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<ul><li><keyword id="148198" type="PERSON" weightage="20" keywordseo="zee-cafe">Zee Cafe</keyword> has recently completed 20 years.</li><li>We caught up with <keyword id="8227950" type="UNKNOWN" weightage="20" keywordseo="Kartik-Mahadev">Kartik Mahadev</keyword>, Business Head, Premium Channels, ZEE to talk about the channel’s journey in India, some key milestones and how it has succeeded in staying relevant at a time when a lot of <keyword id="659577" type="PERSON" weightage="20" keywordseo="TV-viewership">TV viewership</keyword> is slowly gravitating towards OTT platforms. </li></ul> Much before OTT platforms brought content from across the globe to our drawing rooms, English GECs like Zee Café played a pivotal role in introducing us to some of the best global content. Over the years, the channel has kept viewers glued to their screens with shows like Seinfeld, Friends, The Sopranos, Mad About You, among many others. Recently, the channel completed 20 years and we caught up with Kartik Mahadev, Business Head, Premium Channels, ZEE to talk about the channel’s journey in India, some key milestones and how it has succeeded in staying relevant at a time when a lot of TV viewership is slowly gravitating towards OTT platforms. Edited excerpts: Q) Tell us a bit about Zee Cafe's 20-Year journey. What have some of the major highlights been? Two decades ago, while the Indian audience was still warming up to international content, Zee bolstered a new era of English programming on television with the launch of what was then called Zee English, later rebranded as Zee Café. Since inception, it has been our sole endeavor to bring the best of English entertainment to the Indian viewer, with iconic shows like Seinfeld, Friends, The Sopranos, Mad About You and Emmy winners - ER and The West Wing. Circa, early 2000s, consumption of English entertainment was still at a nascent stage in India where those who speak, understand and appreciate international content on television formed just a sliver of the pie. Today, this is has grown into a ‘Glocal’ community. Zee Café has played a pivotal role in shaping this genre through compelling content and shaping the aspirations of this community of international content viewers. Zee Café has driven several successful innovations for a delightful viewer experience. Be it through the marquee offering ‘Along With The US’ launched in early 2000s where the latest international shows like The Big Bang Theory, Grey’s Anatomy and Supergirl were aired along with its US release or the introduction of ‘binge-watching’ as a format with ‘House of Cards S3’ and subsequent properties like ‘BBC First’ and ‘Breakfast To Bed Binge’ – Café has always catered to the evolving consumer needs. As consumption appetite for English entertainment evolved, we introduced compelling dramas as part of properties like Hollywood On Café that promised the scale and grandeur of Hollywood on television. The BBC First Dramas on Café added a complex and visceral mix of content with a TV First approach. We also provided variety of content with locally-nuanced content with celebrity chat shows like ‘Look Who’s Talking with Niranjan’ in the past and shows like ‘Not Just Supper Stars’ and ‘Starry Nights’ featuring A-list Bollywood celebrities more recently. Today, our stable subscriber base is an indication of the channel’s strength amongst a loyal set of consumers who choose the channel for its strong legacy of content. Our promising 20-year journey has been one backed by the support of many individuals and studio partners in shaping the English entertainment landscape, with whom we celebrate this milestone. Their contribution has enabled us to truly entertain our audience by creating togetherness moments and sparks conversations around content. Q) A lot of <keyword id="1368992" type="PERSON" weightage="20" keywordseo="English-GEC">English GEC</keyword> audience has been steadily shifting to OTT platforms over the years. What are you doing to ensure stickiness to your channel? There is no doubt that the digital video platforms are here to stay. However, today we live in an AND world, not an OR world. English entertainment (Movies + GEC) on Television caters to 170 million+ viewers (BARC @ All India 2+ U+R, Week 01'20- Week 29' 20). The lockdown has showed us that the viewers choose to watch television for the curated content experience it provides, to not just individuals but the entire family. Studies reveal that consumption of overlapped content between TV and OTT grew on television from 59% pre-NTO to 82% contribution post-NTO for sitcom, drama, reality genres. It naturally follows that navigation between screens is seamless and consumption on TV and digital is complementary in nature. The surge in TV viewership post lockdown tells us that television is the trusted medium of entertainment. Television provides youth-focused brands and premium brands the opportunity to associate with a premium subscriber base that is defined basis their content choice. This sort of content and platform synergy for brands to associate with, is not available on OTT platforms where English content is behind paywall. While content consumption on OTT is growing, it is the Hindi and regional original content that are the primary drivers of this growth. Television is and will continue to be the destination for brands to build long-term content association with a premium subscriber base through exclusive content on a channel like Zee Café. The locally nuanced shows such as Starry Nights Gen Y, also provides an opportunity to drive branded content integrations in an organic