Hindustan Media Ventures Ltd reported an 11 per cent decline in consolidated profit after tax at Rs 10.74 crore for the fourth quarter ended March 31, 2024, as per PTI. 

The company had posted a profit after tax (PAT) of Rs 12.08 crore in the same quarter previous fiscal, Hindustan Media Ventures Ltd (HMVL) said in a regulatory filing. Revenue from operations during the quarter under review stood at Rs 188.05 crore as against Rs 188.13 crore in the year-ago period, it added.


Printing and publishing of newspapers and periodicals segment clocked a revenue of Rs 181.47 crore in Q4 as against Rs 186.63 crore in the corresponding period a year ago, as per the report. 


Digital registered Rs 5.84 crore revenue in Q4 as against Rs 1 crore a year ago, the filing said. Total expenses in the quarter were higher at Rs 219.51 crore as compared to Rs 207.64 crore earlier, the company said. In the fiscal ended March 31, 2024, profit after tax was at Rs 9.95 crore. It had posted a consolidated loss after tax of Rs 38.09 crore in FY23. Revenue from operations in FY24 was at Rs 704.09 crore as against Rs 713.4 crore in FY23, it added.

Hindustan Media reports 11 per cent decline in consolidated profit after tax at Rs 10.74 crore

Printing and publishing of newspapers and periodicals segment clocked a revenue of Rs 181.47 crore in Q4 as against Rs 186.63 crore in the corresponding period a year ago, as per the report.

After Hong Kong and Singapore, Nepal bans MDH, Everest

TRAI to mull views on regulations for apps like WhatsApp, Facebook, X, Instagram

Viacom18 - Star India deal: NCLT admits merger scheme

BARC appoints Dr Bikramjit Chaudhuri as its new chief of measurement science and analytics

Wipro appoints Sanjeev Jain as chief operating officer

Tata Technologies' Santosh Singh: Work-life balance is enjoying what I do during work and after work

Representational image via Unsplash

Zee-Sony merger saga ends: Timeline of the failed merger

Why are Indian brands advertising in NYC's Times Square?

What Herman Melville’s Moby-Dick teaches us about leadership

Advertising is in the position where tobacco was: IPG's Arun Kumar 

Biz Moves: Interactive Avenues, Verve Media, Foxymoron and Grapes

There is an opportunity for building a better agency, not just a different one: Manja's Prajato Guha

Shweta Jain joins Leela Group as chief marketing and sales officer

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Ministry of I&B introduces Film Facilitation Office- online portal facilitating effortless transactions for filmmakers

ZEE's Punit Goenka: We have to be frugal, make sure of buying right content at the right price

Is Ajmera Group the brand behind the tragic ad hoarding collapse in Mumbai?

Piyush Pandey

Adtech regulation a priority for Modi govt in third term: MoS Rajeev Chandrasekhar

Credibility of news and platforms are as important as monetisation challenges: Anurag Thakur

HUL: Meet the leaders who have emerged from "The CEO Factory"

Punit Goenka addresses Zee employees; ensures no layoffs due to failed merger

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The Leader's Edge: Storyboard18 in conversation with leaders, decision makers and disruptors

Nobody’s Perfect Retro Porsche Ad

In Conversation With Raja Rajamannar, Mastercard

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In conversation with IHCL’s Puneet Chhatwal & GroupM’s Kate Scott-Dawkins

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Storyboard18 x The English Nut: How to pronounce these 10 brand names

Experts' Take On Reinvention Of Ad Campaigns Through Technology

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In conversation with VMLY&R’s Hari Ramanathan

For Santosh Singh, executive vice president and global head- marketing and BE, Tata Technologies, weekends are a means for him to relax, recharge and bounce back. He stated, "I usually start my day with a morning walk and make sure that the entire family has breakfast, lunch, and dinner together over the weekend. We go out for lunch over the weekend/s, and I spend the afternoons working on sharpening my saw–gen AI for marketing, new areas of growth for engineering companies, etc. Sunday afternoons are all about planning for the week ahead."

<em><strong>Excerpts:</strong></em>

<strong>What aspect of your work inspires you?</strong>

The most inspiring aspect of my work is witnessing the tangible impact our innovations have on the world and crafting the story on how we are engineering a better world for everyone. At Tata Technologies, we are not just engineering products; we are engineering solutions that make the world safer, cleaner, and more sustainable and deliver great value to our stakeholders including our customers, our people, and our key communities. Knowing that our efforts contribute to a better future for everyone motivates me every day to work towards building a brand that talent wants to work for, customers want to collaborate with, and investors want to invest in.

<strong>How do you maintain a healthy work-life balance?</strong>

To me, work-life balance means enjoying what I do during work and after work. As we are in the midst of an organisational transformation journey, a lot of my efforts are aligned with accelerating the business excellence and marketing transformation which covers all of the weekdays and parts of the weekend also. However, I take out some time every day for my walks which are a great time for reflection as well as play with kids before I wind up the day. Over the weekend, I specifically take out time for OTT and some Formula 1 racing, not that the season is on.

<strong>How does your weekend look like?</strong>

Weekends are a blend of relaxation and recharging. I usually start my day with a morning walk and make sure that the entire family has breakfast, lunch, and dinner together over the weekend. We go out for lunch over the weekend/s, and I spend the afternoons working on sharpening my saw–gen AI for marketing, new areas of growth for engineering companies, etc. Sunday afternoons are all about planning for the week ahead.

<strong>Please list some of your favourite pastimes/ hobbies.</strong>

I love going for long walks in the morning and evening and find it to be an excellent way to clear my mind and stay fit. I love spending time watching races and reading about the new developments that each of the team/s are bringing on.

<strong>What brands and tech gadgets are you currently obsessed with?</strong>

On the gadget front, I am quite taken with the latest wearables like the Apple Watch Ultra, which offers incredible health tracking and connectivity features.

<strong>Are you binge-watching any content these days? If so, which one(s) and where (platform), and the lessons you have learned from it/them?</strong>

Yes, I have recently been binge-watching "The Last Dance" on Netflix, which chronicles the career of Michael Jordan and the 1990s Chicago Bulls. It is not just about basketball; it’s about leadership, perseverance, and the relentless pursuit of excellence. The documentary provides valuable insights into the importance of a strong work ethic, and how to handle pressure and expectations. I am also watching all the Formula 1 races as they represent the pinnacle of competitiveness and excellence and there is a lot that we can learn from them.


<strong>Read More:</strong> <a href="https://www.storyboard18.com/brand-makers/crompton-greaves-pragya-bijalwan-always-plan-your-day-because-a-lot-of-things-are-unpredictable-30037.htm">Crompton Greaves’ Pragya Bijalwan: If you fall seven times, stand up eight times & you’re sure to win</a> 



Broadcast Audience Research Council (BARC) India has announced the appointment of Dr Bikramjit Chaudhuri as its new Chief of Measurement Science and Analytics. 

He will succeed Dr Derrick Gray, a veteran audience measurement and advanced analytics executive, who has been a member of BARC India for six years.

Dr Bikramjit Chaudhuri (Bikram) is a Ph.D. from IIT Bombay and holds a Master of Statistics degree from the Indian Statistical Institute, Delhi. He comes in with experience spanning over three decades in the areas of Statistics, Stochastic Modelling, Market Measurement, Consumer Segmentation, AI and ML, Demand Forecasting and Big Data Analytics. He has several research papers, publications, and patents in these aspects under his belt.

Bikram is currently associated with the Datamatics Group of Companies as the Global Head of Data Science and Advanced Analytics, since 2016. Prior to Datamatics, Bikram has held multiple leadership roles, and has led large teams of senior talent across levels at KPMG, Nielsen and ZS Associates.

