In today's rapidly evolving digital landscape, the role of AI in shaping social media strategies and digital marketing has become increasingly significant. Bullish on AI, Shubhranshu Singh, Chief Marketing Officer of Tata Motors CVBU, and Rohan Chincholi, Chief Digital Officer at Havas Media India, share their views on social media in an AI era with Storyboard18's editor Delshad Irani. 

In this episode of Media Dialogues with Storyboard18, dig into how future-facing marketing visionaries and practitioners are looking at the integration of AI tools in media, the balance between automation and authenticity, and the future of AI-driven personalization. Also, explore the challenges, opportunities, and ethical considerations that come with leveraging AI in social media marketing.

Watch and listen. 

<iframe width="560" height="315" src="https://www.youtube.com/embed/7DM6rV4tA3o?si=z1Os6wKdAq0buvLV" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe>

Content is king, but distribution is kingdom: Media Dialogues With Storyboard18

In an era where authenticity and relatability are the cornerstones of effective marketing, Harman Dhillon, Executive Director of Beauty & Wellbeing at Hindustan Unilever and General Manager of Beauty & Wellbeing at Unilever South Asia, emphasises the evolving role of brands like Dove in shaping societal values.


Dhillon highlights that modern consumers are increasingly drawn to brands that resonate with their personal beliefs and values, making it crucial for brands to present a genuine and consistent point of view.


Dhillon notes that Dove, a global beauty brand under Unilever’s portfolio, has long been at the forefront of purpose-driven communication. The brand’s latest campaign, "Mothermonials," is an extension of this ethos, addressing deep-rooted beauty biases that impact women and young girls, particularly within the context of marriage.


Drawing on insights from the 2020 "Beauty Report" conducted in India, Dhillon explains that nine out of ten women of marriageable age reported being adversely affected by societal beauty standards during the marriage process. These biases often start at a young age, pressuring girls to conform to certain physical ideals at the expense of their confidence and self-worth.


<strong>Read More:</strong> <a href="https://www.storyboard18.com/quantum-brief/exclusive-unilevers-harman-dhillon-responds-to-backlash-on-viral-dove-ad-2283.htm">Exclusive: Unilever’s Harman Dhillon responds to feedback on viral Dove ad</a> 


The "Mothermonials" campaign, now in its third iteration, seeks to challenge these generational biases by shifting the focus from physical attributes to values and ambitions when considering matrimonial matches. Dhillon points out that this campaign is not just about raising awareness but also about driving societal change, with Dove positioned as a catalyst for this transformation.


The campaign’s latest phase specifically involves mothers taking a stand against the superficial aspects of matchmaking, advocating for a more holistic approach that considers character, values, and mutual respect as the foundation of a strong partnership.


Dhillon also discusses the measurable impact of such campaigns. Dove, being one of Unilever's largest brands, ensures that the campaign reaches a broad audience, with significant engagement already evident in the early stages. According to Dhillon, the current "Mothermonials" campaign has garnered nearly 4 crore views within a week of its launch, along with 1,00,000 visits to the campaign's dedicated website and 13,000 women interacting with the content.


However, beyond these impressive numbers, Dhillon underscores that the true success of the campaign is measured by the increase in women’s confidence and their perception of their beauty. The ultimate goal is to ensure that more women and young girls feel positive about their appearance, aligning with Dove’s long-standing mission to make beauty a source of confidence, not anxiety.


<em><strong>Edited Excerpts</strong></em>


<strong>We know Dove is a very large iconic brand. But where do you take it from here? What does a campaign like Mothermonials do for the brand, the equity, bottom line?</strong>


<strong>Dhillon:</strong> At Unilever we believe that marketing is now moving to being more authentic, it is moving to being more relatable to the target audience and at the same time the brands need to have a view because the consumers are evolving and they really want to be with a brand which resonates with their value systems, which resonates with the point of view that they have in life and that's where having a point of view on a brand like Dove, like we do on a lot of other Unilever brands is going to be very critical and that point of view has to be very authentic because we have to live and breathe that point of view.


In the long run we believe if we are true to the point of view and if we are bringing about products and the regular advertising that we are doing which we are very committed that on a brand like Dove there is no digital distortion that we do, on a brand like Dove we are talking about really the authentic voices across the spectrum that we put out, in the long run that is going to differentiate one brand versus the other.


<strong>Dove has been at the forefront of purpose-driven communication, branding, marketing and you have recently come out with the third iteration which is now an ongoing campaign for you. Tell me a little bit about the insights that have driven this Mothermonials campaign from the start.</strong>


Dove is one of our mega brands and we do believe that this brand is special and unique and the reason for that is that the philosophy behind Dove is that we believe that beauty should not be a source of anxiety for women and this is the brand which really helps bring alive within women and young girls a positivity about how they look.


Actually in 2020, in India specifically, while of course globally the brand has been on this trajectory, in India in 2020 we partnered with a research agency and we published something which is called the “Beauty Report” and in that there were a couple of insights which were very unique to India. The first being, nine out of 10 women in the marriageable age were really getting impacted by the process itself, which was really focusing a lot on beauty biases. 


The second, we realised that this marriage process, while of course, it's a process to get the right partner, but at the same time, it is fraught with beauty biases, which not only start very young and early, it could be at the time of when the girl child, especially is supposed to be studying for tests, she is being nudged to say, can you do X and Y, so that the prospects for her improve. So that was the whole idea and insight. And that's when we decided that we are going to have a long-term campaign, which really addresses each of these biases, each of these moments when we really impact the confidence of young girls and women adversely as a society. And these are generational biases.


So for us what was very clear is, it is critical that we make the society aware of it and we bring about change with Dove being the catalyst. And last but not the least, it is an inter-generational trauma because the latest edition of the campaign, if you see, it's mothers who are really taking a stand to say, of course, we want to find the best match for the daughters. But at the same time, it should not be just about the physical attributes because any strong partnership is built on the value systems. It's built on the ambitions. It's built on how the person thinks, feels. And that's what we are trying to do- look at matrimonials through the eyes of mothers and hence Mothermonials, which is part three of the campaign.


<strong>And so far, what sort of response have you got on it? Are you looking at scale for a campaign like this? And also a second part to that question would be, what are you measuring on such a campaign?</strong>


<strong>Dhillon:</strong> Dove, is one of our largest brands in the country, so it has to have scale and impact. So for scale, we look at ensuring the message reaches maximum number of people. So if I was to just talk about the current campaign which we broke a week ago, we're already looking at almost 4 crore views for the campaign. On the Mothermonials website we are looking at almost 1,00,000 visits already. And we are looking at all the filters, etc., that we have put out, 13,000 women interacting with that, which tells us that so many women and the target audience is looking at it, but at the same time, we don't just stop at that. We measure the scale and impact by actually measuring the attribute of this helps me view myself in positive light in the way I look and feel, that has to go up. Because at the end of the day, why are we doing all this? We are doing all this because, like I started out by saying, Dove really wants women and young girls to feel more positive about how they look. So we measure that very regularly, and that's the impact we see of a campaign. If that's going up, and if we are seeing more and more women feeling more confident in their skin, we are bringing about a change.

<em>(Edited by : Ajay Vaishnav)</em>


<iframe width="560" height="315" src="https://www.youtube.com/embed/t2lZC7iNdDE?si=6N-LCpIQkD7aU74d" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe>

Modern consumers demand authenticity and relatability in brand messaging, says HUL’s Harman Dhillon

In today’s rapidly evolving media landscape, the sheer complexity and fragmentation across platforms like TV, CTV, digital, and influencer marketing can be overwhelming. Kartik Sharma, CEO of Omnicom Media Group India, provides a nuanced perspective on these changes and their impact on advertising strategies.

Sharma highlights that while digital media is experiencing significant growth, it’s crucial not to overlook traditional media. Contrary to the belief that print is obsolete, Sharma emphasises that measuring its impact is essential. "You can't make a sweeping statement that a particular medium is dead or growing without measuring its effectiveness," he asserts.

India's media landscape is in a phase where various categories and media are growing at different rates. Some may see single-digit growth while others might experience double-digit increases.

Sharma highlights that the focus should not merely be on reaching the maximum audience at the lowest cost but on effectiveness and impact. "If I can save a dollar or a rupee for my client, it’s a dollar earned," he explains. This cost-saving can lead to reinvestment in business growth or increased profit margins, thereby significantly impacting a client's overall business strategy.

Turning the spotlight on Connected TV (CTV), Sharma notes that luxury brands and those targeting premium consumer segments are heavily investing in experimentation. CTV provides an avenue for these brands to test their strategies on a smaller scale before committing to larger budgets. "We never tell a client to start very big," Sharma said. "It’s always about testing and learning." This approach allows brands to tailor their strategies based on the unique reactions of different consumer segments.

Sharma’s insights reflect a broader trend towards personalised and adaptable media strategies. Rather than adopting a one-size-fits-all approach, Sharma emphasised the importance of bespoke solutions tailored to each client’s unique needs. "Over generalisation and saying this will paint the entire category with one brush is not going to work," he stated.

<div class="youTubeVideoPlayer" data-youtube="true" data-youtube-id="BOhVPfp2ujU" data-youtube-title="Crude At 6-Month Low As Global Rout Deepens | N18S | CNBC TV18" data-youtube-category="News &amp; Politics">
<div class="youTubeVideoPlayer" data-youtube="true" data-youtube-id="HZ3jHJnfxJo" data-youtube-title="Media’s Shifting Sands: How OMG Is Adapting And Evolving" data-youtube-category="News &amp; Politics"><iframe src="https://www.youtube.com/embed/HZ3jHJnfxJo" width="100%" height="360"></iframe></div>
</div>

OMG India CEO Kartik Sharma: Brands need to embrace personalised media strategies

In the latest episode of Media Dialogues with Storyboard18, Delshad Irani sits down with Shweta Jain, a prominent Chief Marketing Officer and one of India's most influential marketers.


Jain's career spans significant roles at Diageo, a major player in the alcoholic beverage industry, and now she serves as the Chief Marketing and Sales Officer at The Leela Group, a renowned name in hotels and hospitality. This episode focuses on the evolving role of forward-thinking CMOs.


Jain reflects on the unique opportunities presented to Indian brands today, noting, “We’re witnessing a once-in-a-lifetime moment where Indian brands are capturing global attention. This rare convergence of opportunity is something we haven’t seen in many years, and these years are all about seizing these moments and sharing our stories with the world.”


At The Leela Group, Jain and her team are harnessing these opportunities, especially around the festive season and emerging trends in leisure travel. She highlights how changing patterns in short breaks, longer indulgent holidays, and new travel occasions are shaping their marketing strategies, bringing together a blend of trends and energies for a dynamic approach to customer engagement.



<iframe width="560" height="315" src="https://www.youtube.com/embed/lbcuC1bHPBQ?si=ogO3oTqJg09o5QW1" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe>

The Leela Group's Shweta Jain on seizing a once-in-a-lifetime opportunity for Indian brands

<strong>Note to viewers: Revised advisory issued on July 3 by MIB on Food & Health sector only with a provision of an annual declaration.</strong><em> 

The Ministry of Information and Broadcasting (MIB), On June 3, adhering to a Supreme Court directive, announced a new mandate requiring advertisers and ad agencies to submit a Self-Declaration Certificate (SDC) before any ad publication or broadcast. The initiative aims to curb misleading advertisements and protect consumers, but achieving this goal remains a significant challenge.


To delve into the impact of these measures on the advertising industry, Storyboard18's editor Delshad Irani spoke with Gowree Gokhale, Partner at Nishith Desai Associates; Lloyd Mathias, Business Strategist and Investor; Kazim Rizvi, Founding Director of The Dialogue; and Ahmed Aftab Naqvi, Global CEO and Co-Founder of Gozoop Group.


According to Mathias, there is a need for measures that penalise rogue advertisers without compromising freedom of expression. He proposed methods such as temporary bans on advertising for repeat offenders to ensure accountability and integrity in advertising practices.