manner. When it comes to OTT, content discovery is and will continue to pose a challenge to viewers looking to unwind with quality content. This is where television channels that understand their consumer and curate well, delight the viewer. Post lockdown, the channel has added 256 hours of content including latest dramas such as ‘Nancy Drew’ and ‘Evil’, iconic sitcoms such as ‘Seinfeld’ and ‘I Dream of Jeannie’ along with the original airings of the celebrity chat show Starry Nights GEN Y. While marquee international shows bring the best of the world to our viewers, locally produced content allows us to add a new dimension from the Indian point of view. In the future, we have a robust line-up of light-hearted and locally nuanced content that help build relevance from an Indian context. Q) While TV viewership saw a boost during the lockdown, how was it for Zee Cafe? The lockdown has showed us that the viewers chose to watch television for the curated content experience it provides, to not just individuals but the entire family. We observed a trend in audience preferences towards familiar, light-hearted content amidst the uncertainty and gloom. We were early to spot the trend and introduced tactical changes in our programming. ‘Nostalgia’ as a genre clearly emerged as a big theme across television with several successful examples in Hindi GEC. Spotting the trend early, we introduced the iconic sitcom of the 90s– Seinfeld along with the 60s sitcom ‘I Dream Of Jeannie’ which resonated with the viewers. Conversational shows and iconic sitcoms along with easy to watch movies have performed well with an increase in time spent on Zee Café. We saw a growth in non-prime time viewing as well and hence to keep viewers entertained through-out the day, we introduced back-to-back episodes of MasterChef Australia S8, Everybody Hates Chris and The Big Bang Theory S12 on Zee Café along with newer dramas like Nancy Drew and Evil. Q) How are you trying to bring advertisers back to the channel? These have been uncertain times across several consumer businesses. During the lockdown period, only essentials were being sold which had an impact on advertiser income. Through the lockdown, TV remained a trusted medium for entertainment and information for the family, witnessing significant growth in viewership. With the relaxations in lockdown, economic activity is resuming, and we need to drive effective customer solutions for future growth. We are in a strong position as far as subscription revenue is concerned with a stable subscriber base and growth in contribution of HD subscribers. This is an indication of its strength amongst a homogeneous set of consumers who chose Zee Café for its strong legacy of content. Television will continue to be the ideal platform for advertisers looking to reach out to their consumers. Youth-focused premium brands can pick and choose fresh content that they can associate with to reach a premium subscriber base given a sharply segmented audience that English entertainment on television attracts while similar content on digital is behind paywall. Recently, for the premiere of Jumanji: The Next Level on &amp;flix, Zee Café and &amp;PrivéHD, and a simulcast in Hindi on Zee Cinema, we saw several reputable brands onboard such as Kia Motors, Ariel, Amazon, Airtel 4G, Xiaomi, Protinex and ITC along with Bingo Potato chips, Hyundai Creta, Behrouz Biryani, Bharat Matrimony onboard for the Hindi simulcast. The premiere garnered an overwhelming response with an incredible 34 million reach making it one of the biggest premieres in the last 12 months. Q) What have some of your growth drivers been? What has helped Zee Cafe stay relevant and win against the test of time? With out-of-home entertainment options being limited in the new normal, television will continue to be the trusted entertainment destination for individuals and families. Interestingly, India is the second-largest English speaking country in the world (BBC India Report - 2012).Thus, in the long run, regional markets will continue to fuel new user growth for English entertainment. There is a whole set of audience moving from regional to English content as they become more comfortable with English as a professional, conversational language. We have designed unique offerings such as locally nuanced content on Zee Café that has helped drive resonance and enabled adoption of English content amongst an aspirational, English comfortable audience. Q) What are your strategies towards bringing more viewers to your channel, enhancing their experience and also how are you looking at driving higher engagement? Our content philosophy was built around ‘All Eyes On New’, with an endeavor to deliver fresh content or a fresh perspective to iconic content. With curation as our core focus, we’ve constantly introduced new programming formats and new properties that best suit the needs of our ever-evolving viewers. With content blocks such as ‘BBC First’ which brought complex British dramas for the first time to India or ‘Along With The US’ where our viewers watched fresh content series along with its international telecast; we truly set the benchmark for being the innovators in the English entertainment category. With most of the shows on Zee Café such as Titan Games, American Idol, Battlebots, Seal Team, FBI, A Million Little Things, Charmed, The Chefs’ Line being available on television first, we’ve lived up to the consumer promise of ‘All eyes on New’. Catering to the evolving needs of the consumer, we introduced locally nuanced content such as Starry Nights GEN Y and Not Just Supper Stars that broadened the consumption repertoire on the channel.