Chaudhari said, "I am excited to join BARC India as the Chief of Measurement Science & Analytics. It will be an absolute honour and privilege to be a part of a multitalented and versatile team that runs the largest Audience Measurement system in the world, in one of the most complex multimedia markets. I am looking forward to leveraging my deep expertise and diverse experience to further evolve the current measurement system to meet the growing needs of the industry. Looking forward to an exhilarating journey and a fulfilling association with BARC India."

Nakul Chopra, Chief Executive Officer, BARC India, said, “Derrick has been a wonderful partner, a mentor and a friend to numerous individuals and industry peers. We congratulate him as he embraces his next adventure and wish him nothing but the absolute best. In his stead, I’m happy to welcome Bikram to the BARC India family. He brings deep knowledge and rich expertise in Big Data, Research and Business Intelligence. I’m confident that with his strategic vision and passion for excellence, he will not only uphold the legacy Derrick leaves us with, but also help navigate our future in this fast-evolving environment.”



Acer Group, a global leader in IT and technology solutions, announced its entrance into the consumer electronics market with the launch of Acerpure brand in India at a launch event in Bengaluru. 


The launch event saw the presence of Andrew Hou, president of Pan-Asia Pacific Operations at Acer Group; Harish Kohli, president and managing director of Acer India, Sudhir Goel, chief business officer, Acer India; Stanley Kao, president, Acerpure Inc.; Vasudeva. G, director, Acerpure India, and Sunil Vachani co-founder and executive chairman from Dixon Technologies.

 

At the launch event, Acerpure unveiled its flagship product, Acerpure TV, featuring state-of-the-art technology and a viewing experience. Launched in four sizes 32, 43, 55, and 65 inch, Acerpure TVs boast enhanced contrast, deeper blacks, and dazzling brightness, stated the company.

 
Additionally, Acerpure showcased a diverse range of consumer electronics products, including Air Circulator Fans, Water Purifiers, Hand-held Vacuum Cleaners, two robotic vacuum cleaners, Hair Dryer, and Hair Styler. Acerpure India plans to diversify its offerings, introducing a range of products including, refrigerators, air conditioners, washing machines, and more.

 

Another highlight of the event is an announcement on a Make-In-India partnership between Acerpure and Dixon Technologies, the leading Indian electronics manufacturer, wherein Dixon will undertake the manufacturing of Acerpure products in its facilities starting with state-of-the-art TVs. Leveraging local manufacturing capabilities, this collaboration is not only set to empower local talent but also catalyze technological innovation and foster job creation.

 

Andrew Hou, president of Pan-Asia Pacific Operations at Acer Group said, "We are excited to launch Acerpure in India. The Indian market holds immense potential for Acerpure's growth and innovation. With our focus on technological excellence and sustainability, we are well-positioned to meet the evolving needs of Indian consumers. As we venture into this new market, our dedication to innovation remains unwavering. Acerpure represents more than just a product launch; it signifies the dawn of a new era in home appliances and consumer electronics with a key focus on Make-In-India.”

 

Harish Kohli, president and managing director of Acer India, expressed his enthusiasm about the launch, "As we embark on this transformative journey with Acerpure's debut in India, we are exhilarated by the opportunity to contribute to the nation's burgeoning consumer electronics market. This milestone signifies our unwavering dedication to innovation and our heartfelt commitment to the vibrant Indian consumer electronics landscape. Through this collaboration with Dixon Technologies, we are poised to usher in a wave of locally manufactured products, aligning seamlessly with the Make in India initiative. This partnership embodies our shared vision of fostering economic growth and technological advancement within the nation. Together, we look forward to crafting cutting-edge solutions that resonate with the diverse needs and aspirations of Indian consumers, empowering them to embrace a brighter, technologically enriched future."

 

Sunil Vachani, co-founder and executive chairman of Dixon Technologies, expressed, “Through our enduring partnership with Acer, we have consistently upheld the values of local manufacturing and innovation. The introduction of Acerpure and our expanded collaborative efforts represent a significant stride towards enhancing India's self-sufficiency and global competitiveness in the electronics sector. Aligned with the 'Make in India' initiative, our goal is to manufacture premium consumer products for both domestic and international markets, thereby stimulating economic growth and fostering innovation while nurturing local talent. This partnership underscores our unwavering commitment to delivering high-quality, Made in India products, marking a notable milestone in our relentless pursuit of excellence."


<strong>Read More:</strong> <a href="https://www.storyboard18.com/brand-makers/deloitte-generation-ai-is-creating-sustainable-workloads-and-increasing-productivity-31741.htm">Deloitte: Generation AI is creating sustainable workloads and increasing productivity</a> 

Acer Group launches Acerpure; marks its entry into consumer electronics category

Netflix and the NFL, the most-watched sports league in the US, have announced a three-year deal to stream games on Christmas Day. The streaming giant will carry two games this year and at least one game in 2025 and 2026.  It is reported that Netflix will pay less than $150 million per game.

Netflix began airing NFL programming last year with the series “Quarterback." A series on wide receivers will premiere this year. It also live streamed the Tom Brady roast on May 5 and will have a 10-part documentary series later this year on Jerry Jones and his ownership of the Dallas Cowboys.

Netflix's foray into carrying live sports began last year, but they were exhibition events in golf and tennis. “People love football and we do, too. These games go with our big-event live strategy of all the live programming we have done in this last year — like The Tom Brady roast, the Netflix Slam and the upcoming Jake Paul vs Tyson boxing match. We’re excited about having the NFL conversation around Christmas Day,” said Bela Bajaria, Netflix’s Chief Content Officer.


<strong>Read More:</strong> <a href="https://www.storyboard18.com/digital/in-numbers-netflixs-ad-supported-plan-now-has-40-million-monthly-active-users-31655.htm">In Numbers: Netflix’s ad-supported plan now has 40 million monthly active users</a>

Netflix continues its bet on live events, signs deal to air NFL

It was in the year 1970 when Durex first got into advertising globally. Fast forward to 2010, they were acquired by Reckitt Benckiser, and since then, most of the advertising campaigns from the brand have been known to highlight sexual wellness and a healthy sex life.


<img src="https://images.storyboard18.com/storyboard18/2024/05/Untitled-design-2024-05-16T083008.624-2024-05-9dbc24264b6b3d3af0cf5c7e2bb77256.jpg" alt="" width="938" height="938" class="alignnone size-full wp-image-31618" />


On May 13, Durex launched a campaign on Durex Lubes, #ExplorersWanted, where human anatomy was used as a bodyscape. As Anusheela Saha, national creative director and head of design, FCB India, explained, “A lot of Durex consumers did not know what Lubes were. Hence, the market penetration of Lubes has always been very minimal. Lubes are a product for a specific need, but we just wanted to explore Lubes in a new way, maybe as a tool for foreplay or as a tool to spice it up for couples’ sex life.”

Saha talks about the #ExplorersWanted campaign, marketing the brand, and more.

<em>Edited Excerpts</em>

<strong>Could you explain the genesis of the campaign?</strong> 

When we got the brief, we came across a very interesting data point. We got to know two things. About 70 percent of the Indian married couples were open to experimentation in their sex lives.

A lot of Durex consumers did not know what Lubes were. Hence, the market penetration of Lubes has always been very minimal. Lubes is a product for a specific need, but we just wanted to explore Lubes in a new way, maybe as a tool for foreplay or as a tool to spice it up for couples’ sex life. 

And that's when we came upon the term ‘Explore’. How do we explore what's already there? The moment I heard ‘Explore’, John Mayer's song was going on in my head, which said, ‘Your body is my wonderland’. And from exploration, we actually came to the landscape.


