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Eminem’s music publishing company, Eight Mile Style, has filed a $109 million lawsuit against Meta Platforms Inc., the parent company of Facebook, Instagram, and WhatsApp, alleging widespread copyright infringement. 

The lawsuit, filed on May 30 in Michigan, claims that Meta unlawfully stored, reproduced, and exploited 243 of Eminem’s songs without authorization, primarily through Instagram Reels and other in-app features like “Original Audio” and “Reels Remix.” 

Eight Mile Style reportedly is seeking $150,000 in statutory damages per song, totaling over $109 million, and has requested a jury trial. 

According to the complaint, Eminem alleged that Meta unlawfully used 243 songs from his catalogue. The claim centres on the alleged “unauthorized storage, reproduction and exploitation” of these tracks across its various platforms. The lawsuit particularly targets features such as Original Audio and Reels, which allegedly “allow and encourage its users to steal” his music by incorporating it into video content “without proper attribution or license.”

The lawsuit also highlights that Meta attempted to obtain proper licenses via Audiam, Inc., but Eight Mile Style did not authorize access, exacerbating the infringement claims. Although some content was removed following prior complaints, the lawsuit claims Meta continued to store and reproduce unauthorized copies. 

This legal action underscores growing tensions between content creators and digital platforms over proper compensation and licensing rights, especially in the era of user-generated content. It also adds to the scrutiny faced by major social media companies over content management and rights compliance. As of now, Meta has not released a formal response to the lawsuit.

Eminem's Eight Mile Style sues Meta for $109 mn over alleged copyright infringement

In a move aimed at streamlining dispute resolution and easing friction in India’s telecom ecosystem, the Ministry of Communications has constituted an Additional High-Level Committee (HLC) under the Department of Telecommunications (DoT) to mediate commercial (non-licensing) disputes involving its offices and public sector undertakings.


The committee comprises three eminent members including Dr. Justice (Retd.) Sudhir Kumar Jain, former judge of the Delhi High Court, Mr. Thiru M. Madhavan Nambiar, retired IAS officer and former Secretary to the Government of India, and Mr. Ajay Kumar Sahu, retired Director General (Telecom), DoT.

According to the official memorandum dated June 4, 2024, the committee will serve two main functions. Authenticate negotiated settlements: The HLC may vet solutions proposed by government departments or agencies after direct negotiations with the opposite party. Act as a mediator: Upon mutual consent of disputing parties, the committee can mediate and help arrive at voluntary settlements.

The HLC’s formation is significant for India’s telecom industry, which is frequently embroiled in contractual and financial disputes involving vendors, consultants, and infrastructure partners.

Each mediation will be completed within five sittings over a maximum span of six months. The sittings will be held in New Delhi, either at Sanchar Bhawan or Mahanagar Doorsanchar Bhawan. The DoT will bear the expenses related to these proceedings (excluding the second party's mediation fee). Each committee member will receive Rs 10,000 per sitting from both parties, along with travel and logistical reimbursements, as specified in the office memorandum.

The committee’s constitution follows the DoT’s earlier scheme of mediation announced in November 2024, reinforcing the ministry's shift toward quicker and less adversarial dispute resolution frameworks.

Centre sets up additional High-Level Committee to mediate commercial disputes in telecom sector

In a move to safeguard the credibility of its monetization programs, X (formerly Twitter) has filed a lawsuit in U.S. federal court against eight individuals for allegedly abusing its Creator Revenue Sharing Program. 

The platform’s Global Government Affairs account announced the legal action in a post, stating that the individuals used deceptive tactics such as posting inauthentic content, faking engagement metrics, and selling automation tools to fraudulently increase earnings on X and other major social media platforms.

“These individuals also sold and used automation tools to manipulate engagement metrics,” the company noted, emphasizing that such fraudulent behavior undermines the trust and fairness of its monetization ecosystem. “We’ll act forcefully to protect the integrity of our platform, no matter where bad actors are located,” it said.