“The government has kind of, put the onus or responsibility on advertisers, who, in turn, have pushed it to the agencies. And at the second level, they have also put the onus in a sense on broadcasters and media owners, saying, you guys are the second level of defence. However, the real problem is rogue advertisers who have made misleading claims and who have actually misled people, which possibly triggered this whole exercise in the first place. And, therefore, I think the onus has to shift in terms of how do you monitor rogue advertisers without creating a censorship issue,” Mathias stated.


<iframe width="560" height="315" src="https://www.youtube.com/embed/1c6pbhHXdJA?si=dh3ZHtmQI00Uok5e" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe>


“I think the idea should be how do we reinforce integrity, and how do you penalise rogue advertisers? If someone has been an offender, I think there has to be a method where he or she gets penalised. If you've deliberately made a false claim, despite certification of which there are regulations in place, do you get banned from media, so to speak, so no advertiser registered in this country can take your communication for a six-month period? That will make advertisers far more cognisant about their responsibility to society. And like I said, there will always be rogue elements, like there is in any society. But I think the issue that needs to be resolved is at that end. What we have really done is right now just complicated the whole issue. At one level, we talk of the ease of doing business, I think this has just needlessly thrown open a can of worms," he added.


He also suggests a system of naming and shaming as a potential solution to enforce integrity within the industry.


Meanwhile, Ahmed Aftab Naqvi pointed to the self-regulatory frameworks of major digital advertising platforms like Google and Meta. These platforms enforce strict guidelines and penalise advertisers who violate them by blacklisting their accounts, which serves as a strong deterrent.


Naqvi suggested that adopting similar punitive measures, such as advertiser blacklisting, could effectively deter deceptive practices in traditional media.


<strong>Read More:</strong> <a href="https://www.storyboard18.com/how-it-works/relief-for-advertisers-as-mib-restricts-sdc-for-ads-to-food-and-health-sectors-only-36128.htm">Relief for advertisers as MIB restricts SDC for ads to food and health sectors only</a>

Experts urge govt to penalise rogue advertisers without curtailing free speech

In a chat with Storyboard18's Shibani Gharat, Shailesh Chandra, Managing Director of Tata Motors, Passenger Vehicles and Electric Vehicle Mobility talks about expectations from 2024, what challenges lie ahead, bifurcating the ICE and EV business and being the largest electric passenger vehicle manufacturer in the country what are their plans with the EV business. 

Listen in. 


<div data-youtube="true" data-youtube-id="0nyG038kPzQ" data-youtube-title="Tata Motors MD Shailesh Chandra on Impact of Inflation and Interest Rates on Entry-Level Car Segment" class="youTubeVideoPlayer" data-youtube-category="News & Politics"><iframe src="https://www.youtube.com/embed/0nyG038kPzQ" width="100%" height="360"></iframe></div>

Inflation has impacted entry-level segment: Tata Motors' Shailesh Chandra

In Davos at the recently held World Economic Forum, Ingka Group deputy CEO and CFO Juvencio Maeztu said that Ikea is going to cut prices - up to 20 percent price reduction in more than 250 articles. The price cuts will be implemented in the coming weeks. Maeztu said, “We have a long term vision to create a better life for the people. So, we have a long term approach at everything we do and the time is ready with high inflation and high interest rate."

In an exclusive interview with Storyboard18's editor Delshad Irani, Ikea India CEO Susanne Pulverer, commenting on the price cuts, said, "We have seen a positive development when it comes to getting better prices on the products, especially the post-COVID; when we had seen a lot of inflation and increased costs on raw material, transports and everything. So that's what we will immediately give back to customers worldwide. And, of course, that goes for India as well. So, we are currently working on how we can further invest in lowering the prices on a number of products that we know are loved by our customers."

Watch here. 

<div data-youtube="true" data-youtube-id="Cuj8Hr3prjg" data-youtube-title="Try To Be Relevenat To Indian Customers: IKEA India's Susanne Pulverer | Storyboard18 | CNBC TV18" class="youTubeVideoPlayer" data-youtube-category="News & Politics"><iframe src="https://www.youtube.com/embed/Cuj8Hr3prjg" width="100%" height="360"></iframe></div>

IKEA plans for multi-format stores in India: IKEA India CEO Susanne Pulverer

Tata Motors recently became the third Tata Group firm to cross Rs 3 trillion in market cap. In an exclusive client-agency dialogue with Storyboard18's editor Delshad Irani, Shubhranshu Singh, VP and CMO, Tata Motors CVBU, and Mohit Joshi, CEO, Havas Media Group, share how the customer journey has transformed in the commercial vehicles business, the role of media and acceleration of digital sales of CVs, and how the brand and its agencies are reimagining media and marketing for a new Indian consumer. 

Listen in. 

 <div data-youtube="true" data-youtube-id="0-KBqVBsfdw" data-youtube-title="AI and Digital Accelerating Tata Motors CV brand and Business | CNBC TV18" class="youTubeVideoPlayer" data-youtube-category="News & Politics"><iframe src="https://www.youtube.com/embed/0-KBqVBsfdw" width="100%" height="360"></iframe></div>

Media Dialogues with Storyboard18: AI and digital accelerating Tata Motors CV brand and business

French spirits manufacturer Pernod Ricard, known for its brands such as Chivas Regal, Jameson, Absolut and Blenders Pride, recently launched its first premium Indian single malt brand Longitude77. Now as we step in 2024, Pernod Ricard is taking their new Indian single malt brand to global markets. Ahead of their Dubai launch, in a special chat, Storyboard18 caught up with Kartik Mohindra, CMO, Pernod Ricard India, to understand the market for single malt in India, the marketing and advertising strategies that are undertaken to promote liquor, and the key trends to watch for. 

Listen in.

<div data-youtube="true" data-youtube-id="ssb25Z80A20" data-youtube-title="We Can Put India On Global Map Of Quality & Premium Whisky Making: Pernod Ricard's Kartik Mohindra" class="youTubeVideoPlayer" data-youtube-category="News & Politics"><iframe src="https://www.youtube.com/embed/ssb25Z80A20" width="100%" height="360"></iframe></div>

Pernod Ricard's Kartik Mohindra on crowning India as a premier global whisky maestro

According to Shashank Srivastava, senior executive officer, Maruti Suzuki, by 2030, the penetration of EVs for passenger vehicles in India will be around 20 percent. For Maruti Suzuki and their own powertrain, by 2030 it’ll be 15 percent EV, 25 percent strong hybrids and 60 percent to be a mix of ethanol blended fuel, CNG and biogas. 

There are a couple of challenges when selling an electric future to Indians. Srivastava said that the cost of acquisition needs to be reasonable. Currently this cost is 1.6 times that of ICE (internal combustion engine) vehicles. These costs have to be brought down and one solution to this is battery localisation. Secondly, range anxiety which can be solved by charging infrastructure being built.

Listen in. 

<div data-youtube="true" data-youtube-id="bAQDsHrKptM" data-youtube-title="Maintaining Continuity In Change, Maruti-Suzuki & Mindshare Drive Ahead | Media Dialogues" class="youTubeVideoPlayer" data-youtube-category="News & Politics"><iframe src="https://www.youtube.com/embed/bAQDsHrKptM" width="100%" height="360"></iframe></div>

Media Dialogues with Storyboard18: Maintaining continuity In change, Maruti-Suzuki & Mindshare drive ahead

Acer chairman and CEO Jason Chen reveals the company's plans, including venturing into new segments in consumer electronics, eMobility and AI PCs while in conversation with Storyboard18's Shibani Gharat. Chen says he is very excited about artificial intelligence and how it is being very rapidly being implemented.

The company's enthusiasm for the transformative potential of Generative AI is evident in its forward-looking stance. Acer is actively pioneering this technological shift by developing AI-powered PCs poised to redefine user interactions with computers. “We want to be the first one, if not the first then the first batch of suppliers to come into AI-ready PC,” he adds.

Acer's investments in AI extend across diverse applications, including Integrated Chip (IC) design and initiatives in the medical field. “One area where I'd like to invest some time is incorporating artificial intelligence into the medical field. Thousands of AI-related medical reports, known as smart medical research journals and papers, are being published. However, many of them remain as merely good reports without progressing into impactful scientific research projects,” he said, adding that Acer is in a position to commercialise that research into real products that will benefit medical requirements.

Watch the full interview here.

<iframe width="560" height="315" src="https://www.youtube.com/embed/PuI1YsiXyfc?si=nO4nHF5bI0z3Y4jQ" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen></iframe>

PC market demand has come back to normal: Acer's Jason Chen

The Great Skill Reset: How are companies hiring for marketing and brand roles these days?

Beyond the startup hype: The hidden costs of a hustle culture

YouTube Shorts expands to three minute videos, enhancing creator flexibility

Ratan Tata earns 23,000% returns on Upstox investment, sells 5% stake

Dentsu appoints Dan Pantumsinchai as Managing Director - Gaming, APAC

JioCinema appoints YouTube India's Head Ishan Chatterjee as Chief Business Officer

Akshay Kumar most visible star on TV with average visibility of 22 hours per day

Representational image via Unsplash

'Brand Tax': Experts urge for clear guidelines, say 'brand subscription fee' can hinder innovation, growth

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

Dubai court rejects Honasa Consumer grievance filed over fiasco with UAE distributor

Tipplers to raise their bar this festive season, premium liquor in demand

W+K shuts Mumbai office; scales back operations, staff

Swiggy eyes elite customers with exclusive 'Rare Club' concierge service

Piyush Pandey

Exclusive: Major leadership rejig at Nestle India; Rajat Jain to get significant role within group

Meghalaya becomes first Indian state to sponsor an esports team

Indian broadcasters' Himalayan challenge in Nepal

Big salary gaps in Indian communications: Freshers start low, women hit glass ceiling

Infosys, ITC, Titan, Biocon: Industry leaders join Storyboard18’s Share The Spotlight movement

Nobody’s Perfect Retro Porsche Ad

In Conversation With Raja Rajamannar, Mastercard

Shahid Kapoor And Varun Ganjoo Speaks On PokerBaazi's Campaign

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

Why are brands including e-sports in their sports marketing itinerary?

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

Experts' Take On Reinvention Of Ad Campaigns Through Technology

Experts Speak On Key Emerging Trends In Cannes Lions Entries

Leaders of the future have to be outstanding human beings: Nestle MD

In conversation with VMLY&R’s Hari Ramanathan

Board members of the News Broadcasters & Digital Association (NBDA) met with Prime Minister Narendra Modi to discuss various issues related to the broadcasting sector, including the draft Broadcast Bill and IT Rules 2021, on August 27.

Information and Broadcasting Minister Ashwini Vaishnaw was also present at the meeting.

The delegation of the NBDA was led by its President, Rajat Sharma.

An NBDA member, speaking on condition of anonymity, said, “The meeting was very positive. Prime Minister Narendra Modi assured us that he understands the issues our industry is facing and he appeared very optimistic about resolving them.”

The member added, “MIB Minister Ashwini Vaishnaw was also present during the meeting, and issues related to the Ministry of Information and Broadcasting were discussed as well. Both the Prime Minister and the MIB Minister assured us that the issues affecting our sector will be resolved soon.”

Members informed the PM regarding the health of the news broadcast industry, constraints, problems, and challenges faced in the era of digital revolution which was severely impacting and affecting the growth of the ‘news’ genre.

Breaking: PM Modi positive on resolving issues related to broadcasting industry

In the first half of 2024 (January-June) general entertainment channels (GEC) witnessed a 6% decline in advertising volumes over the same period last year.

Meanwhile, Hindi channels topped the charts in the overall GEC genre with a share of 24% in ad share followed by Tamil GEC channels with 15% in the H1 of 2024, according to a report by TAM Media Research.

In the first half, food and beverages stood as the leading sector with a 31% share of GEC ad volumes, followed by personal care/ personal hygiene at 21%, household products at 10%, and personal healthcare at 8%.

In terms of advertisers, Hindustan Unilever topped the list, followed by Reckitt Benckiser India, Godrej Consumer Products, ITC, Cadbury, P&G, The Coca-Cola India, Nestle India, Britannia and Glaxo Smithkline.  These top 10 advertisers together added 63% share of GEC ad volumes in the first half of the 2024. 

At the same time, ITC, Nestle India and Glaxo Smithkline observed positive rank shifts, wherein Glaxo Smithkline moved up by four positions in the rankings, securing a place among the top 10.