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The song itself lends itself to such gorgeous imagery, of exploration between a couple and therefore takes lovemaking to a different kind of exploration. And that's what we wanted to do with Lubes. So, ‘Wonderland’, which John Mayer calls, became ‘Bodyscapes’. 

We actually thought of using human anatomy as bodyscapes and almost like how we would explore things. And, when we are going on vacation, we have favorite spots to visit. For example, Cape Town, Kyoto and all these amazing vacation spots were given amazing names.

So, Kyoto actually became K Y O T O E. You know, and Cape Town became NAPE TOWN. The Czech Republic became the CHEST REPUBLIC. It was quite an exploratory trip that we had when we were doing the creative and hats off to the brand team for actually buying a concept like this, Because, whoever's seeing the work, they're all saying, ‘This is so unlike the regular work on Durex’. This is because, from the beginning, it was thought of as pieces of art and it is almost a surreal journey into lovemaking and foreplay.

Therefore the hashtag ‘ExplorersWanted’. 

<strong>Could you explain the media mix and marketing mix for the campaign?</strong>  

This product has a very limited market penetration. There are only very few people who would have heard or who would have known the existence of Lubes as a product.

Therefore, the media mix that we went with was specifically digital, and not meant for television. And when we kind of came up with the main idea of ‘Bodyscapes’ and ‘Explorers Wanted’, what we actually thought could be an interesting way of looking at it and to give it a different kind of breadth was to look at travel influencers.

That's when we approached Savi and Vid (@bruisedpassports). We also approached Daizy and Ankit (@the.vogue.vanity). Then there was Saloni Chopra and Rahul Bhattacharya (@unplannedby) and they are well known travel influencers with great following. We gave them the brief that if you were to go on a vacation and you were to go and explore your favorite spot, how would you do it?

Therefore, we launched teaser campaigns, which actually have the couple probing the audience to guess what could be a favorite spot. Somebody says, Cape Town and in the next one, Nape Town bit of the edit of the film plays.

<strong>We are living in a very polarised environment where anything or everything pertaining to crucial subjects receives backlash or criticism. Were there any sort of inhibitions or challenges during the making of this campaign? </strong>

There were no inhibitions. The brand team was fabulous for picking up such a subject and giving it to us. There was almost a free hand to do a lot with the filmmaking, because this is filmmaking at its very granular best.

What we did face a little bit of a challenge was with the strict guidelines put down by Meta. Hence, we had to put it in the guardrail and yet make bodyscapes work. So, that was very tricky because partial nudity or nudity on Meta is not kind of permitted.

So, how we could play the game was tricky. But, as you can see, the campaign is very much live on Instagram and is getting lots of love. So, we managed to kind of go past it in a different way.

<strong>Let's be honest. The word ‘Sex’ is still considered a taboo in India. From your observation, how have discussions around this subject improved in India?</strong>

Whether it is India or abroad, sex will always be considered a taboo topic.

In some places, it will be given a little bit more leeway. In more conservative countries like India, it will be a lot more restrictive. But, when we approach a brand like Durex, we know what is the purpose of the brand to exist. And, we actually have to keep these things in mind.

So we went ahead with an idea, which we knew that a lot of people may say, ‘Oh my God, it was just too bold.’ ‘Oh my God, did they really have to go through this route?’ ‘Was there no other way to do a Lubes commercial?’ But we believed in an idea and we actually treated lovemaking like a piece of art.


So, when you treat something, which is taboo and give it that breadth in the form of a piece of art, then it becomes very acceptable because when we put the lens of art, then society seems to be a bit more acceptable to a lot of things because it's art.

In no way, you would see anything cringeworthy in the piece of work. It's just so liberating to see it as a canvas of art actually. 

<strong>Since when has FCB India been handling the mandate of Durex?</strong>

We don't work on Durex as a brand. This was actually a one off project. But, it's just that they were kind of struggling to crack something on Lubes for quite some time. And they had heard of the kind of work that we do.

So they reached out to us. We went armed with concepts and this was one of the concepts they picked up. We can all see how it looks now.


<strong>Read More:</strong> <a href="https://www.storyboard18.com/quantum-brief/storyboard18-exclusive-dettol-and-durex-maker-reckitt-benckiser-india-calls-for-media-pitch-7859.htm">Storyboard18 Exclusive: Dettol and Durex-maker Reckitt Benckiser India calls for media pitch</a> 

When a taboo topic is given the shape of an art, then it becomes acceptable: FCB India’s Anusheela Saha

Spice Money has announced the launch of its VIP Program, designed to provide a four-fold exclusive benefit package to its network of 14 lakh Adhikaris. This program is tailored to enhance their experience and drive growth in their businesses. This initiative in the segment is designed to offer premium benefits, personalized assistance, and exclusive earning opportunities, ensuring that high-transacting Adhikaris receive exceptional service, support, and priority attention. 

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This program aims to identify and reward the top-performing Adhikaris(Merchant)by providing them with a clear path to increased earnings and enhanced services. This initiative will lead to the loyalty of Adhikaris, ensuring their commitment to the Spice Money platform through exclusive benefits and additional earning opportunities. Any Adhikari (Merchant) looking to advance within the Spice Money network can join the VIP Program.

<strong>Key Features of the VIP Program:</strong>

·Transactional Benefits: Adhikaris enrolled in the VIP Program will enjoy additional commissions on core products such as Aadhar-based withdrawals AePs, DMT, and financial services products like opening of CASA and consumer loan products.

·Care Benefits: VIP Adhikari's will receive special care and support due to their high transaction volumes, ensuring seamless operations and maximizing transactional volumes.

·Discounts on Services & Hardware: The program offers discounts on hardware, including the change of biometric devices as per UIDAI guidelines as an industry-wide change in the ecosystem, leading to a reduction in fraud.

·Personal Benefits: Spice Money is also committed to offering personal benefits such as insurance and scholarships for Adhikari's children, providing a holistic approach for a Nanoprenuer to grow their business

The VIP Program is open to all Adhikaris aspiring to advance in their Spice Money journey. Adhikaris can choose from three levels of subscription plans, Basic, Advance and VIP plans starting at Rs. 199 as an introductory monthly price, tailored to meet varying needs and preferences. 

Dilip Modi, Founder & CEO, Spice Money, said, “The VIP Program is a testament to our commitment to acknowledging and rewarding the outstanding performance of our top Adhikaris. This initiative provides them with a clear pathway to increased earnings and superior services, aligning with our mission of fostering financial inclusion and empowerment in emerging India.”

Kuldeep Pawar, Chief Marketing Officer, Spice Money, said, ”I am thrilled to introduce our VIP Program, another game-changing initiative from Spice Money tailored to elevate the journey of our high-transacting Adhikaris. This program not only recognizes the exceptional performance of our top Adhikaris and rewards it but also enhances their experience with exclusive benefits and personalized services. This initiative highlights our unwavering dedication to empowering our partners and revolutionizing rural banking in India”

Spice Money launches VIP Program to scale up its network of 14 lakh rural merchants

"The brands have something to lose even though it's not their fault." 

On May 13, an illegal hoarding came crashing down during a sudden dust storm and unseasonal rain in Mumbai. The incident claimed 14 lives. A case has been registered against the owner of Ego Media Private Limited, Bhavesh Bhinde, who is currently absconding. But advertising veterans say that accountability and responsibility should go further as the menace of illegal ad hoardings has long plagued Indian cities and towns.   

Read their candid views here. 