X’s Creator Revenue Sharing Program was launched to incentivize original, high-quality content by sharing ad revenue with creators whose posts generate substantial engagement. They share in the revenue generated from X Premium subscriptions, specifically from engagement with their content by Premium users. Payouts are based on the quality of engagement, not ad impressions, and increase as X Premium subscriptions grow. 

The platform has positioned it as a core part of its efforts to support independent creators and rebuild trust under Elon Musk’s ownership. X's program was launched in 2022, shortly after Musk bought the platform for $44 billion.

The misuse of this system not only distorts genuine engagement but also impacts how content is prioritized and rewarded across the platform. By targeting individuals who attempt to game the system, X is signaling its commitment to maintaining fairness and integrity in how creators are compensated.

The company further noted that protecting the program from abuse is essential to ensuring that only “deserving creators” benefit from it. While details of the individuals or specific methods used were not disclosed in the public statement, the lawsuit is expected to set a precedent for how X handles monetization-related fraud going forward.

X sues eight individuals in U.S. court over alleged abuse of creator revenue sharing program

A recent Supreme Court ruling on May 22 has triggered concerns of a looming taxation storm over India’s booming digital entertainment economy. By affirming the validity of dual taxation—allowing both the Centre and State governments to levy service tax and entertainment tax on television broadcasting—the apex court has opened the floodgates for a fragmented and possibly burdensome fiscal regime that may soon envelop OTT platforms and online gaming services.

In its decision in State of Kerala & Anr. vs Asianet Satellite Communications Ltd. & Anr., a bench comprising Justices BV Nagarathna and NK Singh invoked the “aspect theory,” enabling different levels of government to tax different dimensions of the same activity. While the ruling technically pertains to the pre-GST era, legal experts warn it sets a precedent that could dramatically alter the tax landscape for digital platforms.

“This judgment may embolden state governments to impose entertainment or luxury taxes on OTT and gaming platforms, despite the GST regime,” warned Ruby Singh Ahuja, Senior Partner at Karanjawala & Co. "OTT platforms have become the preferred mode of entertainment. Dual tax imposition could severely affect these sectors, especially as OTT has emerged as a vital substitute for the struggling film industry."

The Court’s interpretation of Entry 62 of the State List—as extending to digital entertainment—further broadens the scope for such state-level levies. Observers say this could undermine the uniformity that GST sought to bring through the promise of “One Nation, One Tax.”

Snigdhaneel Satpathy, Partner at Saraf and Partners, echoed similar concerns, noting that the court's endorsement of dual taxation could introduce a new era of regulatory and fiscal uncertainty.

"This decentralisation of tax authority, though legally sound, risks undermining the very spirit of GST—a reform built on the promise of ‘One Nation, One Tax,’" Satpathy said. "If each state begins to impose its own entertainment levies on digital services, we may find ourselves navigating a compliance maze that’s more binge-worthy than the content itself."

Satpathy warned that cash-strapped states might now be incentivised to introduce new forms of levies, such as entertainment taxes or welfare-oriented cesses on OTT subscriptions and gaming transactions.

The concern is not theoretical. Some states facing revenue pressures are already exploring alternate paths—such as regulatory cesses and welfare levies—that could skirt GST limitations and target digital entertainment.

“What began as a judgment about television may end up reshaping India’s digital economy,” Satpathy added. “In the long run, this could mean higher consumer prices, compliance nightmares, and increased legal uncertainty for investors.”

Even though the judgment is centered around a now-defunct tax regime, industry stakeholders fear it could pave the way for future interpretations that allow states greater leeway in taxing the digital economy.

Asish Philip, Partner at Lakshmikumaran & Sridharan, acknowledged that the direct impact may be confined to legacy cases, but the precedent set by reaffirming the “aspect theory” could be invoked in new tax regimes by both Centre and States.

