being positioned as fan-building tools. For pop group Katseye, early backstage Clips on their Countdown Page helped drive momentum ahead of the release of Beautiful Chaos.
Trust and identity protection form the second pillar. Spotify is preparing new systems for artist verification, song credits and identity protection to counter impersonation, scams and low-quality AI-generated content designed to siphon royalties.
“AI is being exploited by bad actors,” Hellman said, adding that protecting authentic creativity is critical to maintaining trust among listeners and rightsholders.
Human editorial curation remains central to Spotify’s discovery engine. While algorithms personalise listening, editorial playlists offer cultural signals that can change careers. Leon Thomas, for example, landed on playlists such as RADAR and RNB X after pitching through Spotify for Artists, reaching listeners in more than 180 countries.
In 2026, Spotify plans to introduce new editorial programmes aimed at sustaining momentum for emerging artists, alongside greater visibility for the editors themselves through video and storytelling.
Live music is the final frontier. Spotify has already helped generate more than $1bn in ticket sales through its partners by matching artists with their most engaged fans. New tools launching in 2026 are designed to convert streams into sold-out rooms.
“You’ve built communities, taken risks, and kept going even when the path felt uncertain,” Hellman said. “It’s our job to make sure Spotify works as hard as you do.”
With unprecedented competition colliding with unprecedented opportunity, Spotify is placing a clear bet: scale alone is not enough. The next phase of streaming, it argues, will be won by those who help artists turn attention into careers.
And in 2026, Spotify wants to be the loudest ally in the room.
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