<strong>Bobby Pawar, former chairman and chief creative officer, Havas Group</strong>

The billboards on top of buildings, on the side of buildings. How well are they installed? Has anybody checked? This incident brings all of this into question. 

Unfortunately, the apathy in this country is so strong, but some rules need to change. There needs to be governance on these aspects. Because like it or not, they're constructed things. And there needs to be a safety certificate for all of these.

Otherwise, who knows what will happen next time. If outdoor people don't do it, the agencies and marketers need to say, “We need to understand that billboards are safe. It is certified to be safe before we put anything up.” Just imagine, if there was a baby oil messaging on the billboard. And it falls and kills a few mothers. The brands have something to lose even though it's not their fault.

All of us need to work towards the betterment of the society we live in. In a civilized society, these things shouldn't happen because this is negligence.

Read More: <a href="https://www.storyboard18.com/special-coverage/mumbai-billboard-collapse-scope-of-disaster-management-act-in-providing-accountability-and-relief-31475.htm">Mumbai billboard collapse: Scope of Disaster Management Act in providing accountability and relief</a>


<strong>Sandeep Goyal, managing director, Rediffusion</strong>

Random outdoors (especially the illegal ones) are leading to visual pollution - making our cities look ugly and dirty. This mushrooming of hoardings everywhere is also a serious traffic hazard and now as we have seen a life hazard.

<strong>KV Sridhar, global chief creative officer, Nihilent Limited</strong>

Agencies have nothing to do, and they will only put out the message. The owner of the outdoor hoardings is at fault followed by the government agencies, which have given licenses are at fault. Illegal hoardings are rampant in Bombay because of the cost and money which is involved. Hoardings followed by trees are the first casualty of any cyclonic effect that has happened in Mumbai.

No permission should be given to construct such large hoardings without testing their ability to withstand the calamities. And some standards need to be there.

Delhi has banned outdoor hoardings. Then, people found a way of advertising in public places like malls etc. Delhi is much better in terms of organized outdoor advertising as compared to Bombay. Delhi and many cities in the world have shown us the way as to how to manage messaging. 

The issue is safety, people and then the environment. Any illegal activity happens with bribery and then greed for money.

Read More: <a href="https://www.storyboard18.com/special-coverage/mumbai-ad-hoarding-collapse-regulatory-machineries-like-ooh-association-have-failed-to-recognise-importance-of-public-safety-says-ad-veteran-31483.htm">Mumbai ad hoarding collapse: “Regulatory machineries like OOH Association have failed to recognise importance of public safety,” says ad veteran</a>


<strong>Durba Mandal, head - OOH business, Cheil India</strong>

The collapse of the Billboard in Ghatkopar, Mumbai, is indeed very unfortunate which should have never happened. First and foremost accountability needs to be fixed without fear or favour.

Over the years, the OOH industry has become more regulated than before, but an incident like this is surely an indication that we have a long way to go. Enforcement of existing regulations is the key to avoiding such situations in future.

This incident has become national news with authorities at the highest level taking stock of the situation. The local authorities of metropolitan areas would certainly go for an audit. 

There could be a possibility of more inventory being declared unsafe, creating a shortage of legal and safe inventory. Approvals on upcoming media may also be relooked by authorities. Other metro cities might also take note and issue safety notifications or audits in their area.

Considering that campaign planning for H2, including the festive season is underway, the new regulations can impact in a big way. 

Read More: <a href="https://www.storyboard18.com/how-it-works/mumbai-illegal-hoarding-collapse-bmc-to-take-legal-action-against-ad-agencies-31392.htm">Mumbai “illegal hoarding” collapse; BMC to take legal action against ad agencies</a>


<strong>Agnello Dias, co-founder, Spinach Experience Design</strong>

My take on ANYTHING illegal, leave alone illegal hoardings, is that they should not exist.

Normally hoardings do not have high ROI in national marketing campaigns so at best they are a support medium to the mainstream media. But some places, like Mumbai, have extremely high local purchasing power and therefore it leads to rampant erection of hoardings with disregard to all regulatory norms. This has to be strictly monitored and controlled exactly the way one would control any other potentially dangerous industry.

I feel the impact on the ad industry is peripheral and is definitely not worth the risk to lives and property.

It’s largely legacy and is perhaps more prevalent in the centres that have had a long cinematic legacy like Chennai, Mumbai as it is an industry that has traditionally seen hoardings as the main medium. Today it continues more as a legacy habit than a real brand-fronting medium.

<strong><em>#FreeOurSkylines - Fight against illegal ad hoardings: A terrible tragedy struck on May 13 after a 100-foot-tall illegal billboard fell at a petrol pump in Ghatkopar during dust storms and unseasonal rains in Mumbai. The killer hoarding caused the deaths of over a dozen people and injured many others. The catastrophic incident outraged citizens who have been dealing with the menace of illegal ad hoardings. The people don't want just answers but solutions, as they turn to civic authorities, advertising agencies, industry bodies, brand marketers, and media owners, to take responsibility and fight against the menace of illegal advertising hoardings. So speak up and join the #FreeOurSkylines movement. Write to us at Storyboard18@nw18.com with your concerns and views, and let’s make our cities safer together.</em></strong>

Read More: <a href="https://www.storyboard18.com/how-it-works/eknath-shinde-directs-bmc-to-audit-and-remove-dangerous-hoardings-in-mumbai-31432.htm">Eknath Shinde directs BMC to audit and remove dangerous hoardings in Mumbai</a>



"Imagine if there was a baby oil messaging on the billboard. And it falls and kills a few mothers"

BAJAJ, a consumer appliance brand, has released a CGI video, an extension of the ongoing multi-media campaign for its air cooler range. 

Set in Delhi's Connaught Place, the brand’s CGI ad campaign sees people shielding themselves from the scorching sun on a bustling street, stated the company. While the extreme heat drains one and all, a larger-than-life BAJAJ air cooler emerges from a billboard and delivers a strong gush of refreshingly cool air. 


<blockquote class="instagram-media" data-instgrm-captioned data-instgrm-permalink="https://www.instagram.com/reel/C6vRdVJhtcn/?utm_source=ig_embed&amp;utm_campaign=loading" data-instgrm-version="14" style=" background:#FFF; border:0; border-radius:3px; box-shadow:0 0 1px 0 rgba(0,0,0,0.5),0 1px 10px 0 rgba(0,0,0,0.15); margin: 1px; max-width:540px; min-width:326px; padding:0; width:99.375%; width:-webkit-calc(100% - 2px); width:calc(100% - 2px);"><div style="padding:16px;"> <a href="https://www.instagram.com/reel/C6vRdVJhtcn/?utm_source=ig_embed&amp;utm_campaign=loading" style=" background:#FFFFFF; line-height:0; padding:0 0; text-align:center; text-decoration:none; width:100%;" target="_blank" rel="noopener"> <div style=" display: flex; flex-direction: row; align-items: center;"> <div style="background-color: #F4F4F4; border-radius: 50%; flex-grow: 0; height: 40px; margin-right: 14px; width: 40px;"></div> <div style="display: flex; flex-direction: column; flex-grow: 1; justify-content: center;"> <div style=" background-color: #F4F4F4; 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overflow:hidden; padding:8px 0 7px; text-align:center; text-overflow:ellipsis; white-space:nowrap;"><a href="https://www.instagram.com/reel/C6vRdVJhtcn/?utm_source=ig_embed&amp;utm_campaign=loading" style=" color:#c9c8cd; font-family:Arial,sans-serif; font-size:14px; font-style:normal; font-weight:normal; line-height:17px; text-decoration:none;" target="_blank" rel="noopener">A post shared by Bajaj Electricals Ltd (@bajajelectricals_ltd)</a></p></div></blockquote> <script async src="//www.instagram.com/embed.js"></script>


Devika Sachdev, head of advertising and brand management at Bajaj Electricals Limited says, "At BAJAJ, we are constantly striving to innovate and provide durable products that enhance the lives of our customers. But innovation doesn’t stop just at our products. Our first CGI video was crafted to captivate our online audience and resonate with today's generation in an engaging manner. Furthermore, we are actively involving our online community through a User-Generated Content (UGC) contest. We eagerly anticipate introducing more innovative and modern content strategies to further captivate and connect with our audience.”