While the GST regime was intended to harmonise India's indirect tax structure, this ruling reintroduces complexities from a federalist standpoint. "The GST framework was designed to simplify and harmonise taxation," said Philip. But this ruling revives the ghost of dual taxation, particularly for sectors like OTT and online gaming, which straddle both entertainment and service components."

Philip, however, emphasized that the ruling's direct applicability is largely confined to the pre-GST era. "The impact of this ruling should be limited to cases predating GST implementation, since the judgment hinges on the dual levies permissible under the older tax framework," he added.

Nonetheless, the broad legal reasoning adopted by the Court may be invoked in future disputes or legislative innovations, say observers. The concern now is less about retrospective taxes and more about the roadmap the ruling provides for future regulation and taxation.

One such example is the Karnataka Cine and Cultural Activists (Welfare) Act, 2024, which proposes a cess on various activities, including subscription fees for OTT platforms. Legal experts believe that such mechanisms, though not explicitly barred by GST provisions, could resurface through creative fiscal routes.

Shashi Mathews, Partner at IndusLaw, noted that the Supreme Court's interpretation of Entries 33 and 62 in the State List of the Constitution could embolden state governments.

"The Court observed that with advancements in technology, entertainment is no longer confined to physical venues. Telecasts on television, mobile, and digital platforms could now fall under the scope of entertainment, giving states an open hand to tax digital services as well," Mathews said.

India’s OTT market is projected to reach $7 billion by 2030, while its gaming industry is growing at a CAGR of over 20%. Both sectors are vulnerable to unpredictable taxation, especially if state-specific levies proliferate.

"The long-term impact on the entertainment industry will depend on how policymakers balance fiscal autonomy with regulatory harmony," said Satpathy. "For now, businesses must brace for complexity—and perhaps, a few plot twists."

Experts warn that if states move ahead with entertainment cesses, it could increase operational costs, push up consumer prices, and discourage new investments in digital entertainment.

One nation, one tax at risk: Experts warn as SC ruling creates chaos for OTT, Gaming industry

VerSe Innovation, the parent company of Dailyhunt and Josh, has come under scrutiny following allegations of revenue manipulation involving its dealings with Builder.ai, a UK-based AI startup. The two companies reportedly were engaged in "round-tripping"— a practice where companies inflate revenues by booking reciprocal transactions without actual services rendered. Builder.ai, which recently filed for bankruptcy, has been accused of using such tactics to overstate its revenues. 

VerSe Innovation has now firmly denied these allegations, stating that it conducted legitimate business transactions worth $80 million with Builder.ai over the past three years. The company emphasized that all transactions were for actual services rendered, including software development and other technological solutions.


Read more: <a href="https://www.storyboard18.com/digital/builder-ai-accused-of-faking-millions-in-sales-through-dailyhunt-owner-verse-dealings-68198.htm">Builder.ai accused of faking millions in sales through Dailyhunt-owner VerSe dealings</a>



VerSe co-founder Umang Bedi told Moneycontrol that the accusations are “factually incorrect and baseless,”. He added that all revenues and expenses recorded in connection with Builder.ai were for “legitimate services rendered and delivered,” and “duly received, delivered respectively and verified.”

He also has shown email exchanges between Builder.ai and VerSe establishing the fact that the two had a business relationship and there were services rendered for which VerSe was billed, too. Bedi also went back to 2021, when Builder.ai and VerSe began engaging, to show all the Jira tickets that had been raised between the two companies.

Builder.ai, a once high-flying artificial intelligence startup based in London, allegedly engaged in a years-long scheme to inflate its revenue by exchanging matching invoices with VerSe Innovation, according to a report by Bloomberg.

Documents suggest that between 2021 and 2024, the two firms routinely billed each other for similar amounts without providing actual services, a practice known as “round-tripping.” The transactions reportedly helped Builder.ai present an inflated financial picture to investors.

During the four-year period in question, Builder.ai reportedly recorded close to $60 million in revenue from VerSe for services such as application development. Simultaneously, the AI firm made payments to VerSe and its subsidiary, Quark Media Tech, ostensibly for marketing services. The timing and amounts of the invoices were varied, according to sources, but the net result was a nearly even financial exchange.