The report noted that during this period of January-June 2024, a total of more than 3,300 brands were present on TV and 5 out of the top 10 brands were from Reckitt and 4 were from HUL.

The Milk Beverages category saw the highest increase in ad secondages with growth of a 19% followed by Wafer/Chips with 75% growth during the H1 of 2024 over the same period last year.



General entertainment channels' ad volume dip 6% in H1 2024

Nearly a month has passed since Indian broadcasters like Star, Zee, Sony and Viacom18, suspended distribution of their channels in Nepal due to unpaid subscription fees by the distributors in the country. Around 72 channels of Indian broadcasters have been off the air since August 1.

Indian broadcasters discontinued their feed as they were not being paid for their services by the channel distributors in Nepal for almost two years. As a result, instead of collecting subscription fees, the broadcasters are now struggling to protect their intellectual property rights as distributors in Nepal resort to pirate Indian television channels in that country.

In a news report that appeared in The Kathmandu Post on August 12, Nepal's Ministry of Information and Communication Technology (MOCIT)  acknowledged that local channel distributors had not paid Indian broadcasters for a year and a half, leading to the suspension of channel distribution.

However, before the suspension of the distribution of Indian channels in Nepal, the seven Nepalese channel distributors collected advance payments from customers, prompting consumer rights activists to demand refunds.

In a conflicting account, the channel distributors accuse MOCIT of failing to provide foreign exchange facilities, while the Ministry asserts that no distributors have submitted applications for this service.

As distributors blame the government’s reluctance to grant remittance approvals for the transfer of subscription fees, the foreign broadcasters (mostly Indian broadcasters) are now in a financial bind and have raised concerns with various authorities including MOCIT in Nepal and the Ministry of Information and Broadcasting (MIB) and Ministry of External Affairs (MEA) in India, and the Indian embassy in Kathmandu. 

However, grievances remain unresolved as per industry sources and reports.

Sources familiar with the matter told Storyboard18 that Nepal’s distribution platform operators (cable and DTH) have been accumulating significant subscription fee due to foreign broadcasters, primarily Indian, for up to 24 months.

The same has resulted in substantial losses for broadcasters, worth around Rs 1 billion, as per sources. Despite broadcasters' constant reminders and grievances calls to the Ministries, both in Nepal and in India, the non-resolution of the stand-off has resulted in broadcasters disconnecting their signals starting this month. 

According to an industry source, the fallout has driven Nepalese platforms to engage in widespread piracy of Indian channels, mainly exploiting satellite/DTH feeds meant for neighboring states like Bihar and Uttar Pradesh.

Oddly enough, the suspension of distribution of Indian channels in Nepal and the distribution of pirated Indian channels is contrary to the law introduced in Nepal in 2019.  

As per the clean feed policy, the foreign channels like Indian channels distributed in Nepal are not allowed to air advertisements. Even Nepal's channels must air only domestic advertisements. Nepal's government believed that as soon as foreign advertisements stop broadcasting on Nepali television, Nepal’s advertising market would skyrocket and many Nepali artists were expected to get a chance to work. 

Initially, its implementation faced challenges due to exorbitant costs involved, but foreign broadcasters eventually relented and provided clean feeds of their channels in Nepal. 

However, recent actions, such as withholding remittance approvals and subsequent channel disconnections by Indian TV channels, have undermined the progress made, thus questioning the 'clean feed policy'.  

Contrary to the objective of the 'clean feed policy', Nepali distributors started distributing pirated Indian channels which carry Indian advertisements.  

Indian broadcasters have expressed concern over the development in Nepal as the continued inaction by the Ministry of Communications and Information Technology (MOCIT), Government of Nepal, has allowed a culture of piracy to flourish, as per Indian industry sources, hurting both broadcasters and protection of intellectual property in Nepal. Sources added that stakeholders also call upon the Indian government to help Indian broadcasters by taking up the issue at appropriate level in Nepal and to help arrive at a resolution.

The atmosphere was emotional when NP Singh, Managing Director and CEO of Sony Pictures Networks India, addressed his colleagues on Friday evening. Reflecting on his 25-year tenure with SPNI, Singh expressed deep gratitude toward his colleagues.

During his farewell speech, emotionally charged Singh bowed down to thank his colleagues at SPNI and said, “My 25-year journey has been incredible. I could not have achieved this without the support of my family, my team, and all of you, my dear employees, who are like family to me.”

He continued, “On days when I wasn't feeling well, coming to the office and seeing all of you lovely people gave me energy. It was always heartwarming to exchange greetings with you when we ran into each other in the elevator. The smiles from the security staff motivated me and gave me the energy to wake up every morning and come to work. Seeing all your bright, sunny faces provided me with a much-needed boost. I cannot thank you all enough for the love and support you've given me.”

Singh personally thanked all his office support staff, mentioning them by name during his speech, and shared a few memorable anecdotes. With tears in their eyes, SPNI employees bid Singh adieu alongwith General Counsel Ashok Nambissan, Chief Financial Officer (CFO) Nitin Nadkarni and Neeraj Vyas, Business Head for Sony Entertainment Television, Sony SAB, PAL, and Sony MAX movie cluster

After serving a 25-year tenure at SPNI, Singh announced on May 24, “Today, I have a significant update to share. After nearly 44 years in my career, including a rewarding 25-year tenure at SPNI, I have decided to step down from my role as Managing Director and CEO. Having reached many significant milestones with our team, I am now ready to focus on social change and shift from operational roles to advisory ones.”

“However, my commitment to SPNI and its success remains strong. During my time here, we established industry benchmarks, expanded our reach, and achieved many noteworthy accomplishments. I am dedicated to ensuring our legacy of success continues and grows under the new leadership,” he added.

Singh first joined Sony in 1999 as CFO, later became COO, and eventually became Managing Director and CEO in 2014. Gaurav Banerjee, the next leader of SPNI, was not present during the farewell ceremony. He is set to join the office on Monday.

NP Singh’s emotional farewell at SPNI, a grateful goodbye to his team

Although NP Singh's decision to step down as MD and CEO of Sony Pictures Networks India was announced in May, today, August 23, marks his last day at the company.


After serving a 25-year tenure at SPNI, Singh, on May 24, announced, “Today, I have a significant update to share. After nearly 44 years in my career, including a rewarding 25-year tenure at SPNI, I have decided to move on from my role as MD and CEO. Having reached many significant milestones with our team, I am now ready to focus on social change and shift from operational roles to advisory ones.”


Read more: <a href="https://www.storyboard18.com/brand-makers/industry-praises-np-singhs-successful-innings-at-sony-as-he-transitions-into-advisory-role-32587.htm">Industry praises NP Singh’s ‘successful innings’ at Sony</a>


“However, my commitment to SPNI and its success remains strong. During my time here, we have established industry benchmarks, expanded our reach, and achieved many noteworthy accomplishments. I am dedicated to ensuring our legacy of success continues and grows under the new leadership,” he added.


<img src="https://images.storyboard18.com/storyboard18/2024/08/WhatsApp-Image-2024-08-23-at-21.19.15-2024-08-77a5bbe050daebe449a49fd888928b58.jpeg" alt="" width="1074" height="761" class="aligncenter size-full wp-image-40446" />


Exactly a month later, on June 24, Sony appointed Gaurav Banerjee as the new MD and CEO, effective on or before August 26, 2024.


Singh first joined Sony in 1999 as CFO and later became the COO before becoming MD and CEO in 2014. During his quarter of a century with the network, the company saw a fair share of ups (mostly) and downs.


<img src="https://images.storyboard18.com/storyboard18/2024/08/WhatsApp-Image-2024-08-23-at-21.19.19-2024-08-55d42fb4272554f5614e5b906734bbdc.jpeg" alt="" width="1053" height="721" class="aligncenter size-full wp-image-40450" />


Singh has been, in fact, the transformative force behind the fuelling network’s expansion. While the network's primary focus has been general entertainment channels (GECs), in 2002 it ventured into sports after obtaining the media rights for International Cricket Council (ICC) matches that were broadcast on SET and Sony Max (from 2002 to 2007). Beginning in 2008, Sony was also the exclusive broadcaster of the highly sought-after Indian Premier League for ten years. He even introduced the Group's OTT platform SonyLIV in 2013.


Ashish Bhasin, Founder, The Bhasin Consulting Group, who served on the BARC India board alongside Singh, told Storyboard18 earlier, “NP has been one of the stalwarts of the industry, and I was fortunate that we served on a few boards together. I've always found him fair and upright in his dealings. He has led Sony through different phases to a good height. He should be proud of the successful innings that he has played, and I wish him all the very best for the future,” he said.


<img src="https://images.storyboard18.com/storyboard18/2024/08/WhatsApp-Image-2024-08-23-at-21.19.16-2024-08-4c7f076b4ab3067940ecc291a4e901d4.jpeg" alt="" width="1050" height="936" class="aligncenter size-full wp-image-40448" />



He had added that Singh is “one of the real gentlemen from the broadcast side, and a good friend & partner to deal with.”


"NP has been a great leader in the broadcast ecosystem for so many years. His contribution as Indian Broadcasting Foundation (IBF) President and also Director on the BARC board apart from leading Sony has been really commendable. I have personally admired his style of leadership and his understated dominance in the industry. Man of few words - I wish him the best for his days ahead,” Partho Dasgupta, Managing Partner, Thoth Advisors and ex-CEO of BARC India, said during the announcement in May.


Read more: <a href="https://www.storyboard18.com/brand-makers/zee-sony-merger-failure-impact-of-np-singhs-decision-to-move-on-from-his-position-at-spni-32617.htm">Zee-Sony merger failure: Impact of NP Singh’s decision to move on from his position at SPNI</a>


Singh is also on the Board of Directors of the Indian Broadcasting and Digital Foundation (IBDF).


Interestingly, Singh's announcement of stepping down also came right after five months of the merger termination between Sony and ZEEL.


After two years of talks, the mega-merger of Sony and Zee collapsed when the former pulled the plug in January 2024. A major bone of contention that emerged as one of the causes of termination was the leadership issue and disagreements over who would lead the merged entity. Sony wanted NP Singh and Zee resisted, insisting on Punit Goenka, MD and CEO of ZEEL to helm the merged company.

Excl: Photos from NP Singh’s last day in SPNI office

Sony Pictures Networks India's (SPNI) channels are back in DTH service provider Tata Play's bouquets after being absent for more than 20 days. Both have now resolved their differences.

On August 1, Tata Play started removing the SPNI channels from the subscription plans of about 10 million users and had then said it would continue to undertake this process over the next few days and accordingly plans to adjust monthly charges.

SPNI, in response, had alleged it as an 'arbitrary decision' and called it 'retaliatory'.

22 days later, the channels are now reinstated.

Harit Nagpal, MD & CEO, Tata Play, told Storyboard18 at the time of the 'modification' that the platform is streamlining channel packs by removing less-watched channels. However, subscribers could continue watching these channels can by giving a missed call to a specific number.

“We have always prioritised customers while designing our processes. Our analysis, supported by BARC data, reveals that most subscribers have 4 or more times the number of channels than they actively watch. Due to lack of return path data, it is not possible to track who’s watching and who’s not. Consequently, we are streamlining channel packs by removing less-watched channels and adjusting monthly charges accordingly," he then said.

Meanwhile, SPNI had called the move a "surprising decision" and the narrative built by Tata Play of "loss of viewership" a misleading statement.

Read more:<a href="https://www.storyboard18.com/television/tata-play-drops-sony-channels-citing-low-viewership-sony-calls-it-arbitrary-38626.htm"> Tata Play drops Sony Channels citing low viewership; Sony calls it arbitrary</a>

The broadcaster had said, "This arbitrary decision seems to have been made without any notice to SPNI or apparent consideration for their subscribers' preferences. We believe, it is a retaliation to exercising our audit rights on Tata Play's subscriber management system, in which we have observed and communicated certain glaring discrepancies to Tata Play over the past few years".

Additionally, it had said that it is confident that its loyal viewers, who value diverse and high-quality content, will continue to find SPNI channels through other platforms nationwide. "Our commitment to delivering top-notch entertainment remains steadfast, ensuring our audience never misses out on their favourite shows and channels, regardless of Tata Play's whims."