<strong>Read More:</strong> <a href="https://www.storyboard18.com/quantum-brief/is-cgi-in-advertising-becoming-an-overkill-17098.htm">Is CGI in advertising becoming an overkill?</a> 

Bajaj rolls out a CGI video for its air coolers range

If capitalism had its version of Agitprop, its two main heroes would be PowerPoint and Excel.


They would be celebrated as tools that revolutionised and transformed business management. Without a doubt, they have had a massive impact. Whether as carriers of prior information, facilitators of analysis or creators of meta thinking, they established themselves as the ‘always on’ tools especially for those who were set to climb the ladder fast. 


This impact helped create, sustain and grow the mystique of the business mandarin. In myriad ways, they were invaluable to the ‘behind-the-curtain’ players who formed the establishment glue, the grout in the interdepartmental tiles as also to those who did customer facing razzle dazzle. In terms of packaging and distribution - PowerPoint and Excel came to hold sway.


But, are they fit for purpose and has this impact only been positive?


PowerPoint is more fundamentally flawed. It is a poor tool and has made both medium and message shrink. Intrinsically, it isn’t suited for what it is meant to accomplish in terms of clear, engaging, sharp communication. Sharp imagery, a few bullet points and a narrative often trumps thorough analysis and case supporting documentation. It is used indiscriminately for big bold ideas as well as the minutiae. It only follows a sequential, linear narrative. 


Could a general plan battle with PowerPoint inputs? Could an advocate convincingly argue with it in a court of law? Is it telescopic or microscopic in its net effect?


When done differently, it often gives rise to another issue, namely over stuffed presentations. But saying “apologies for a busy slide” is all it takes to brush away the illegible density. 


I have seen multiple slides in one or beastly innovations such as one slide with multiple links that go to other slides only to return to the nominal single slide.


The very ephemeral nature of such an arrayed display - boring or bedazzling - as it may be means that each slide appears for a few seconds before a puzzled, distracted or engaged audience. The etiquette of posing questions together at the end means the ‘peak end effect’ inevitably takes hold. Often, all you remember is the high point and the conclusion.


The celebration of PowerPoint is however a symptom and not the cause. 


Reductive, shorthand summarisation has become the preferred mode for collective discussions. There is not much bandwidth for detailing. An impactful image becomes a substitute for a cogent argument rather than a support for it. I am all for visually attractive, clutter breaking and compelling imagery but must the horse ride the man? Truly, does a picture say more than a thousand words? When the need for quantitative substantiation is felt, numbers march into the cramped space and infographics take pride of place. But it’s self-selection of data that happens most of all. People choose to see what they want to see.  


PowerPoint is a great tool for advocacy but not critical analysis. 

The recipe has become more important than the dish.


There is also the futility of the pre read. PowerPoints are often circulated prior to meetings and distributed far and wide. Hence there is an urge to be armed with additional content to drive specific agendas during meetings. 


A simple litmus test is whether a presentation is self-explanatory without the presenter. I am not disputing the critical role of the narrative, but every presenter wants attention and that leads to message mutation.


The detailing must be to a level of sufficiency. Brevity is the soul of the nitwit.


If you make PowerPoint presentation an end rather than the means, you will end up making a puréed mess of your ideas, and you have no choice in the matter.


Let me now deal with Excel. I believe Excel is the single most transforming element of what has made modern business what it is. It was like a cannon to the ramparts of feudal management. It blew old style marketing and creative industries to bits. 


It all started with the advent of the spreadsheet. This came in the early 1980s shortly after the introduction and widespread adoption of the IBM PC: VisiCalc, followed by Lotus 1-2-3, and then, of course, Microsoft Excel as a part of MS Office. 


<strong>Working a spreadsheet made business a malleable reality. It visually gave birth to the bottom line.</strong> Change the numbers up and the bottom line changed from red to green. <strong>Whereas real business was dealing with frictional ground realities, excel made every scenario a gamed outcome. If it could be on excel, what prevented it from being real on ground?</strong> 


‘Go to market’ strategy became subservient to excel. 


<strong>Old style business began to look sloppy, wasteful and plain.</strong> 


<strong>‘Excel men’ derived power from mathematical certainty whereas creative business was messy, loud and chaotic in comparison.</strong>


<strong>Power shifted towards formality and reserve. Men became cooler than the air conditioning. You counted only if you could be counted to deliver the numbers in the cells.</strong>


<strong>Financial engineering became the domain of the high-flying manager. Convening rights and allocation of resources got determined via outcomes from the spreadsheet. Excel made effects and countereffects easy to visualise and all fantasies seemed within grasp.</strong>


A patina of seriousness was acquired by the excel man. He was seen as wise and careful -someone sober, clinical, precise, and forever ready. He held the cards and didn’t need to show his hand. 


This ex parte advisory had a lugubrious air, implied authority and was blessed with Delphic certainty. It was inherently at conflict with the hopeful, familial charters of old business. 


<strong>Excel created a vehicle for defining value. It made the old corps tetchy. But they had no option but to lump it. Any large corporation is a confederacy of noncooperative parts. The excel yoke put everyone in one line. </strong>


<strong>For all its intentionality, the ‘excel projection’ gave its controllers a certain degree of ritual deniability.</strong> After all they just ran the numbers. If the targets were not achieved, the line managers and operators were to be held accountable. 


<strong>With excel power, even the sub-rosa parts of business became a sound and light show - dynamic, dramatic and dangerous. The consumer reality became subservient to higher order lines like technology, supply and cost.</strong>
 

<strong>Marketing and management now suddenly demanded a different type of  temperament. Without the excel seal of approval you were only a poet.</strong> 


By the 90s, the old order was being swept away as the millennium melted away into a sunset. Absolute novices, powered with the right to analyse and manipulate numbers—took over unassailable, solid, and essential brands. 


It was a revolution: new against old, analytical stars against storytellers, financial visionaries against business as usual. True or not, that’s how it was framed. Brand building, which used to be an institutionalised, specialized, creative, viscous activity—became everyone’s playing field. 


He who had the excel sheet controlled the dream. Financing something, anything, became the central economic activity.


Whilst the marketing culture at large was being dumbed down, the excel culture was getting smarter, more competitive, oppressive and, adamant in its pursuit of the ‘excel outcomes’.


From being the core of a business, the brand became a great abstraction. Businesses could be broken up, sold in parts, merged and dissolved.


A page of PowerPoint and a sheet of excel was all that mattered. 


<em><strong>Shubhranshu Singh is VP and CMO, Tata Motors CVBU. He writes Simply Speaking, a special column on Storyboard18. Views expressed are personal.</strong></em>


<strong>Read More:</strong> <a href="https://www.storyboard18.com/brand-makers/i-am-more-hungry-for-artificial-imagination-than-for-artificial-intelligence-shubhranshu-singh-21029.htm">I am more hungry for artificial imagination, than for artificial intelligence: Shubhranshu Singh</a> 

Excel - That is the powerpoint of it: Read Shubhranshu Singh's take on how Excel forever changed business and marketing

Farmley, has announced its transition to becoming completely palm oil free. Backed by extensive research and development, Farmley, with a year long mission of phasing out palm oil with healthier alternatives like olive oil, ghee or zero-oil across its entire range of products, has further solidified its commitment to redefining healthy snacking for its consumers. Palm oil, a commonly used vegetable oil, has raised environmental and health concerns due to its high saturated fat content. In an industry where the development and sale of blended palm oil is the norm — which includes 80-90% of palm oil and only 10-20% olive oil — Farmley is one of the first brands that is 100% Palm Oil-Free.