Read more<a href="https://www.storyboard18.com/digital/london-ai-startup-builder-ai-collapses-after-human-powered-tech-revelation-68299.htm">:London AI startup Builder.ai collapses after 'human-powered' tech revelation</a>


Bedi, who previously served as Facebook’s managing director for India and South Asia, confirmed that VerSe began working with Builder.ai around 2021. However, he rejected any implication of collusion or non-delivery of services. “There is no correlation in the timing of any payments,” he said.

Once valued at $1.5 billion, Builder.ai filed for bankruptcy earlier this month after a creditor seized most of its cash. U.S. prosecutors have subpoenaed the company for financial records amid ongoing scrutiny. The founder and former CEO of Builder.ai is Sachin Dev Duggal. He stepped down as CEO in February 2025 but retained his position as "Chief Wizard" and remained on the board.

Builder.ai raised over $450 million from investors including Microsoft, Insight Partners and the Qatar Investment Authority. Microsoft and QIA, which also backed VerSe, declined to comment to Bloomberg.

Auditor Deloitte, in VerSe’s most recent financial report, flagged weaknesses in the company’s internal controls, though it signed off on the accounts, as per the report. The company, which owns the popular apps Dailyhunt and Josh, is said to be exploring an IPO.

Earlier this week, Builder.ai officially entered insolvency in the UK.

VerSe Innovation denies revenue manipulation allegations amidst Builder.ai scandal

In a thrilling climax at the Narendra Modi Stadium in Ahmedabad on Tuesday, Royal Challengers Bengaluru (RCB) won their first-ever IPL championship, defeating Punjab Kings (PBKS) by six runs.

After being put in to bat first, RCB posted a competitive total of 190/9, spearheaded by a solid innings from Virat Kohli, who scored 43 runs off 35 balls. Punjab Kings fought hard in the chase but ultimately fell short, scoring 184/7 in their allotted 20 overs. 

Also Read: <a href="https://www.storyboard18.com/television/rcb-win-ipl-a-historic-victory-tears-of-joy-and-a-streaming-surge-68625.htm">RCB win IPL: A historic victory, tears of joy and a streaming surge</a>

RCB received Rs 20 crore as prize money, marking a substantial rise from the Rs 4.8 crore awarded to the champions in IPL's inaugural 2008 edition. 

Punjab Kings, the runners-up, earned Rs 12.5 crore, while Mumbai Indians and Gujarat Titans, finishing third and fourth respectively, took home Rs 7 crore and Rs 6.5 crore each.

Krunal Pandya was instrumental for RCB, both with bat and ball, earning the 'Player of the Match' honour.

IPL 2025 prize money breakdown:

Team Awards:

Winner (RCB): Rs 20 crore

Runners-up (PBKS): Rs 12.5 crore

Third Place (Mumbai Indians): Rs 7 crore

Fourth Place (Gujarat Titans): Rs 6.5 crore

Individual Awards:

Orange Cap (Sai Sudharsan): Rs 10 lakh

Purple Cap (Prasidh Krishna): Rs 10 lakh

Emerging Player (Sai Sudharsan): Rs 10 lakh

Most Valuable Player (Suryakumar Yadav): Rs 15 lakh

Super Striker (Vaibhav Suryavanshi): Rs 10 lakh + Tata Curvv

Fantasy King (Sai Sudharsan): Rs 10 lakh

Best Catch (Kamindu Mendis): Rs 10 lakh

Most Dot Balls (Mohammed Siraj): Rs 10 lakh

Super Sixes (Nicholas Pooran): Rs 10 lakh

Fours of the Season (Sai Sudharsan): Rs 10 lakh

Fairplay Award (Chennai Super Kings): Rs 10 lakh

Pitch and Ground (Delhi Capitals, New Delhi): Rs 50 lakh

Individual Awards in Final (RCB vs PBKS):