Channels under SPNI include GEC Sony Entertainment Television and Hindi movie channel Sony MAX, Sony PIX and Sony PIX HD, Sony BBC Earth and Sony BBC Earth HD, the premium factual entertainment channels, Sony AATH, the Bangla entertainment channel; Sony YAY!, the kids.

It claims to reach out to over 700 million viewers in India. Meanwhile, Tata Play (where Tata Sons owns 50%) has nearly 10 million subscribers.


Sony channels back on Tata Play's DTH after 20 days of blackout

The new household classification system for media measurement — the Indian Socio-Economic Classification System (ISEC) which was proposed in February this year by the Market Research Society of India (MRSI), will certainly not be rolled out or implemented this year, sources tell Storyboard18.

The proposed classification system touted as a more advanced and detailed system for understanding Indian consumers as compared to the now-existing ‘New Consumer Classification System’ (NCCS) is stalled as broadcasters are yet to give it the green light. 

While the Indian Society of Advertisers (ISA)-backed ISEC gives more granular data to advertisers which can help them enhance ROI on ad spends, broadcasters fear the big pendulum shift will reveal ‘true’ TRP numbers, which mostly would be upsetting for most general entertainment channels (GECs).

“NCCS was practically rolled out in 2015 with the rollout of BARC. Even at that time it was a bit dated and the durables list should have been updated a few times since. ISEC is a good concept but where is the rollout?,” remarks Partho Dasgupta, Managing Partner, Thoth Advisors and ex CEO, BARC India. 

“The marketing ecosystem is working on outdated NRS and Broadcast India numbers - time for stakeholders whose monies are invested to wake up and smell the coffee, as they say,” he says.

The implementation of ISEC seems to have found support from advertisers but is anticipated to disadvantage broadcasters and traditional entertainment channels. 

“If BARC rolls out the ISEC, every media outlet targeting specific audiences based on traditional criteria, and broadcasters focusing on these groups could suffer due to potential shifts in audience visibility, targeting complexity, and ad revenue distribution”, points out Haroon Asrar, Partner, Solomon & Co.

Media agencies and marketers will face adjustment costs and will have to re-consider their catalogue of programs offered, basis the evaluation of new factors. 

Furthermore, the inclusion of several additional criteria may raise questions regarding the methodology of data collection, the legitimacy of such data and potential breach of data privacy laws, Asrar shares.

<strong>The dissonance </strong>

The new classification system (ISEC) is a significant overhaul, compared to the previous classification system (NCCS), and stakeholders will have to sample its effect and implementation across all audience segments.

While the new system has been tested for the stakeholders, sources close to the development revealed that the broadcasters were not happy with the result and hence no consensus at this stage.

Earlier, the NCSS’s criteria was only basis the education of the male chief wage earner and the household products being used, which was quite limited. ISEC proposes to enhance the existing methodology by considering several other factors such as the education levels of the highest educated male as well as female adults, in addition to the occupation of the chief wage earner, which are crucial in understanding consumer behaviour in today’s context. 

ISEC has also considered an expansion into the categories under “Occupation” – which is not just categorised under Urban/Rural occupations but is also further sub-categorised basis the types of occupation (skill/service/trade) as well as nature/size/level of businesses an individual is involved in. 

This type of holistic understanding will assist stakeholders and the industry to target the right audiences, says Asrar. 

Mainly helping the advertisers.

Which also is the point of contention for the broadcasters.

According to NCCS data, women from various socio-economic backgrounds are avid viewers of Hindi soap operas on General Entertainment Channels (GECs). However, the upcoming ISEC system is expected to reveal a more nuanced picture by distinguishing the viewing habits of educated women from those with lower levels of education. This could provide a clearer understanding of GEC viewership patterns.

Notably, many educated women are already shifting their preference to Over-The-Top (OTT) platforms for high-quality content, which may lead to a decline in GEC viewership and, consequently, advertising revenue.

“Five months in and there is still no consensus on the new system. NCCS won't easily go, especially until the next five-six months. ISEC won't be implemented this year for sure,” said a senior broadcaster on the condition of anonymity. 

Added another broadcaster, “While the process of testing is on, the numbers are not good. Broadcasters are not happy with the numbers. Won't be wrong to say advertisers should act on it since it is their money.” 

The broadcaster further revealed that the India Broadcasting and Digital Foundation (IBDF) has formed a task force to examine the new system and consultations would happen again.

In a nutshell, in its present version, the new system won't be implemented because one section of the ecosystem isn't okay with it.

<strong>Consensus among advertisers</strong>

While it might be delayed, the inability of NCCS to effectively capture media behavior has led advertisers to champion ISEC.

“In the last 10 years things have changed radically and most households, irrespective of education or income now own white goods. The country is growing fast with disposable incomes rising and we need some strong discriminatory variables,” said Krishnarao Buddha, Sr. Category Head - Marketing at Parle.

Although he adds that while ISEC is a good step towards bringing in further discrimination, there is definitely room to further bring in a lot more discrimination in the ISEC classification as well. 

He mentioned that as advertisers are being consulted for the new system, a majority of them are in agreement with it.

“The current classification of NCCS makes it difficult to understand the media behavior. ISEC helps with viewership data which is far more refined and closer to real, and as a result, it may change the fortunes of certain media houses or certain broadcast houses. But how would that impact the advertisers' money, is a little far-fetched and premature to assume,” Buddha says.

“Everything needs an overhaul. Even BARC is increasing the meters for better representation. If major advertisers rely on female viewing ratings, they also have the right to know the background of the female viewer. The move is aimed at advertisers to getting to know more of the viewers,” remarked another stakeholder on condition of anonymity.

30% of the total domestic advertising expenditure is TV—so any change in the broadcasting industry needs a lot of deliberation but, industry in unison says, no one can be left at a disadvantage.

Broadcasters' resistance casts shadow on ISEC's prospects for this year

The recent Season 3 of the business reality television series Shark Tank India is coveted as one of the most-watched Hindi language SVOD non-fiction shows. According to an Ormax study, over the 10 weeks of its run, the show garnered 4-5 million audience who watched more than an episode in the week, which means that an average audience member watched the show in about three weeks, and at a modest assumption of just two episodes per week, the total Shark Tank India S3 consumption is estimated at 80 million episode views. 

Add to it the clips on YouTube, social media and all the memes.

But what also fuels this viewership is the controversy surrounding it, which gets stretched to often elongated periods, giving the reality TV show further impetus.

While some of the controversies are self-induced, most are followed by contestants' real and awful experiences, say industry observers and show watchers. 

Surprisingly, 80% of the deals made on Shark Tank India are never completed, according to the contestants of the show.

Often Shark Tank judges are accused of ‘ghosting’ contestants after striking deal.

In 2022, a former Shark Tank India contestant, named Akshay Shah, CEO, iWebTechno claimed that he had met a pitcher, who not only participated in the first season of the reality show but also got a deal from two of the sharks. However, after the show concluded, the sharks never met or even responded to his emails.  

He is not alone. Many participants, over the years, have often pointed out that the Sharks deliberately delayed investments under various pretexts, some even alleged they derided their business models after promising investments on air.

In another instance, most recently, the founder and CEO of the nutritional food brand Fit & Flex, Pathik Patel accused Sony TV of unjustly targeting him and others for trademark violations without any prior notice. 

The broadcaster struck the founders' social media posts containing clips from the Shark Tank episode, blocked their ad account, unpublished their Facebook page, and disabled the collaboration feature on the brands' accounts as well.

Ideally, the contestant would have aired the episode for marketing purposes for three months from the said date. However, their content was pulled down within 25 days.

In response, Patel sent a legal notice to the channel over the suspension of their ad account.

"We have also lost our collaboration feature on Instagram, which has been quite unfair on their part. This has eventually led to the downfall of our online business. This unfortunate event has made the experience quite frustrating and negative," Patel tells Storyboard18. 

"I would say it’s more of a cash-grab machine for broadcasters as the content is edited and presented in a manner where it’s more about the channel's TRP rather than a brand and founder's story. The format of the show has gone from being somewhat empowering in Season 1 to more of a controversy driving style. Especially in Season 3 it was just about passing sensational statements and using buzz words and not giving of constructive feedback or genuine help to the founders," he shares.

Patel remarks that the showmakers drive the content and they have full control over how to present a particular pitch which they do in a manner where some sensation gets stirred up. 

"They are not sensitive to the fact that a founder puts in his heart and soul to build a brand and what they portray to get more views/TRP could affect them for a lifetime," he shares. 

Another contestant, Vivek Krishna, Founder of men's sexual wellness brand Sukham, notes that the whole banning of ad accounts in the name of counterfeit has a big issue. 

A lot of startups that are doing well in their regions go to Shark Tank to get the social proofing of the show and to use the “as seen on Shark Tank” clips to connect with their audience and create a recall. This practice has been done globally by Shark Tank brands and has never faced the wrath of the channel or the show like us, he says. 

"This is something the team should look at and allow startups to use their show as it’s a codependent relationship and we also promote the show on our level and help them be what they are," he says.

In response to Storyboard18's query, Sony Pictures Networks India shared that because of Shark Tank India's growing popularity, some participants are using the show’s content and branding without permission for their own commercial ventures, clearly violating SPNI’s intellectual property rights (IPR) and copyright laws. In response, it has taken "decisive action to curb such infringements, implementing rigorous checks to safeguard the IPR while also recognising and respecting the contestants' achievements."

That apart, Sharks have often been accused of dragging the process of closing the deals for 9-12 months, expecting contestants to stop contacting them eventually.

Krishna shares that an investment deal like Shark Tank is a non-binding agreement and does not necessarily have to close. If the Sharks and the startups both agree on valuation and other terms, the deal usually closes. But if not, then both have the right to back out as there is no binding term sheet or agreement to the deal offered on television. 

It is to be noted that Shark Tank, whether the original American, which in turn was based on the Japanese Dragons’ Den, or its Indian avatar, is ultimately a reality show, and therefore its primary aim is to generate eyeballs and generate TRPs so that the show itself can make money from advertising and sponsorships. 

Having said that, it’s in the show’s interest to ensure that it is not reduced to a sham, because its popularity can only be sustained by ensuring that its authenticity and credibility remain intact, remarks Samit Sinha, Founder and Managing Partner, Alchemist Brand Consulting. 

While the occasional controversy will not harm its viewership – in fact sometimes it can have a temporary positive effect – but, if there is a steep decline in the participation of new entrepreneurs and start-ups, it can kill the show eventually, an industry executive warns. 

"There are always two sides to a story and I don't think there is enough evidence to conclude that the show has lost credibility. I’m sure there are some genuine grievances as well as some instances of sour grapes, but the show’s producers should take note and address these concerns so that it does not snowball into a crisis," according to Sinha.

<strong>The marketing goods</strong>

Besides sour experiences, one thing most agree upon is that Shark Tank funds all brands with exposure regardless of whether they are funded or not.

Shark Tank is great marketing opportunity but it is still a flash in the pan kind of thing. "Pitchers who had been on the show have vouched for it that an appearance on the Shark Tank had given them a short burst of marketing push and an increased number of visits on their store/app/website but the impact is very short term and if the product/service is not up to the mark then it generally do not last long," shares authorpreneur and consultant Ankit Uttam.

Shark Tank is an entertainment show and it is created to serve only that purpose, believes Uttam. So, saying that Shark Tank India is "empowering the startup ecosystem" is similar to saying that a lone fish is "empowering the whole river ecosystem".

"Shark Tank India was created to ride the wave of start-up frenzy that was already happening in India. And because the show primarily exists to make money via ad slots and for TRP ratings, its primary aim is to create drama and tension to keep the audience hooked. And there is nothing wrong with that. It is TV and it is meant to entertain its audience. This is the same case for the Shark Tank versions in other countries. So, it is always better to view this show for what it is rather than what the PR wants you to believe," he explains.

Sharing his experience, Krishna says that being on the show is a huge exposure for every brand as they get recognition on a national level and not only Indians living in India but Indians living in other parts of the world also get to know about these brands. 

"The show truly gives a national perspective to all businesses as most of the startups that come on the show are smaller state-level players and usually don’t have the budgets to market their brand on the scale at which the show operates," he says.