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While creating a completely palm oil-free product range, Farmley has launched  the "Palms Off Palm Oil" campaign, to raise awareness among consumers about the harmful effects of palm oil on health. It also aims to educate consumers about the negative impacts of palm oil production on the ecology, as it contributes to deforestation, destruction of wildlife habitats and climate change.

Expressing his delight in steering the transition to 100% Palm Oil-Free products, Akash Sharma, Co-Founder of Farmley, said, "At Farmley, prioritising the well-being and satisfaction of our consumers stands at the forefront of our mission. We began our journey 6 months ago to go completely palm oil free when a few of our  customers expressed resentment towards our products being made in palm oil during our regular customer feedback surveys. Customer feedback is not just a suggestion box for us; it's a guiding light that impacts our business decisions. We are happy to be among the first to transition our entire range of products to being completely palm oil free by replacing it with zero-oil, olive oil, or ghee. While this move will cater to the health of the nation, from a business perspective, it will provide us a first-mover advantage into an emerging F&B segment, which focuses on food quality and health. As we continue to innovate and improve, we remain committed to providing snacks that are not only delicious but also mindful of our planet and its inhabitants."

A study published in the National Library of Medicine reveals that palm oil is used in almost half of the most commonly consumed food and consumer items, including popular snacks. Composed of 50% saturated fatty acid, it increases LDL or ‘bad’ cholesterol levels in the bloodstream, increasing the unhealthy fat content in the human body while elevating the risk of cardiovascular diseases in people.

Farmley goes 100 percent palm oil free across its product range

Over-the-top (OTT) communication apps such as WhatsApp, X, Facebook, Instagram and Signal may come under a regulatory regime as the Telecom Regulatory Authority of India (TRAI) mulls recommendations on whether they need to be regulated or not. In a recently passed telecom act, the government had kept these services out of the regulatory regime. 

In July 2023, TRAI released a consultation paper on the regulatory mechanism for OTT communication services and selective banning after the Department of Telecommunications (DoT) asked the agency to reconsider its 2020 recommendations. Back then, the telecom regulator had proposed that OTT services need not be regulated. But it had said it would relook at the issue later.

Newly appointed Chairman, Anil Kumar Lahoti was speaking at a symposium on 'Strengthening Atmanirbhar: Securing domestic industry and technology', this week. He was quoted as saying the regulator will proceed with the process of holding open house discussions in around three months or so, according to a Times Of India report. "I know, we have an ongoing consultation on OTT communication. It is just that in last few months we are burning the midnight oil, clearing the number of references pending with us, and OTT communication is also in the line," he said. 

The report added that Lahoti dismissed the suggestion on whether the telecom act has rendered OTT communication consultation paper infructuous. Lahoti said, "No, it is not like that."

As per the TOI report, Lahoti said, “The OTT consultation was initiated after the recommendation of a parliamentary committee so this consultation will be completed, and we will give our recommendations… which act it becomes a part of and which ministry or which regulator deals with it, is a separate matter.”

<a href="https://www.storyboard18.com/ott-news/trai-to-conduct-open-house-on-recommendations-on-regulatory-mechanism-for-ott-apps-31923.htm">Read more: TRAI to conduct open house on recommendations on regulatory mechanism for OTT apps</a>


On May 17, Zee Entertainment Enterprises Limited (ZEEL) reported a net profit of Rs. 13.35 crore of the quarter that ended March 2024. During the same quarter last year, ZEEL reported a loss of Rs. 196 crore. The company reported a profit of Rs. 58.5 crore in the third quarter of FY24.

The company disclosed a total income of Rs 2185.29 crore. This is an increase from Rs. 2126.35 crore that the company reported a year ago during the same period. In FY24, Zee's ad revenue was marginally down to Rs 4057.7 crore from Rs 4057.9 crore.

ZEEL’s advertising revenue was disclosed to be Rs. 1110.2 crore compared to Rs. 1005.8 crore in the fourth quarter of FY23.

“Domestic advertising revenue for the quarter grew by 10.6 percent YoY driven by the continued recovery in macro advertising environment and spending pickup by FMCG clients,” the company said in its statement.

In an earnings call, CEO and MD Punit Goenka emphasized "frugality" again after initiating a rationalization strategy in the aftermath of the Zee-Sony merger collapse. Goenka said that the need of the hour is to pivot to business to achieve balanced cost structure in order to achieve sustained long term growth: "With that backdrop we are looking at every element of the business with the lens of improving the overall performance. As a result we expect some short term aberration in digital business financial performance." 

Zee's content inventory, advances and deposits declined by Rs 540 crore in FY24 driven by optimised acquisition and movie releases. 

Goenka said that the company has been aggressive in buying movies and originals but "there are times in situation like today when we have to be frugal and make sure of buying right content at the right price. So, we are being very cautious in what we buy and at what price. We may slowdown buying a bit but eventually when profitably improves we will deploy capital back in ZEE5 content." 

The past few month have seen ZEE cutting down the total workforce with the aim of a 15 percent reduction. Goenka has been laser-focused on cutting down cost across verticals.

During the Q4 FY24 earnings call, Goenka said, "We believe that our (OTT) platform is built to compete in the market with the best form. There can be improvements but we didn't need this level of people. We are confident that the team that remains is capable of taking the growth plans forward." 

Goenka added that the last few months have been intense as they took several tough decisions "in the interest of the company": "We have streamlined a strong team across the business. In line with the lateral structure implemented by the company we have entrusted several of our talented team members with higher levels of responsibilities to encourage more cross functional collaboration, quick decision making and ideation." 

ZEE saw improving advertising environment in Q4 2024, it said, as domestic advertising revenue for the quarter grew by 10.6 percent YoY driven by the continued recovery in macro advertising environment and spending pickup by FMCG clients. 

<a href="https://www.storyboard18.com/quantum-brief/zeel-reports-profit-of-rs-13-35-crore-in-q4fy24-31910.htm">Read more: ZEEL reports profit of Rs.13.35 crore in Q4FY24</a>


Ministry of Information and Broadcasting has introduced Film Facilitation Office (FFO), an online portal facilitating effortless transactions for filmmakers. Offering a comprehensive 360-degree solution, FFO extends a seamless experience, from securing permits to accessing stunning locales, informed Secretary of Ministry of I&B, Shri Sanjay Jaju, at the Cannes Film Festival.


He further shared that under FFO’s incentive scheme, up to 4 million USD will be offered to foreign film producers. The scheme ensures a streamlined process and guarantees funding, providing a comprehensive package of incentives.


India hosted the first ever Bharat Parva, an evening to celebrate the rich culture, cuisine, and handicrafts of India along with Indian cinema at the French Riviera at the ongoing Cannes Film Festival. Organised by NFDC in association with FICCI under the aegis of the Ministry of Information and Broadcasting, Government of India, the event was said to be filled with the celebration of film, culture, and artistic collaboration with India's soft power at display on the global stage.