Player of the Match (Krunal Pandya): Rs 5 lakh

Super Striker (Jitesh Sharma): Rs 1 lakh

Most Dot Balls (Krunal Pandya): Rs 1 lakh

Most Fours (Priyansh Arya): Rs 1 lakh

Fantasy King (Shashank Singh): Rs 1 lakh

Most Sixes (Shashank Singh): Rs 1 lakh

Also Read: <a href="https://www.storyboard18.com/brand-makers/married-into-a-bangalore-family-rishi-sunak-shows-support-for-rcb-during-ipl-2025-final-68743.htm">'Married into a Bangalore family': Rishi Sunak shows support for RCB during IPL 2025 final</a>

IPL 2025 prize money: Detailed breakdown for winners, runners-up, 3rd-4th placed teams

Foreign Direct Investment (FDI) in India’s Information and Broadcasting (I&B) sector surged in the final quarter of FY25, nearly doubling compared to the same period last year. However, on a full-year basis, FDI inflows into the sector declined by 14%, according to the latest data from the Department for Promotion of Industry and Internal Trade (DPIIT).

The sector attracted ₹1,221 crore in FDI during the January-March quarter, up from ₹621 crore in Q4 of FY24. For the full financial year, FDI dropped to ₹6,007 crore from ₹7,012 crore in the previous year.

India’s Information & Broadcasting (I&B) and Print Media sector attracted ₹5,408 crore in Foreign Direct Investment (FDI) equity inflows in 2024, according to the Ministry of Information and Broadcasting Statistical Handbook on Media & Entertainment Sector 2024-25 data released by the Department for Promotion of Industry and Internal Trade (DPIIT).

This marks a decline from the ₹7,211 crore recorded in 2023 but remains significantly above the pandemic-era lows of 2020 and 2021, signalling renewed global interest in India’s media and entertainment landscape.

One of the most significant fund infusions during the quarter came from Inshorts India Advertising and Services, which received ₹920 crore from its parent company under the Reserve Bank of India’s automatic route. The company, known for its online news aggregation platform InShorts, reported a net loss of ₹228 crore on an operating income of ₹181 crore in FY24.

Television production major Balaji Telefilms also saw notable foreign investment. The company secured over ₹40 crore in FDI from investors such as Gothic Corporation, The Duke Endowment, Gothic HSP Corporation, and the Employees Retirement Plan of Duke University. The funds were routed through the automatic approval mechanism.

Earlier, in December 2024, Balaji Telefilms had raised ₹131 crore via a preferential share issue. The round included investments from its promoter Ekta Kapoor and the aforementioned institutional investors.

Regional OTT player STAGE Technologies, which runs the STAGE platform, raised ₹5.5 crore in FDI from NB Ventures and Manoj Sadhuram Shivnani. The investment came ahead of a larger Series B round in March, where STAGE—backed by Olympic gold medallist Neeraj Chopra—closed a $12.5 million funding round led by Goodwater Capital and Blume Ventures, with participation from Physis Capital and angel investors.

In the sports and entertainment segment, Indian Super League (ISL) club Mumbai City FC, jointly owned by Bollywood actor Ranbir Kapoor and English Premier League giants Manchester City, received ₹140 crore in FDI. The investment came from City Football Group, a UK-based holding entity that owns Manchester City FC and is backed by Abu Dhabi United Group, Silver Lake (USA), and China-based firms China Media Capital and CITIC Capital.

The resurgence in 2024 of FDI was led by the radio broadcasting segment, which saw a sharp increase in FDI to ₹3,853 crore—its highest since 2016, when the segment had drawn ₹8,157 crore. The film and advertisement segment continued to be a strong contributor, attracting ₹1,555 crore in 2024. In contrast, electronic media and print media saw no reported inflows for the second consecutive year.

While the absolute inflow figures remain robust, the I&B and Print Media sector’s share in total FDI equity inflows across all sectors in India has declined. In 2024, the sector accounted for 1.22% of the overall ₹4,48,831 crore in FDI inflows. This is a drop from 2.11% in 2023, when the sector drew ₹7,211 crore against an overall FDI of ₹3,41,391 crore.