He further suggests that anyone going on a show like Shark Tank have to be very open to all the pros and cons of taking their businesses to be interrogated on national television. 

Now Streaming: Shark Tank India, a pursuit of ratings at the cost of integrity?

In the last one year, more than three million subscribers have opted out of the pay DTH services. 

According to the Telecom Regulatory Authority of India (TRAI)'s report on 'Indian telecom services yearly performance indicators', Pay DTH (direct-to-home) has a net pay active subscriber base of around 61.97 million, as of March 31, 2024 as compared to 65.25 million subscribers, as on March 31, 2023.

This is in addition to the subscribers of the free DTH services of Doordarshan. 

It is to be noted that the subscriber base stood at 69.57 million in March 2021, which decreased to 66.92 million in March 2022, which subsequently decreased to 65.25 million in March 2023. 

Overall, the DTH sector has overall lost 7.6 million subscribers in the last three years.

As per TRAI, a total of 4 pay DTH service providers were there in India during the period ending March 31, 2024.

Tata Play has a 32.53% market share of total net pay active subscribers, followed by Airtel with 28.45%, Dish TV India at 20.46%, and Sun Direct with 18.57% as of March 31, 2024.

TRAI also noted that pay DTH operators lost 0.66 million subscribers during the October–November festive quarter, last year. This was despite properties like ICC Men's Cricket World Cup 2023 raking in a record TV viewership of 518 million. 

For the quarter ending December 31, the pay DTH base of the four private DTH operators declined to 63.52 million from 64.18 million in the trailing quarter.

The report also highlighted that the total number of internet subscribers increased by over 8.3%. From 881.25 million at the end of March 2023 it increased to 954.40 million at the end of March 2024. 

Also, out of a total of 954.40 million internet subscribers, the number of broadband subscribers is 924.07 million and the number of narrowband subscribers stands at 30.34 million at the end of March 2024.

That apart, the number of telephone subscribers in India increased from 1,172.34 million at the end of March 2023 to 1,199.28 million at the end of March 2024, registering a yearly rate of growth 2.30%. 

The overall tele-density in India increased from 84.51% at the end of March 2023 to 85.69% at the end of Mar 2024 at a yearly rate of growth of 1.39%.

Telephone subscriptions in urban areas increased from 653.71 million at the end of March 2023 to 665.38 million at the end of March 2024 at a yearly rate of growth of 1.79%. However, urban tele-density declined from 133.81% at the end of March 2023 to 133.72% at the end of March 2024 with yearly rate of decline of 0.07%


Pay DTH subscribers plummet by over 3 million in just one year

Dish TV India Limited, on August 13, reported first quarter FY25 consolidated subscription revenues of Rs. 306.2 crore as against Rs 397.4 crore in the corresponding period a year ago. The company recorded operating revenues of Rs 455.3 crore, down from Rs 500.2 crore a year ago. As subscription revenue dropped, net loss widened to Rs 1.6 crore as against Rs 20.5 crore in the same quarter last fiscal. 

Ad revenue was up 7.2% to Rs 9.7 crore in the June quarter and income from marketing and promotional fees went up by 59.2% to Rs 130.7 crore.

Major sporting events like the IPL and the T20 World Cup dominated the first quarter and saw Dish TV introduce sports centric offers to drive net additions. However, net DTH additions for the quarter remained in the negative zone, Dish TV said, citing increasing viewership of cricket on free streaming platforms as a reason. 

Dish TV India has also been focusing on reviving its DTH base amongst the lower-most category of subscribers. 

Dish TV offers OTT content, bundled in bouquets with price points catering to customers with different entertainment budgets. "Notwithstanding the 70 million non-TV households and the 45 million pay-TV dark homes in the country, growth of linear pay-television homes is expected to be modest as compared to the spurt expected in the number of households choosing OTT content as a complementary source of entertainment over linear television," the company said. 

The ‘Dish TV Smart+’ service offers complimentary OTT content to every content viewer who chooses the Dish TV DTH platform for watching television. Both new as well as existing Dish TV viewers can choose one OTT app, free of cost, from amongst the multiple OTT apps available on the Dish TV platform, every time they recharge their DTH subscription package. Five other, pre-selected OTT apps, are also provided in addition to the app chosen by the customer. 

To boost the reach and awareness of ‘Dish TV Smart+’ the Company carried out an extensive marketing campaign across print, digital, ATL and BTL channels during the quarter. 

The company also said green shoots in rural recovery have started becoming visible and "the distribution network of the Company remains optimistic about the revival in entertainment spends in the countryside, where a significant DTH subscriber base is situated."  

In its exchange filings, Dish TV said, "The Board of Directors (Board) of the Company at its meeting held on July 24, 2024, considered and granted its In-Principal approval to explore and initiate the process of raising of funds through permissible means under applicable laws including but not limited to, by way of, issue of equity shares / convertible bonds / debentures / warrants / preference shares / foreign currency convertible bond (FCCB) / any other equity linked securities and/or any other securities including through preferential issue on a private placement basis, qualified institutional placement or any other methods or combinations thereof, listed or unlisted, for an amount not exceeding Rs. 10 billion, in one or more tranches, subject to such approvals as may be required." 

It added, "The Board also considered and approved incorporation/establishing of a Wholly Owned Subsidiary of the Company in India with such name as may be approved by the concerned approving authority, inter-alia to undertake the business of distribution of products and services through a robust digital platform and also provide ancillary services." 


Dish TV's subscription revenue drops, net loss widens

On Tuesday, Sony Pictures Networks India (SPNI) announced three significant leadership changes, Nachiket Pantvaidya, an industry veteran with a rich and diverse career spanning multiple leading media companies, is now taking over as the Business Head of Sony Entertainment Television (SET). 

This marks his third stint with SPNI. While he joins SET, he will also continue to manage his role as General Manager at Sony Pictures International Productions (SPIP). In his previous roles, at SPNI which included managing P&L for SET, developing iconic franchises, and boosting advertising and distribution revenues. His broader role will enable him to leverage his extensive expertise to deliver exceptional entertainment experiences across both platforms.

Ajay Bhalwankar, who has been with SPNI since 2014, currently heads its Marathi channel. He previously served as the chief creative director for SPNI's flagship General Entertainment Channel, Sony Entertainment Television (SET). Under his leadership, Sony Marathi has seen significant growth, delivering high-quality, engaging content that resonates with Marathi audiences.

Ajay's strategic vision has enabled Sony Marathi to carve a niche in the crowded Marathi GEC market. His emphasis on progressive and relatable content has helped the channel capture a 9% market share. Moving forward, Ajay will additionally spearhead Sony SAB as its business head. With his experience and creative acumen, Ajay is well-positioned to bring fresh and engaging content to Sony SAB's diverse audience, further strengthening the channel's reputation for quality entertainment.

Tushar Shah is the Business Head of English, Bengali, and Infotainment Channels and the Chief Marketing Officer (CMO) at Sony Pictures Networks India (SPNI). He oversees prominent channels such as Sony PIX, Sony AATH, and Sony BBC Earth. With nearly 18 years of experience across two tenures at SPNI, Tushar has driven significant growth and profitability and enhanced viewership. His strategic leadership has also been crucial in the successful reach and expansion of Sony AATH in West Bengal. Going forward, Tushar will additionally oversee Sony MAX, Sony MAX HD, Sony MAX 2, Sony WAH and Sony PAL. His expertise will fuel further innovation across these channels, enhancing their market presence.


SPNI appoints Nachiket Pantvaidya for SET, promotes Ajay Bhalwankar and Tushar Shah

News genre advertising volumes saw a 5% rise in January -June (H1) 2024 as compared to January -June 2023, according to the latest TAM AdEx report. 

In the H1 of 2024, Hindi news was the leading subgenre for advertising with a 19% share of ad volumes, followed by Tamil news with 10%, Hindi regional and Bengali news with 9%, Kannada and Telugu news with 8% each, Assam news with 7%, Marathi news at 6%, and Gujarati and Malayalam at 5% each. 

The top five channel subgenres accounted for 56% share of ad volumes during the first half of 2024.

<strong>Advertisers interest</strong>

In terms of the categories, food and beverage stood as the leading sector with 15% share of News Genre ad volumes, the report added. The category was followed by the Sector at 13%, Building, Industrial and Land Materials/Equipments at 11%, Personal Healthcare at 8%, Personal care, Auto and BFSI at 7%.

The top 10 sectors together added 81% share of ad volumes during Jan-Jun’24. Personal Healthcare observed positive rank shift as compared to the last year.

In terms of the advertisers, Reckitt Benckiser (India) & Hindustan Unilever retained their first and second positions during H1 2024 compared to the same period last year. The top 10 advertisers together added 21% share of ad volumes during the H1 2024. 

Read more: <a href="https://www.storyboard18.com/advertising/3-drop-in-tv-ad-volumes-in-h1-2024-y-o-y-tam-adex-38362.htm">3% drop in TV ad volumes in H1 2024 y-o-y: TAM AdEx</a>

The top 25 advertisers include Reckitt Benckiser, HUL, Patanjali Ayurved, LIC, GCMMF (Amul), SBS Biotech, Ultratech Cement, Godrej Consumer Products and Tata Motors.

The report highlighted that during the first half of 2024, more than 6,000 brands were present on Television. Three out of the top 10 brands were from ‘Reckitt Benckiser (India)’.

The top 10 brands contributed an 8% share of television ad volumes. 

The top 10 brands included Ultratech Cement, Harpic Power Plus 10x Advanced, Kaveri Mehendi, Dr Ortho Oil & Capsule, Dettol Toilet Soaps, Kaveri Easy Fast Hair Color, Lizol All In 1, Rungta Steel Tmt Bar, Policybazaar.Com and Santoor Sandal And Turmeric.

‘Cement’ category saw the highest increase in ad secondages with a growth of 41%.

5% rise in news genre ad volumes in H1 2024 versus H1 2023: TAM AdEx

The Modi government has approved the transfer of licenses relating to non-news and current affairs TV channels held by Viacom18Media in favor of Star India Private Limited. In February this year, RIL-owned Viacom 18 Media and US-based The Walt Disney Company-owned Star India had announced the merger to create a Joint Venture.

In its regulatory filing, Reliance Industries informed the stock exchanges that the Ministry of Information and Broadcasting (I&B), Government of India, vide its order dated September 27, 2024, has granted its approval for transfer of Licenses relating to Non News & Current Affairs TV channels held by Viacom18 Media Private Limited. 
“This in favour of Star India Private Limited subject to conditions laid by Competition Commission of India.”

RIL, Viacom18 and The Walt Disney Company (Disney) signed the binding definitive agreements to form a joint venture that will combine the businesses of Viacom18 and Star India. As part of the transaction, the media undertaking of Viacom18 will be merged into Star India Private Limited through a court approved scheme of arrangement.

The transaction valued the JV at Rs 70,352 crore and RIL had agreed to invest at closing Rs 11,500 crore (approximately USD 1.4 billion) into the JV for its growth strategy.
The merger had got approval from the Competition Commission of India (CCI) in August with few observations.


Huge win for Reliance, Modi govt approves transfer of License from Viacom18 to Star India

As media consumption diversifies across a myriad of platforms during the festive season, advertisers are navigating a complex landscape to maximize their festive season ad budgets. "During festive seasons, such as Christmas, Diwali, or New Year, advertisers face the challenge of ensuring visibility across a variety of media touchpoints while maximizing return on investment (ROI)," says Deleise Ross, Senior VP & Business Head, Mudramax.

TV still commands significant festive ad spend, especially for big-budget campaigns that focus on mass reach. However, advertisers are more selective, prioritizing prime-time slots and integrating with digital strategies (such as using QR codes or encouraging social media engagement). Advertisers are blending their festive campaigns across multiple platforms to create an omnichannel experience. 

In a chat with Storyboard18, Deleise Ross, Senior VP & Business Head, Mudramax, explains how with festive shopping on the rise, e-commerce platforms such as Amazon and Flipkart, and even social commerce platforms see substantial ad spending.  