<strong>Read More:</strong> <a href="https://www.storyboard18.com/how-it-works/industry-leaders-meet-trai-chairman-to-address-concerns-on-broadcasting-and-cable-services-regulatory-framework-29706.htm">Industry leaders meet TRAI chairman to address concerns on broadcasting and cable services’ regulatory framework</a> 

The Telecom Regulatory Authority of India (TRAI) is working on recommendations on regulatory mechanisms of OTT apps, said its newly appointed Chairman, Anil Kumar Lahoti. The regulator is soon to conduct an open house to share its recommendations, highlighted CNBC Awaaz report.

The regulator last year had commenced the process to chalk out a regulatory mechanism for over-the-top (OTT) apps such as WhatsApp, Telegram, Signal, etc. It was also deliberating on the selective banning of OTT services— after the Department of Telecommunications (DoT) asked the regulator to reconsider its 2020 recommendations, wherein it was proposed that OTT services need not be regulated.

PD Vaghela, the outgoing Chairman of the regulatory body, last year shared that “In 2018, TRAI had recommended that there should be no regulation of OTT players. However, the last five years have seen several changes in the digital landscape.” He also then pointed out that telcos, not just in India, but across the globe, have been pushing for a mechanism under which OTT players compensate them.

Acknowledging the telcos’ argument that the increase in OTT traffic is causing network congestion, he mentioned that the increasing clamour from the telecom sector for compensation from OTT (over-the-top) content players needs to be balanced with providing room for growth for OTT providers.

It is to be noted that telecom service providers have been raising the issue of OTT compensation in public forums. They argue that they have to undertake vast expenses to develop massive telecom infrastructure networks. The pitch from telcos is that since OTT apps like Netflix, Amazon Prime Video, etc, are operating on telecom networks, they should pay for the use of said networks.

In July last year, TRAI issued a consultation paper on the regulation of OTT players. Telcos — Jio, Bharti Airtel, Vodafone Idea — have made submissions seeking a common regulatory framework for both OTTs and telcos.

 
<strong>Read More:</strong> <a href="https://www.storyboard18.com/how-it-works/industry-leaders-meet-trai-chairman-to-address-concerns-on-broadcasting-and-cable-services-regulatory-framework-29706.htm">Industry leaders meet TRAI chairman to address concerns on broadcasting and cable services’ regulatory framework</a> 

TRAI to conduct open house on recommendations on regulatory mechanism for OTT apps

The 77th Cannes Film Festival, the grandest celebration of cinema, kicked off two days ago with a ten-day extravaganza where content and glamour converge.

Secretary, Ministry of Information and Broadcasting Sanjay Jaju hosted the first-ever Bharat Parv, an evening to celebrate the culture, cuisine and handicrafts of India along with Indian cinema at the French Riviera at the ongoing Cannes Film Festival.

The event organised by NFDC in association with FICCI under the aegis of the Ministry of Information and Broadcasting, Government of India, saw Cannes delegates fully immersed in the evening’s performances and array of fusion cuisine.

Posters for the 55th edition of IFFI and the save the date poster of the inaugural edition of World Audio Visual Entertainment Summit (WAVES) the Global Entertainment and Media Summit, planned on the sidelines of the 55th IFFI at Goa, were unveiled by Jaju at the event along with filmmakers Ashok Amritraj, Richie Mehta, singer Shaan, actor Rajpal Yadav, film veteran Bobby Bedi, among others.

Chef Varun Totlani was flown in especially to curate the menu for Bharat Parv. The night saw singer Sunanda Sharma performing Punjabi numbers along with budding singers Pragati, Arjun and Shaan’s son Maahi. The act culminated with the singers singing Maa Tujhe Salaam. Actresses Shobhita Dhulipala and Amie Barauah, film critic Anupama Chopra, were among the guests who were present.

<a href="https://www.storyboard18.com/special-coverage/mibs-sanjay-jaju-at-bharat-pavilion-in-cannes-using-the-power-of-cinema-to-enhance-the-countrys-soft-touch-31642.htm">Read more: MIB's Sanjay Jaju at Bharat Pavilion in Cannes: "Using the power of Cinema to enhance the country's soft touch"</a>


MIB's Sanjay Jaju hosts the first-ever Bharat Parv at Cannes Film Festival

On May 17, Zee Entertainment Enterprises Limited (ZEEL) reported a net profit of Rs. 13.35 crore of the quarter that ended March 2024. During the same quarter last year, ZEEL reported a loss of Rs. 196 crore. 

The company reported a profit of Rs. 58.5 crore in the third quarter of FY24. 

The company disclosed a total income of Rs 2185.29 crore. This is an increase from Rs. 2126.35 crore that the company reported a year ago during the same period. 

In FY24, Zee's ad revenue was marginally down to Rs 4057.7 crore from Rs 4057.9 crore.

ZEEL’s advertising revenue was disclosed to be Rs. 1110.2 crore compared to Rs. 1005.8 crore in the fourth quarter of FY23.

“Domestic advertising revenue for the quarter grew by 10.6 percent YoY driven by the continued recovery in macro advertising environment and spending pickup by FMCG clients,” the company said in its statement. 


In the advertising environment, EBITDA for the quarter came at Rs. 2103 Mn, with Q4 FY24 margin at 9.7 percent. Furthermore, other sales and services revenue YoY was down 57 percent due to fewer movie releases and syndication during the quarter.


Internationally, Q4 FY24 advertising revenue stood at Rs. 442 Mn, subscription revenue stood at Rs. 1020 Mn, and other sales and services stood at Rs. 264 Mn, the company reported. 

For the full year of FY24, the broadcaster's profit stood at Rs 141.43 crore crore versus Rs 47.79 crore in FY23.

Revenue from its streaming platform Zee5 improved marginally in Q4 FY24 to Rs. 237.2 crore from Rs. 220 crore during the same period a year ago. In FY24, the OTT platform's revenue increased to Rs. 919.5 crore from Rs. 741.1 crore in FY23.


The EBITDA margin reduced from 13.6 percent in FY23 to 10.5 percent in FY24. The company stated that the drop is impacted by investments in content and technology. 

The company’s subscription revenue growth was driven by the increase of linear subscription revenue post NTO 3.0 and ZEE5.

ZEEL also reported that its total TV viewership improved by 5 percent YoY. 

The company's total EBITDA margin for FY24 stood at 10.5 percent. 


ZEEL reports profit of Rs.13.35 crore in Q4FY24

In a move aimed at democratizing access to digital commerce and fostering transparent and fair market access, WinZO is collaborating with the Open Network for Digital Commerce (ONDC). 

This collaboration will leverage WinZO's extensive user base of over 175 million users, primarily accessing the internet in vernacular languages. WinZO is India's first skill gaming company to collaborate with ONDC.

WinZO is the largest interactive entertainment platform in India. The company partners with third-party developers to host games on their app, providing users with personalized multiplayer gameplay experiences in 12 languages. The WinZO platform facilitates over 4 billion micro-transactions per month across a portfolio of 100+ games and accounts for at least one out of every 300 UPI transactions in India, representing one of the highest volumes of UPI transactions driven by digital content players in India. WinZO is renowned for its unique user demographic, primarily hailing from Tier II-V cities of Bharat, characterized by high-frequency, low-value transactions or microtransactions. This makes it an organic partner for ONDC to reach the deepest corners of the country. Remarkably, over 20% of players on WinZO make their first-ever digital payment on the platform, thus connecting to the digital grid. 

As a business model, WinZO connects game developers with paying users, generating revenue higher than alternative sources such as advertisements and in-app purchases prevalent on Play Stores and App Stores.

WinZO Store, India's alternative to monopolistic multinational app stores, offers ONDC an opportunity to help digital businesses enhance revenue generation and reach a broader market. 