FDI in I&B sector doubles in Q4 FY25, dips 14% annually

To make it easier for marketers to continue innovating with video, LinkedIn has expanded video advertising capabilities. In addition to expanding CTV Ads capabilities to help B2B marketers cut through the noise, the platform has introduced 'First Impression Ads' and 'Reserved Ads'.

According to LinkedIn, 77% B2B marketers in India say that day one of a campaign is extremely important in driving the highest impact, and that’s why the platform has introduced First Impression Ads, which is a new full-screen, vertical video format for single-day campaigns to maximize visibility for important marketing moments. The update allows marketers to target professional audiences, like small business owners or tech decision-makers, and exclusively reserve the first ad impression that a member sees on a given day.

 
Additionally, to sustain campaign impact beyond day one, brands can choose Reserved Ads to place their sponsored content as the first ad in the feed. Like choosing front-row at your favorite concert to guarantee the best view, this update help marketers plan campaigns with confidence and increase attention, brand visibility, and share of voice.

Further, the platform shared that since launching last year, on average CTV Ads through LinkedIn are over 4X more effective in reaching an advertiser’s B2B target audience compared to linear TV (as measured by iSpot). Now, CTV Ads are generally available for customers globally to target buyers in the US and Canada, and now the platform has announced additional enhancements to offer more premium reach, easier activation, and sharper insights.

With 76% of Indian B2B marketers saying that CTV ads make it easier to reach their customers more regularly, with new integrations with Innovid and Sprinklr, LinkedIn is making it easier to reach the right people, and simplify campaign creation and management.
 
CTV Ads are available for customers globally to target audiences in the US and Canada. First Impression Ads and Reserved Ads will be available to customers globally later this year, it added.



62% Indian marketers believe investing in video is imperative to not lose out to competitors



According to LinkedIn's new research, in today's high-stakes, highly complex B2B landscape, 90% of B2B marketers in India say grabbing audience attention is their biggest campaign worry. And, 62% say that investing in video is imperative to not lose out to competitors.

LinkedIn’s ‘2025 B2B Marketer Sentiment Research’ that surveyed over 3,000 B2B marketers across 13 countries – India, Australia, Singapore, USA, UK, France, Germany, Netherlands Spain, Italy, Sweden, Brazil and UAE – revealed that 80% of Indian B2B marketers feel they need to invest in creative strategies to stand out because it’s more competitive these days.

 
However, creativity still needs to make its case in the boardroom. Senior-level marketing leaders are clear that creative ideas and video will influence purchase decisions, but they’re being forced to rely on more traditional and stale tactics over experimental ones, with 72% of CMOs and VPs saying their leadership is risk averse.

 
B2B video and influencer marketing among most effective strategies to drive direct sales

 

As B2B marketers continue to do more with less and face increasing pressure to demonstrate impact on the bottom line, 97% of B2B marketers in India say video and influencer marketing are among the most effective strategies to gain direct sales in the current landscape.
 

Short-form video in B2B helps marketers build trust with audiences (82%) and reach decision-makers (82%), and short-form influencer video content is emerging as the top investment priority for marketers.
 

The research also uncovered that building authentic and credible brands is a top priority for B2B marketers and that influencer and creator partnerships can help achieve this. 72% of B2B marketers say that their marketing strategy is incomplete today without influencer and creator partnerships, and 84% are confident that influencer marketing campaigns will directly lead to sales by the end of the year.

 
"B2B buying is becoming more complex, and according to Forrester’s 2025 B2B Marketing and Sales Predictions, younger B2B buyers are relying on 10 or more external influencers - including social media and peer networks - when making purchase decisions," LinkedIn added.
 

Sachin Sharma, Director, LinkedIn Marketing Solutions, India, said, “With attention spans shrinking and competition intensifying, B2B marketers need more than just creative stories — they need content that grabs eyeballs, earns trust, and drives action. 