<strong>Edited excerpts:</strong>

<strong>Given the increasing fragmentation of media consumption, how are advertisers allocating festive ad budgets across different platforms? Can you provide a breakdown of the percentage of spend on TV, digital, including CTV, OTT, and other channels?</strong>

As media consumption becomes increasingly fragmented across various digital, traditional, and emerging platforms, advertisers are adjusting their festive ad budgets to reach their target audiences more effectively. During festive seasons, such as Christmas, Diwali, or New Year, advertisers face the challenge of ensuring visibility across a variety of media touchpoints while maximizing return on investment (ROI). 

TV still commands significant festive ad spend, especially for big-budget campaigns that focus on mass reach. However, advertisers are more selective, prioritizing prime-time slots and integrating with digital strategies (such as using QR codes or encouraging social media engagement). Advertisers are blending their festive campaigns across multiple platforms to create an omnichannel experience. 

For instance, a campaign might start on TV with a teaser, followed by social media engagement and finalized with in-store promotions or online purchases. With festive shopping on the rise, e-commerce platforms such as Amazon, Flipkart, Alibaba, and even social commerce platforms see substantial ad spending. Sponsored product listings, search ads, and retargeting ads on these platforms are essential for brands looking to capture the festive buying surge. It’s safe to say that as media consumption fragments across multiple platforms, advertisers are no longer reliant on one or two major channels. Instead, they are spreading their festive ad budgets across a mix of digital, traditional, and experiential platforms, with a strong focus on personalization, real-time engagement, and measurable ROI

<strong>What is the projected growth rate for OTT advertising during this festive season compared to the previous year? Please quantify the increase in ad spend and identify the key drivers behind this growth?</strong>

OTT advertising in India is projected to grow significantly during the 2024 festive season. A lot of players are scheduling releases / content targeted for this season. The overall OTT audience has expanded by 13.8% from 2023, reaching 547.3 million users, with much of this growth driven by the ad-supported video-on-demand (AVOD) segment, which grew by 21%. This robust growth indicates a continued shift towards free, ad-supported content, as more users engage with OTT platforms for streaming, particularly during festive periods when advertisers ramp up campaigns. The shift reflects how advertisers are increasingly aligning their budgets towards AVOD, capitalizing on the growing number of consumers who prefer free content but are willing to engage with ads. 

<strong>When comparing news channels and GECs, which platform has seen a higher increase in ad rates for the festive season?  Which one is the best bet for advertisers? Can you quantify the percentage difference in ad rates between the two types of channels?</strong>

During the festive season in India, general entertainment channels saw a higher increase in ad rates than News. GEC is expecting a rise of 30–35% in revenue due to a lot of reality TV and impact being scheduled during this festive phase. These channels tend to attract more advertising during the festive period since most of their content is targeted at the mass audience set. This content gives them an edge over the news channel, mking it the best bet for advertisers. News is primarily a frequency builder for certain markets, making it only a fit for the male audience base.

<strong>What are the emerging trends and innovative strategies that advertisers are adopting in their media planning for the festive season?</strong>

Advertisers are focusing on creating seamless experiences across multiple platforms—TV, digital, radio, print, and OOH (Out-of-Home)—to ensure consistent messaging and reach. There is a continuation of integration in digital and traditional channels which enhances brand recall and captures diverse audience segments. From an emerging trends point of view, AI and Data Analytics are what a few advertisers are experimenting with. With this they can create personalised promotions based on browsing behaviour, purchase history & Social Media activity. This helps advertisers be relevant to the consumer and helps increase conversion rates as well

<strong>How much will adex go up, which categories will be big spenders, and which won't be spending much?</strong>

Adex is estimated to increase and go up to 20 – 25% in overall compared to last year, this boost is anticipated from an integrated point of view. Major spenders are E-commerce giants, since a lot of money is allocated to festive sale events like the Great Indian Festival and Big billion-day sale. Auto giants ramp up advertising during the festive season aligning with a lot of new launches and festive offerings. Even consumer durables invest significantly, promoting smartphones, TVs, washing machines, etc. Also, FMCG brands are consistent big spenders during the festive season, promoting festive-themed packaging.

<strong>How are advancements in technologies like AI, impacting media planning and measurement during festive seasons? How are these tools being used to optimize campaigns and track ROI?</strong>

As mentioned earlier, AI & machine learning are revolutionizing the way plans are made, especially during high demand festive periods. With AI brands can understand consumer behaviour from multiple sources, such as website visits, social media interactions and purchasing history. This allows for hyper – segmentation of audience based on demo, interest & behaviour patterns. These tools are being used to forecast demand. This helps advertisers anticipate trends, optimise inventory and allocate budgets to the most effective channels. This helps predict which products or services are likely to gain traction, therein allowing advertisers to allocate ad spends more effectively."


Festive AdEx forecast: E-commerce to dominate spending

With the festive season approaching, illegal betting and gambling platforms are aggressively advertising in India to acquire users. Despite the ban on advertisements of gambling and betting companies, B4U Music, one of India's leading music channels, aired advertisements of the betting and gambling company, Melbet.

On October 3, 2022, the Ministry of Information and Broadcasting issued an advisory to private satellite TV channels stating, “Betting and gambling are illegal activities in most parts of India. As per Paragraph 9 of the Guidelines for Prevention of Misleading Advertisements and Endorsements for Misleading Advertisements 2022, under the Consumer Protection Act, 2019, since betting and gambling are illegal, advertisements for online offshore betting and gambling platforms are also illegal.”

The advisory further clarified, “In this context, it is important to note that according to the Advertising Code under the Cable TV Network Regulation Act, 1995, ads for betting platforms, being illegal activities, cannot be aired on TV channels.”

The Advertisement Standards Council of India (ASCI) has declined to comment on the issue.

Storyboard18 also reached out to B4U Television Network India Limited for a statement. The story will be updated with the company's response. 

A spokesperson from a real-money gaming company stated, “Despite advisories issued by the Ministry of Information and Broadcasting (MIB) and other government bodies banning the advertisement of betting and gambling companies, popular TV channels like B4U Music are violating the law by airing ads of notorious betting firms.”

The spokesperson added, “Melbet is one of the notorious platforms involved in money laundering and tax evasion in our country. The government should take stringent action to curb such activities.”

The All India Gaming Federation (AIGF) has now decided to escalate the issue to the government. Roland Landers, CEO of AIGF, said, “We have advocated against offshore gambling platforms since our inception and have always maintained a zero-tolerance policy toward any activity promoting illegal gambling or betting. We are committed to supporting the government and law enforcement agencies in enforcing these prohibitions.”

Landers continued, “We have an active compliance and monitoring system. By working closely with our members, industry partners, and other stakeholders, we track trends and regularly report instances of illegal activities, including ads from unregulated platforms. While we do not have direct regulatory authority over broadcasters, we actively engage with stakeholders to ensure compliance with advertising laws and guidelines.”

In March 2024, the Central Consumer Protection Authority (CCPA), under the Ministry of Consumer Affairs, issued a strict advisory banning the advertising, promotion, and endorsement of such illegal activities, including betting and gambling disguised as gaming.

Under the Consumer Protection Act of 2019, the CCPA prohibits the endorsement of illegal activities such as betting and gambling.

According to the 2021 Global Report on Corruption in Sport from the United Nations Office on Drugs and Crime (UNODC), the size of the illegal market for betting and gambling is estimated to be around $350 billion and $1.7 trillion, respectively.

Think Change Forum (TCF), an independent think tank, had released a report titled “State of the Betting and Gambling Industry in India.” According to the report, the offshore sports betting market receives an estimated $100 billion annually in deposits from India and has been growing at 20 percent per year in the last three years post-pandemic.

EXCLUSIVE: B4U to face music for airing illegal betting and gambling platform’s ads

Axis Finance, IDBI Bank and IDBI Trusteeship Services have withdrawn their petitions before the National Company Law Appellate Tribunal (NCLAT). The petitions were filed against the NCLT order approving the merger of Zee Entertainment with Sony Pictures Networks India.

The NCLAT has allowed the petitions' withdrawal noting that the NCLT had already recalled its earlier order of August 10, 2023, approving the merger of Zee Entertainment with Sony Pictures Networks India.

Earlier in September 2024, Zee Entertainment Enterprises Ltd. (ZEEL) officially withdrew its composite scheme of arrangement with Culver Max Entertainment and Bangla Entertainment Private Limited (BEPL), following a settlement. The National Company Law Tribunal (NCLT) approved the withdrawal. The decision follows a settlement between the parties involved.

The NCLT passed an order inter alia allowing the withdrawal of the Scheme and recall the sanctioned order dated August 10, 2023 passed by the NCLT in respect of the Scheme.

In August 2024, Zee and Sony announced that they have arrived at a comprehensive non-cash settlement, amicably resolving all disputes related to the Merger Co-operation Agreement and the Composite Scheme of Arrangement.

In its filing with stock exchanges, ZEEL explained that the merger, initially sanctioned in August 2023, has now been terminated due to mutual consent.

As part of the settlement, the companies have mutually agreed to withdraw all respective claims against each other, in the ongoing arbitration at the Singapore International Arbitration Centre, and all related legal proceedings initiated in the NCLT and other forums.

The NCLT, Mumbai, approved the recall of the merger order on 5th September 2024, allowing Zee to withdraw the scheme.

<a href="https://www.storyboard18.com/how-it-works/breaking-zee-and-sony-resolve-all-disputes-over-failed-merger-40702.htm">Read more: ZEE and Sony resolve all disputes over failed merger</a>


Zee-Sony merger end: Axis Finance, IDBI withdraw petitions at NCLAT

Disney Star India has taken its fight against piracy to the international stage. The Dubai police recently raided the operations of an alleged rogue Internet Protocol Television (IPTV) provider. The raid resulted in the seizure of IPTV boxes containing 12,000 pirated premium channels and content from various rightsholders.

According to sources, Disney Star filed a criminal complaint in Dubai against a rogue IPTV provider, primeproott.com, which was selling IPTV boxes through its website. The complaint states that the rogue operator charged Rs 5,750 for the box and Rs 2,300 for access to the application.

Dubai police conducted the raid on September 16, 2024, leading to the seizure of the IPTV boxes and the arrest of the pirate. The illegal sale of these IPTV boxes undermines the principles of broadcast licensing and negatively impacts the fees broadcasters pay for sports and entertainment rights.

The Disney Star's anti piracy team is currently in Dubai for further such crackdowns and is closely working with law enforcement agencies to tackle piracy in the MENA region. The arrested accused is considered as one of the notorious individual involved in distribution of pirated content to large number of users. The Dubai police is also investigating if other individuals are also linked to the case. 

A source privy to the details of the case told Storyboard18, "Following the police raid, the website has been taken down. Such actions by Dubai police are highly commendable as they will deter others from engaging in content piracy."

Earlier, in June 2024, the Ahmedabad Police, along with Disney Star's anti-piracy team led by Major Ashok Yadav, dismantled a network of illegal streaming websites broadcasting ICC T20 World Cup matches. This operation resulted in the shutdown of platforms like magicwin.games and magicwin.com, which were not only streaming live cricket matches but also promoting illegal betting activities.

Breaking: Major IPTV piracy ring busted in Dubai following Disney Star complaint

Zee Entertainment Enterprises Ltd. (ZEEL) has officially withdrawn its composite scheme of arrangement with Culver Max Entertainment and Bangla Entertainment Private Limited (BEPL), following a settlement. The National Company Law Tribunal (NCLT) approved the withdrawal. The decision follows a settlement between the parties involved.

The NCLT passed an order inter alia allowing the withdrawal of the Scheme and recall the sanctioned order dated August 10, 2023 passed by the NCLT in respect of the Scheme. 

In August 2024, Zee and Sony announced that they have arrived at a comprehensive non-cash settlement, amicably resolving all disputes related to the Merger Co-operation Agreement and the Composite Scheme of Arrangement.

In its filing with stock exchanges, ZEEL explained that the merger, initially sanctioned in August 2023, has now been terminated due to mutual consent. 

As part of the settlement, the companies have mutually agreed to withdraw all respective claims against each other, in the ongoing arbitration at the Singapore International Arbitration Centre, and all related legal proceedings initiated in the NCLT and other forums.

The NCLT, Mumbai, approved the recall of the merger order on 5th September 2024, allowing Zee to withdraw the scheme.