ONDC, which encompasses a network for grocery and food delivery, mobility, fashion, agri-products, and health and wellness, will list its services on the WinZO store, providing access to WinZO’s growing 175 million users. 

WinZO Store charges a single-digit commission compared to the 30% of other leading distribution platforms. By significantly reducing commission rates compared to conventional app stores, WinZO Store empowers digital businesses to enjoy improved profit margins, creates value for end-users, and provides businesses access to expanded distribution channels. Already, over 300 digital companies have experienced unprecedented revenue growth through this revolutionary platform.

WinZO has also emerged as a more trustworthy and transparent alternative for multinational gaming studios to list and distribute in-app gaming assets through its WinZO Store, thereby facilitating value creation for developers and users. Integrating with WinZO Store aligns perfectly with ONDC's mission to empower businesses and foster innovation within India's digital landscape while eradicating power concentration in the hands of a few monopolistic influential players.

"We’re super excited and delighted in welcoming WinZO to the ONDC network to advance our mission of empowering local homegrown start-ups," said T Koshy, CEO of ONDC. "Together, we aim to revolutionize the digital commerce industry, fostering a vibrant ecosystem where Indian talent and innovation takes center stage. Our collaboration will help the growth of local commerce and showcase the immense potential of India's digital landscape.”

“Our aim is to onboard diverse businesses and establish a public digital infrastructure akin to UPI, uniquely crafted for India. We're thrilled to see WinZO seamlessly integrated into this network, opening new avenues for engagement and innovation. Partnering with WinZO will enable ONDC to reach a wider user base, even in the remotest parts of the country, and create awareness about its importance in the rapidly growing tech-enabled commerce in Bharat. This will prove to be a massive push for adopting ONDC,” said Sanjeev Singh, Joint Secretary of DPIIT.

"In the digital age, democratizing innovation is key to unlocking the potential of tomorrow's entrepreneurs. Just as UPI revolutionized payments in 2018 and gave birth to companies like ours to emerge and scale across 175 million gamers. With the integration of WinZO and ONDC, we envision a future where many more WinZOs will emerge and innovate on top of this fertile layer of digital commerce that’s being built today through this partnership," said Paavan Nanda, Co-founder of WinZO.



ONDC and WinZO collaborate to boost digital commerce in India

The Scotland cricket team recently announced Karnataka-based Nandini dairy brand as their official sponsor in the upcoming T20 World Cup in USA. Karnataka’s Chief Minister Siddaramaiah on May 16 said that his government is determined to introduce the best quality milk products of the state to the rest of the world. 

On X, Siddaramaiah said that it's a “significant step” in making Nandini a global brand. “Karnataka’s proud Nandini company, known in countries like Malaysia, Vietnam, Singapore, USA, Dubai, UAE, is now sponsoring Scotland and Ireland in the T20 World Cup,” he shared. 

“We are determined to introduce to the world both the best quality milk products of the state and the hard work of the state’s farmers. This will be a significant step in making Nandini a global brand,” the CM said.

He also shared a picture of Scotland men’s team captain Richie Berrington wearing the jersey with Nandini’s brand logo on the sleeve.

“This time, Nandini will be the star in the World Cup, Kannada will be the star,” said Siddaramaiah. 


"Nandini will be the star in the World Cup": Karnataka CM Siddaramaiah on WC team sponsorship

Keeping the internet open is crucial, and part of being open means Reddit content needs to be accessible to those fostering human learning and researching ways to build community, belonging, and empowerment online. Reddit is a large community that has long been an important space for conversation on the internet. Additionally, using LLMs, ML, and AI allow Reddit to improve the user experience for everyone. 

In line with this, Reddit and OpenAI today announced a partnership to benefit both the Reddit and OpenAI user communities in a number of ways:

OpenAI will bring enhanced Reddit content to ChatGPT and new products, helping users discover and engage with Reddit communities. To do so, OpenAI will access Reddit’s Data API, which provides real-time, structured, and unique content from Reddit. This will enable OpenAI’s AI tools to better understand and showcase Reddit content, especially on recent topics.

This partnership will also enable Reddit to bring new AI-powered features to redditors and mods. Reddit will be building on OpenAI’s platform of AI models to bring its powerful vision to life. 

Lastly, OpenAI will become a Reddit advertising partner.

"We are thrilled to partner with Reddit to enhance ChatGPT with uniquely timely and relevant information, and to explore the possibilities to enrich the Reddit experience with AI-powered features,” Brad Lightcap, OpenAI COO. 

“Reddit has become one of the internet’s largest open archives of authentic, relevant, and always up to date human conversations about anything and everything. Including it in ChatGPT upholds our belief in a connected internet, helps people find more or what they’re looking for, and helps new audiences find community on Reddit,” Steve Huffman, Reddit Co-Founder and CEO. 


ChatGPT gets access to Reddit content; OpenAI and Reddit announce partnership

The merger scheme between Reliance Industries Limited’s (RIL) Viacom18, its wholly owned subsidiary Digital18 and The Walt Disney Company’s Star India has been admitted by the Mumbai bench of the National Company Law Tribunal (NCLT).  In an order passed on May 7, Viacom18, as part of internal restructuring, has proposed to transfer the various businesses conducted by it into its wholly-owned subsidiary, namely Digital18. Viacom18 proposed to be the holding company for the various businesses. 



“This restructuring is with a view to bring operational efficiencies and facilitate future growth and diversification of respective businesses including facilitation of business segment specific strategic partnerships or investments for businesses like sports, general entertainment, digital content streaming, etc,” the order stated. 



It added, “The Scheme is being proposed for (i) Viacom18 to remain the holding company of the media operations of RIL group by transferring the Media Operations Undertaking and JioCinema Undertaking to Digital18; and (ii) combining V18 Undertaking with the business of Star India.” 



The combination will result in cost reduction due to synergies, thus creating value for shareholders of Viacom18, RIL group and Disney group, said the order. 



The merger of Star India with Reliance Industries is expected to be closed by the first half of 2025, The Walt Disney Company said in a regulatory filing on May 9.



The company said, “The Star India transaction is expected to close in the first half of calendar year 2025, subject to customary closing traditions, including regulatory approvals and government consents. If closing has not occurred by February 28, 2026, Star India or RIL may terminate the transaction.” 



The joint venture, which will see the businesses of Viacom18 and Star India being combined, will have a license to more than 30,000 Disney content assets, and will be granted the exclusive right to distribute Disney films and production in India.



The JV will be one of the leading TV and digital streaming platforms for entertainment and sports content in India, bringing together iconic media assets across entertainment (e.g. Colors, StarPlus, StarGOLD) and sports (e.g. Star Sports and Sports18) including access to highly anticipated events across television and digital platforms through JioCinema and Hotstar. The JV will have over 750 million viewers across India and will also cater to the Indian diaspora across the world.



The JV will seek to lead the digital transformation of the media and entertainment industry in India and offer consumers high-quality and comprehensive content offerings anytime and anywhere. The combination of the media expertise, cutting-edge technology and diverse content libraries of Viacom18 and Star India will allow the JV to offer more appealing domestic and global entertainment content and sports live streaming services, while delivering an innovative and convenient digital entertainment experience at affordable prices. With the addition of Disney’s acclaimed films and shows to Viacom18’s renowned productions and sports offerings, the JV will offer a compelling, accessible and novel digital-focused entertainment experience to people in India and the Indian diaspora globally.

Hindustan Media reports 11 per cent decline in consolidated profit after tax at Rs 10.74 crore

Printing and publishing of newspapers and periodicals segment clocked a revenue of Rs 181.47 crore in Q4 as against Rs 186.63 crore in the corresponding period a year ago, as per the report.

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