The opportunity lies in pairing high-impact social video with relevant influential voices to turn passive scrolls into meaningful views, and eventually into buying decisions. Our new video solutions are designed to help marketers do just that – cut through the noise while maintaining credibility and authenticity that move audiences towards engagement.”

LinkedIn expands video advertising capabilities; unveils First Impression, Reserved Ads, expands CTV ads capabilities

With average weekly TV ad time dropping by 14.6%, India’s top 10 television advertisers have cut back on television commercial (TVC) volumes significantly over the past year, as per a media report.

The report citing the Broadcast Audience Research Council (BARC), mentioned that in May 2024, the top 10 advertisers clocked an average of 15.30 million seconds of TV ad time per week. The same increased to 15.71 million seconds in June, the highest recorded in the 12-month period, but saw a decrease thereafter, said a Business Standard report. By July, the number dropped to 13.77 million seconds, followed by 15.12 million seconds in August and a marginal increase to 15.29 million seconds in September.

Although a more consistent slowdown set in from October, with ad volumes sliding to 14.56 million seconds that month, and then to 13.98 million seconds in November. The steepest decline was seen in December, when volumes plunged to 11.45 million seconds, the lowest in the year-long dataset.


Read more: <a href="https://www.storyboard18.com/advertising/tv-ad-volumes-declined-by-4-in-2024-compared-to-2023-54851.htm">TV ad volumes declined by 4% in 2024 compared to 2023</a>


The report further mentioned that a minute recovery followed in early 2025, with volumes ticking up to 11.72 million seconds in January and 13.92 million seconds in February. The figure peaked again at 14.50 million seconds in March before falling back to 12.74 million seconds in April and 13.07 million seconds in May 2025.

The data tracked weekly averages and reflected the total advertising time purchased by India’s top 10 TV advertisers, including major players from FMCG, telecom, e-commerce, and automobile sectors. 

The decline suggests a shift in advertising budgets towards digital platforms as brands seek to reach target audiences more effectively.

The shift towards digital among TV advertisers was also evident in a recent TAM AdEx report. A quick recap of 2024 showed that advertising volumes on television, once considered the most efficient medium, saw a decline of 4% compared to the year before (2023).

Top 10 advertisers cut TV ad volumes by 14% in a year: Report

Global media agency network OMD has been appointed as the AOR (Agency Of Record) for Under Armour, a performance apparel brand. The account was won following a competitive pitch process. 

As per the mandate, OMD will manage the brand followed by handling the performance media planning and buying across South APAC, which comprises Australia, Singapore, Malaysia, Thailand, Hong Kong, China and Korea.

This decision further strengthens the agency-client relationship dating back to 2023, when OMD was named media AOR by the brand for North America and EMEA.

The pitching process ran for a period of six months which witnessed the participation of agencies from multiple holding companies. OMD stood out as a potential partner as they stood up to the expectations of being able to deliver data-driven capabilities and solutions that could drive growth.

Recently, the Competition Commission of India (CCI) granted approval for the merger between U.S.-based advertising giants Interpublic Group of Companies, Inc. (IPG) and Omnicom Group Inc. (Omnicom). The deal, valued at approximately $30 billion, will result in a combined entity with an estimated $65 billion in global media billings, making it the largest advertising network in the world by revenue.

The merger was approved by shareholders during a vote held in March, marking a significant step toward the finalization of the takeover. The transaction is expected to be completed in the second half of 2025.

In early 2025, Omnicom Media Group agency OMD Worldwide had unveiled a new positioning staking its claim as the media partner with the vision, expertise, technology and scale to help brands deliver incremental sales and grow share in an increasingly dynamic business and consumer environment: We Create What’s Next.

Read More: <a href="https://www.storyboard18.com/agency-news/omd-worldwide-undergoes-brand-refresh-56250.htm">OMD Worldwide undergoes brand refresh</a>

MEDIA