<a href="https://www.storyboard18.com/how-it-works/breaking-zee-and-sony-resolve-all-disputes-over-failed-merger-40702.htm">Read more: ZEE and Sony resolve all disputes over failed merger</a>


NCLT approves recall of Zee-Sony merger order, allowing ZEEL to withdraw the scheme

Challenges are mounting for Prasar Bharati as it nears the launch date of its over-the-top (OTT) platform, with cable TV operators and a handful of private broadcasters raising red flags and pushing for more clarity in the existing guidelines.

Prasar Bharati's move into the OTT space not only is poised to stir up competition for the other OTT players but is also distressing linear TV channels in the market as they seek holistic regulatory review because of the pubcaster’s ability to integrate its OTT with traditional TV offerings, potentially leading to market distortions. 

As per a source close to the development, broadcasters are expected to actively lobby for regulatory changes over the next few weeks.

Read more: <a href="https://www.storyboard18.com/how-it-works/prasar-bharati-ott-likely-to-be-launched-on-september-15-exclusive-41501.htm">Prasar Bharati OTT likely to be launched on September 15: EXCLUSIVE</a>

“Broadcasters are prepping their legal arsenals to challenge Prasar Bharati. Complaints, petitions, and a push for stricter separation of public vs. private sector ventures are all on the table”, an industry source told Storyboard18. 

And the reasons are many, other than the obvious that almost all top broadcasters in the country today run their own subscription-based or ad-based OTT platforms like Zee5, Sony Liv, and Jio-Cinema.

For one, Prasar Bharati is not subject to TRAI regulations and the Cable TV Act since the Prasar Bharati Act grants autonomy to All India Radio and Doordarshan (DD). Secondly, the satellite TV channels can't ideally be part of Prasar Bharati's OTT platform because according to the Uplinking & Downlinking guidelines, satellite TV channels can only provide signals to registered DPOs or licensed service providers including MSOs, DTH, IPTV, and HITS operators.

The primary overlap between traditional TV distribution and OTT lies in how content is delivered to the audience. Traditional TV distribution uses means like satellite or cable to delivery live or scheduled content. This is governed by strict regulations like licensing, carriage fee, content guidelines etc.  On the other hand, OTT platforms use the internet for delivering on-demand content which has more flexibility in delivery, user choice and less regulatory oversight as compared to traditional / satellite TV. 

“When Prasar Bharati enters into OTT space it creates overlap where a public broadcaster content is available via both, traditional or internet route, both governed by different regulatory frameworks creating confusion and perceived unfairness. Perceived unfairness is on account of concerns around a not so-level playing field for private players vs Prasar Bharati,” highlights Shalabh Saxena, Partner, Grant Thornton Bharat.

Also, the issue lies in the ambiguity around whether the current guidelines, which are designed for satellite TV apply to digital platforms like OTT. There’s a lack of clarity on this, and Prasar Bharati’s OTT venture might push the boundaries of these regulations, necessitating a need for updated guidelines.

“Moreover, OTT platforms are built on a global distribution model, where content is available across regions without the same geographic and infrastructure constraints as satellite TV. Applying satellite uplinking and downlinking rules designed for linear TV could inadvertently stifle the innovation and flexibility that digital distribution offers. It could also lead to an uneven playing field for private broadcasters,” Saxena explains.

To be sure, it is not necessarily the question around violation of established rules but the blurring of lines that occurs because traditional rules don’t account for the on-demand nature, scalability, and accessibility of OTT platforms, which are significantly different from the linear, scheduled nature of satellite TV.

The recent letter to the Ministry of Information & Broadcasting (MIB) from the All India Digital Cable Federation (AIDCF) stems from similar concerns and further emphasises Prasar Bharati’s possible disruption into the traditional television ecosystem by bypassing established norms. 

Also, “cable operators and private broadcasters are wary of increased competition, fearing that Prasar Bharati’s OTT platform may divert viewers from traditional distribution methods, thus threatening the revenue models based on subscriptions and advertising,” adds Siddharth Chandrashekhar, Advocate & Counsel, Bombay High Court.

A holistic regulatory review might be necessary to balance public and private interests.

“If the market isn’t carefully regulated, we might see broadcasters tapping out. Prasar Bharati’s OTT is the elephant in the room, and it’s sitting on the competition,” remarks Chandrashekhar.

The counter-OTT offensive broadcasters are likely to challenge Prasar Bharati’s move through regulatory petitions and lobbying, arguing that public funds give it an unfair advantage, he further shares. 

“While there is a strong argument for Prasar Bharati to withdraw provisions that directly compete with private players, a balanced approach may involve clearer regulatory frameworks rather than a complete rollback,” he argues.

If broadcasters have their way, Prasar Bharati’s OTT might just be buffering indefinitely, say insiders.

The move is also likely to create unfair competition for traditional distribution channels like MSOs and DTH operators. 

“Offering satellite TV channels on its OTT platform could undermine the business models of traditional distributors like MSOs and DTH operators. The absence of specific regulations for Prasar Bharati's OTT platform could create a situation where its activities are not subject to the same level of scrutiny as licensed service providers,” highlights Alpana Srivastava, Partner, Desai & Diwanji.

Broadcasters also fear that Prasar Bharati's access to content, including regional and local language content, could limit the availability of exclusive content for private broadcasters. 

Further, the platform could divert viewers away from traditional television channels, negatively impacting the revenue of private broadcasters.

One of the broadcasters, however, highlighted the news channels are very gung-ho about the move and are very keen to onboard because to participate in DD Free Dish, they have to go through the auction process, which is not the case for the upcoming OTT.

<strong>Heating up the OTT space</strong>

Prasar Bharati's move into the OTT space is poised to stir up competition in India's streaming market where established players such as Netflix, Amazon Prime, and Disney+ Hotstar dominate. 

With access to the extensive archives of DD and All India Radio, Prasar Bharati offers culturally rich and diverse regional content. This includes government-supported programs, educational material, and news, presenting a refreshing alternative to the entertainment-centric offerings of mainstream OTT platforms.

Additionally, leveraging its strong presence in rural areas and regions, Prasar Bharati is well-positioned to serve an underserved segment that many OTT platforms have overlooked. Offering content in regional languages could set it apart as a major differentiator, points out Jasmine Damkewala, Senior Partner at Circle of Counsels and advocate-on-record, Supreme Court of India.

It is to be noted that the Prasar Bharati OTT is said to be free-of-cost for the first few years.

“Should Prasar Bharati’s OTT service provide free or low-cost access (similar to DD Free Dish), it could attract a broad audience that finds paid streaming services expensive. This could potentially disrupt the pricing models of other major players,” Damkewala adds.

Further, supported by the government, Prasar Bharati could enjoy regulatory benefits, including favorable distribution and licensing policies, giving it an edge over purely private OTT platforms.

Prasar Bharti, last month introduced a 'Content Sourcing Policy' for linear channels and digital platforms, outlining procedures for sourcing and acquiring content. This includes commissioning of new programs or partnerships with external producers to obtain a continuous source of programs. 

The OTT platform will be operating on a revenue-sharing basis, with content providers receiving 65% of the net revenue from subscription or transaction-backed content, while Prasar Bharati will retain 35%. The same revenue-sharing model will apply to the satellite channels onboarded to the platform. Advertisements on the OTT platform will be managed by Prasar Bharati, with any unsold ad inventory shared between Prasar Bharati and the broadcaster in a 65:35 ratio.

<strong>Eyeing the trophy</strong>

In pursuance of its OTT launch, Prasar Bharati has even established a Sports Rights Negotiation Committee (SRNC) to bid for and negotiate the rights to major sporting events and has jumped head-on into the competition. 

It will be constituted with officers from the Sports Division, Finance Division, and Sales Division after the approval of CEO, Prasar Bharati. The officer in charge of the Sports Division shall be the Chairperson of the Committee.

Sports rights are often owned by the organisers, who only sell them through exclusive bidding and negotiating processes.

The pubcaster is likely to now participate in such bidding or may approach organisers for sourcing the rights of sporting events through negotiation.

It is to be noted that through the enactment of the Sports Broadcasting Signals (Mandatory Sharing with Prasar Bharti) Act, 2007, private broadcasters are required to share live feeds of events deemed to be of ‘national importance’ with DD, ensuring that every Indian could tune in without needing a pricey subscription.

Section 3(1) of the Act has ensured that no one was left out of the action, with DD broadcasting these feeds across its terrestrial network for free.

Marquee properties like the Indian Premier League (IPL) is not part of the 'games of national importance', as of now.

If, by any means, Prasar Bharati amends the Sports Act to include the word ‘digital’, the sports broadcasters or digital rights holders would also be required to share the feed with Prasar Bharati OTT— which according to the broadcasters will be the end of sports broadcasting and digital streaming in India. 

Consequently, broadcasters also fear that the pubcaster can also amend what constitutes under 'the sports of national importance' to include some of the biggest sporting events like IPL and other commercial leagues.

However, at the moment, according to a senior official, there is no word out from Prasar Bharati’s side whether the government will amend the Sports Act or not.

Karan Taurani, SVP at Elara Capital, doesn't foresee Prasar Bharati's OTT as a threat in the OTT, especially in the sports business.

"I don't foresee enough amount of traction for its OTT, although the pubcaster might try to negotiate certain deals but a lot has to do with the user's experience point of view of the app, how it scales up, and the arrangements they have with BCCI because it is a hefty amount of money; and it is doubtful that Prasar Bharati would be able to operate sports content for free (alike Jio). Also, the OTT market is overcrowded, and only a small portion of the audience at the extremely low end might opt for Prasar Bharati's OTT because in the OTT business, you need a lot of investments in user experience, customer acquisition, and content quality- all put together," he points out.

At present, Disney Star holds four-year rights (2024-2027) for the International Cricket Council's (ICC's) tournaments which it committed for $3 billion, while Viacom18 secured media rights for the Board of Control for Cricket in India (BCCI)-run international and domestic matches for ₹5,963 crore over the next five years.

With Reliance Industries and The Walt Disney Company announcing a strategic joint venture worth a staggering $8.5 billion, merging Viacom18 and Star India- the new behemoth now controls 75-80% of the sports broadcasting market and a major pie of the streaming market in India.

Broadcasters prep legal arsenals to challenge Prasar Bharati's OTT plans

The advertising volume on the movie TV channels has decreased by 4% in the first half of 2024 (i.e January to June) as compared to the first half of 2023, according to the TAM Adex report.

Both H1 of 2024 and 2023 had a total share of 21% for the ad volumes in the movie TV channels. 

In terms of the sub-genres of the movie channels, Hindi movies had the highest share of ad volumes in H1 2024 at 41%, followed by Bhojpuri movies at 10%, Kannada and Tamil movies at 9% and Bengali movies at 8%.

The top two subgenres retained their respective positions during H1'24 compared to H1'23. Meanwhile, the top five subgenres accounted for more than 75% share of ad volumes during both periods.

In terms of leading sectors, food and beverages led the list with a 28% share, followed by personal care/personal hygiene with 21%, personal healthcare at 8%, household products at 8%, services at 8%, hair care with 7%, laundry with 6%, BFSI and auto a 2% each.

The report added that the top 10 sectors together added 94% share of ad volumes during the H12024.

In terms of the advertisers, HUL was the leading advertiser with a 20% share of ad volumes, followed by Reckitt Benckiser with a 12% share.

The report also noted that prime time was the most preferred time band in the movie genre followed by afternoon and morning time bands.

Also, ad commercials of 20-40 seconds were preferred for advertising on movie channels during both periods. 

The report noted that in H1'24, the < 20-second ad size in the movie genre witnessed a 3% growth in share compared to H1'23.


Ad volumes on movie TV channels down by 4% in H1 2024

It was in 2017 that Prasar Bharati officially announced its plan to launch the DD Kids TV channel, with cartoons based on Indian culture, mythology, and ethos and had mentioned about procuring and locating local content for the proposed channel. 

Then Doordarshan Director General Supriya Sahu said that a launch like this would push more families to also opt for Free Dish and increase its subscriber base, to a great extent. 

Years went by and in 2022, Mayank Agrawal, Prasar Bharati's then CEO spoke of making its debut in the next one year.

Cut to August 2024, efforts seem to be 'still in progress'. 

The launch of the channel is delayed further with the pubcaster's plan to soon launch its own OTT platform.

Sources close to the development told Storyboard18 that Prasar Bharati is in fact yet to even begin content sourcing for DD Kids at a scale, despite the years of delay. 

The main reason for the holdup is the pubcaster's focus on securing partnerships for its upcoming OTT platform's kids' content, taking priority over the TV channel's development.

"It is delayed because they are contemplating a lot of other things and have started to work on the OTT channel where the kids' content is going to be there, slowly the migration is happening towards the digital terrestrial. So probably soon after that, we will see the emergence of DD Kids," said one of the sources.

"For a kids channel they need to commission or procure content and I doubt it has been procuring any programming for a long time," adds Partho Dasgupta, Managing Partner, Thoth Advisors and ex-CEO, BARC India.

Ashish S. Kulkarni, Chairman of FICCI for Animation, Visual Effects, Gaming and Comics Forum and Founder, Punnaryug Artvision confirmed that the content acquisition and the validation of kids' content has already started for the upcoming OTT platform. "A large number of animators and creators have been already approached for content to be uploaded there."

The direct-to-home platform of Doordarshan, DD Free Dish's expansive reach brings a heterogeneous mix in audience profile combining both urban and rural areas, making it a must-have platform for broadcasters targeting national advertisers with a wide target audience. But has no channel for kids. As it reaches around 50 million homes at present, there is more of a reason for having a channel for children.

Additionally, a channel like DD Kids gives a push and encouragement for Indian stories and culture to travel globally, shares Kulkarni.

"In the absence of a public broadcaster in this space, producers like us have been confined to selling content for kids only to the pay TV channels, which reduces the potential to half. At the same time, most of the IP ownership gets transferred to the pay TV and the producers are not able to retain the rights of the shows with them," he adds.

During a recent meeting with the Minister of I&B, Railways, and MeitY, Ashwini Vaishnaw, Kulkarni proposed a content reservation policy for kids’ content- 80% of such content should be produced domestically in India.

The industry has long advocated for the establishment of DD Kids, a dedicated channel that would significantly enhance the ecosystem for children's content. 

Prasar Bharati runs a YouTube channel for children but it is limited to the digital medium.

Launch of DD Kids as a full-fledged channel with an appropriate budget allocation to be sustained for the next 10 years, has also been proposed to Vaishnaw. 

This will, according to Kulkarni, give way to program acquisition, greenlighting of new shows, co-productions, and marketing.

In a previous interview with Storyboard18 Gaurav Dwivedi, CEO, Prasar Bharti had said, “We are in the process of getting additional transponders so that the range can be further increased and there is more bandwidth available and hopefully from the next year we should be able to offer even a greater variety of content to the viewers by allowing a larger number of channels to come.” 

Although, there has been no date or timeline assigned to the launch of DD Kids. Experts say pubcaster's OTT would come before the TV channel release is even finalised.


Prasar Bharati's OTT plans likely to push DD Kids launch further: Exclusive

Reliance Industries Chairman and Managing Director Mukesh Ambani on Thursday called the $8.5 billion merger of Disney India with RIL the "beginning of a new era". During the 47th Annual General Meeting of Reliance Industries, Ambani said, " We are combining content creation with digital streaming. Our digital-first approach will deliver unparalleled content at affordable prices. We will cater to every consumer's tastes. We will provide world-class digital entertainment across the spectrum. We are excited about this partnership".

"I warmly welcome Disney to the reliance family," the billionaire added.

This week, the Competition Commission of India (CCI) approved RIL's Rs 70,350 crore merger with Disney's India media asset.

<a href="https://www.storyboard18.com/television/cci-approves-disney-star-and-viacom18-merger-40805.htm">CCI approves Disney Star and Viacom18 merger</a>

"Commission approves the proposed combination involving Reliance Industries Ltd, Viacom18 Media Pvt Ltd, Digital18 Media Ltd, Star India Pvt Ltd, and Star Television Productions Ltd, subject to the compliance of voluntary modifications," the CCI said in a post on X platform.

In February 2024, Viacom18, a unit of RIL, and Disney's Star India merged their media businesses in a bid to create India's largest TV and digital streaming entity. With the merger, Viacom18’s media operations will be merged with Star India Pvt Ltd (SIPL).

	
<a href="https://www.storyboard18.com/brand-marketing/reliance-retail-to-expand-grocery-stores-in-small-towns-eyes-luxury-jewellery-segment-40908.htm">Reliance Retail to expand grocery stores in small towns, eyes luxury jewellery segment</a>

Disney-Star holds the exclusive digital and TV rights to ICC events till 2027 and IPL broadcasting rights till 2028. Whereas Jio has secured IPL streaming rights.

Now, after the merger, the new board will have 10 members, with RIL nominating five, Disney three, and two independent directors. Nita Ambani will assume the role of Chairperson of the merged entity, and former Walt Disney executive Uday Shankar will be the Vice Chairperson.

In the latest joint venture, RIL holdings would be 16.34%, Viacom18 at 46.82%, and Disney at 36.84. However, RIL would retain control under the merger terms.

'Beginning of new era in India's ent industry': Mukesh Ambani on RIL-Disney $8.5 billion merger

The debate around regulating OTT communication apps like WhatsApp, Telegram, and Google Meet in India has heated up over the last few months—with telecom companies, including Jio, Airtel, and Vodafone, arguing that OTT apps should be regulated under the Telecommunications Act, 2023, as they rely on telecom infrastructure.

Meanwhile, the likes of Broadband India Forum (BIF), National Association of Software and Services Companies (NASSCOM) and the Internet and Mobile Association of India (IAMAI) have argued that OTTs are already governed by the Information Technology Act 2000. In fact, last year, the then telecom Minister Ashwini Vaishnaw also had clarified that OTT apps are governed by the IT Act and not the Telecom Act.

Despite that, telecos are pushing for OTT services to be regulated on par with themselves to ensure a ‘level playing field’— subjecting OTTs to a similar licensing regime and taxation as telcos.


Read more: <a href="https://www.storyboard18.com/digital/coai-asserts-ott-apps-like-whatsapp-fall-under-telecom-act-citing-national-security-reasons-40648.htm">COAI asserts OTT apps like WhatsApp fall under Telecom Act citing 'national security' reasons</a>


The Telecom Regulatory Authority of India (TRAI), which released Consultation Paper on the framework for service authorisations to be granted under the Telecom Act, in July, has now been actively discussing the regulation of OTT communication services and held an open house discussion on August 21, amid the ongoing debate. The Authority is likely to announce its recommendations over the next two- three weeks, sources close to the development revealed to Storyboard18.

The debate itself is pretty heated—on one hand, these apps offer services similar to traditional telecoms, so applying the same rules, especially around security and data protection seems logical. On the other hand, regulating them like telecoms could stifle the very innovation and flexibility that make these apps so popular and might lead to higher costs for users, points out Payal Roy Choudhuri, Director of Marketing, Data Dynamics.

This issue has become even more urgent with WhatsApp’s massive user base in India being scrutinised for data-sharing practices, especially under India’s new Digital Personal Data Protection (DPDP) Act, 2023. 

Although she adds that OTT platforms and traditional telecom operators aren’t playing by the same rules. 

“Telecom companies rely on expensive spectrum, while OTT apps use the internet’s infrastructure, which operates under a completely different set of rules. Trying to fit these digital platforms into a telecom-centric framework could lead to unnecessary legal and operational headaches, without really improving user protection," she notes. 

<strong>The Act and The Argument</strong>

 
As per the Telecom Act, which is for feedback from the public, "telecommunication" is defined as “transmission, emission or reception of any messages, by wire, radio, optical or other electromagnetic systems, whether or not such messages have been subjected to rearrangement, computation or other processes by any means in the course of their transmission, emission or reception” which through its plain reading interpretation means that OTT apps do not fall within in its ambit, say experts.

However, during the recently held open house, Cellular Operators Association of India (COAI) noted that the new Act defines OTT platforms as ‘access services’, so they ideally should therefore be brought under the licensing framework and require authorisation.
 
“Bringing OTT communication services under the authorisation/licensing regime would ensure fair competition, address potential biases, and foster a level playing field within the telecommunication industry," the body said.

It also has said that the telcos are also obligated to comply with the Telecom Commercial Communication Customer Preference Regulations, 2010, and have invested substantially in setting up their systems to prevent unsolicited communications as required by the regulator’s regulations. 

Additionally, telecom companies have also had to invest heavily in setting up the infrastructure for lawful interception and monitoring.

“Despite these investments, the unregulated application-based communications services being rampantly provided completely bypass this apparatus which is a big security threat to the nation,” it added.

Unlike telecoms, the OTT service providers are not obligated to comply with QoS and security regulations which gives them an edge over the compliance mechanism and is “inherently damaging to all the regulatory efforts to ensure these security paradigms”, COAI further noted.

At the same time, Alpana Srivastava, Partner, Desai & Diwanji, notes that the legal implications of regulating OTT services under the Telecom Act, 2023, are not entirely clear. The Act introduces enhanced government powers to intercept communications and manage telecom services, which could potentially affect how OTT platforms operate. 

The Act primarily targets traditional telecom services and networks, leaving OTT services under the purview of existing IT regulations. “OTTs have also stressed that telcos operate solely at the network layer while OTTs function exclusively at the application layer,” she points out. 

Further, considering the position of the Department of Telecommunications (DoT), that it does not intend to regulate OTT services under the Telecom Act, 2023, lends and interesting twist.

"The DoT has clearly stipulated that OTT services being excluded from the purview of the Act was a deliberate decision and made in order to avoid overlapping regulations and to maintain a clear distinction between traditional telecom services and OTT services. Indeed, the term OTT has not been defined under the Act and the only way to bring OTT services under the umbrella of the Act would be to expand on the definition of “message” and “telecommunication” under Section 2 thereof," says Abhay Chattopadhyay, Partner, Economic Laws Practice. 

It is important to note that as of August 2024, there hasn't been a significant update on the TRAI consultation paper regarding the regulatory mechanism for OTT communications and selective banning. The process is still ongoing, and TRAI is likely reviewing the comments and counter-comments submitted by various stakeholders on various key points such as scope of regulation, licensing requirements, quality of service standards, interoperability, consumer protection, taxation, and the criteria for selective banning.


television

EXCLUSIVE: B4U to face music for airing illegal betting and gambling platform’s ads

Featured

QUANTUM-BRIEF

NCLT approves recall of Zee-Sony merger order, allowing ZEEL to withdraw the scheme

QUANTUM-BRIEF

Broadcasters prep legal arsenals to challenge Prasar Bharati's OTT plans

QUANTUM-BRIEF

Ad volumes on movie TV channels down by 4% in H1 2024

QUANTUM-BRIEF

Prasar Bharati's OTT plans likely to push DD Kids launch further: Exclusive

QUANTUM-BRIEF

'Beginning of new era in India's ent industry': Mukesh Ambani on RIL-Disney $8.5 billion merger

QUANTUM-BRIEF

TRAI to soon release recommendations on regulating OTT apps under Telecom Act: Exclusive

More from Storyboard18

Television

PM Modi positive on resolving issues related to broadcasting industry

Television

General entertainment channels' ad volume dip 6% in H1 2024

How it Works

Indian broadcasters' Himalayan challenge in Nepal

Television

NP Singh’s emotional farewell at SPNI, a grateful goodbye to his team

Television

Excl: Photos from NP Singh’s last day in SPNI office

Television

Sony channels back on Tata Play's DTH after 20 days of blackout

How it Works

Broadcasters' resistance casts shadow on ISEC's prospects for this year: Exclusive

How it Works

Now Streaming: Shark Tank India, a pursuit of ratings at the cost of integrity?

Television

Pay DTH subscribers plummet by over 3 million in just one year

Television

Dish TV's subscription revenue drops, net loss widens

Brand Makers

SPNI appoints Nachiket Pantvaidya for SET, promotes Ajay Bhalwankar and Tushar Shah

Television

5% rise in news genre ad volumes in H1 2024 versus H1 2023: TAM AdEx