Zee Café has played a pivotal role in shaping the ‘glocal’ genre through compelling content: Kartik Mahadev, ZEEL

<ul><li>Gearing up for the festive season, <keyword id="353090" type="General" weightage="100" keywordseo="zeel" source="Orion">ZEEL</keyword> has lined up to launch 40 fiction, 20 non-fiction new shows across multiple languages</li><li>It has also announced its new bouquet pricing in compliance with NTO 2.0</li></ul><keyword id="381258" type="General" weightage="20" keywordseo="zee-entertainment-enterprises-ltd-" source="Orion">Zee Entertainment Enterprises Ltd.</keyword> (ZEEL) has released its <keyword id="12335972" type="General" weightage="20" keywordseo="new-a-la-carte-channel" source="Orion">new a-la-carte channel</keyword> and bouquet pricing in line with the Bombay High Court order dated 30.06.2021 with regard to <keyword id="7275030" type="General" weightage="20" keywordseo="new-tariff-order" source="Orion">New Tariff Order</keyword> (NTO) 2.0. The said pricing is being released without prejudice to ZEEL’s rights and contentions under all petitions pending adjudication before Supreme Court w.r.t. New Tariff Order (NTO) 2.0. ZEEL currently has 67 channels that come in 11 languages. With a pan India network encompassing a weekly reach of 606 million viewers and weekly consumption of 163 billion+ minutes*; it has one of the highest viewership bases across Hindi and regional language markets, including Marathi, Bangla, Kannada, Telugu, Tamil, Malayalam, Bhojpuri, Odia, Punjabi and English in the GEC, movies, news, music, lifestyle and HD genres. Speaking about the new channel pricing, <keyword id="281749" type="General" weightage="20" keywordseo="rahul-johri" source="Orion">Rahul Johri</keyword>, President – Business, South Asia, Zee Entertainment Enterprises Ltd. said, “ZEEL’s unparalleled success is an outcome of its strong bond with viewers spread across India and the deep relationship it has built with the entire stakeholder community. These extraordinary partnerships have led to our leadership across multiple markets for nearly three decades. We will continue to create value for the entire ecosystem by presenting the most entertaining and highest quality content, enriching national and regional channels and through innovative solutions for revenue monetization. We are confident that post implementation of NTO 2.0, ZEE channels will continue their growth momentum across markets and create higher value for the company.” Commenting on the announcement, Atul Das, Chief Revenue Officer – Affiliate Sales, said “At ZEEL, we are committed to providing the best entertainment to our consumers. The new pricing regime in 2019 brought in a major shift in the way television was consumed in India. On one hand, it brought in transparency about MRP of channels, while on the other hand it offered freedom to consumers to select channels they wish to watch. With NTO 2.0, consumers will get even more flexibility in selection of channels. We will continue to provide multiple bouquets to consumers across the country at different price points. Premium English channels like Zee Café and &amp;flix will continue to be available in a separate bouquet. Each bouquet constitutes a mix of channels, including GEC, movies, news, music and lifestyle genres. We look forward to working with our Distribution Platform Operators (DPO) partners for a smooth transition.” Currenlty, ZEEL produces 419 hours of new content every week on an average. Gearing up for the festive season, it has lined up to launch 40 fiction, 20 non-fiction new shows across multiple languages. It will also present 40 World Television Premieres across its channels over the next few months.

ZEEL announces new a-la-carte channel and bouquet pricing in compliance with New Tariff Order

Adex is expected to grow by 20% in 2022 and reach Rs 90,000 crore: Madison report

<ul><li>Whether it was surviving the second wave or breaking viewership records during Diwali, 2021 was a rollercoaster year for the television industry.</li><li>Broadcasters spent the first half of 2021 recovering from the impact of multiple lockdowns but the festive season helped the industry get back on its feet.</li><li>As we move forward this year, a few industry experts tell us about new opportunities that 2022 will bring forth for the broadcast industry.</li></ul>With cancellations of live events and sports and no scope to produce fresh General Entertainment Content, the broadcast industry faced a huge creative challenge and financial burden in 2020. However, the television industry was quick to find its ace card -- they started re-airing their classic shows and movies to woo their audience. The return of old mythological shows like Ramayan and Mahabharat from the 90s not only led to an exponential rise in viewership but also increased advertisers’ count. These shows soon became the main source of entertainment among Hindi GECs, and both adults and kids watched the epic stories together. With the audiences stuck at home, television was quick to break its viewership records. Doordarshan had announced that Ramayan became the world's most-watched show on April 16, 2020 with 7.7 crore viewers. Doordarshan’s average daily viewers also grew by 62 million. The need for escapism, news updates and knowledge also increased in times of trouble, creating a need for content. As the lockdown restrictions eased in the country, GECs resumed their production in phases and the great advertising carnival of IPL brought the much-needed cheer for the broadcast industry and consumers in September. The year 2020, undoubtedly, had a far-reaching impact on consumer behaviour and their viewing patterns changed in 2021. Despite economic challenges that were accelerated with the second wave of COVID-19, legacy advertisers continued to increase spends on TV and starts-up were the biggest advertisers on IPL 2021. The second wave did take the industry a step back but television recovered gracefully as the festive season began in August. As per BARC, Ad Volumes on TV for September 2021 was the highest since 2019, which was 15%. The highest spurt was observed for Bhojpuri language channels, where ad volumes were more than double that of 2019, and 38% higher than in 2020. While Hindi language channels account for the largest share of TV advertising, Tamil and Telugu language channels witnessed robust growth over 2020. At the same time, with new changes in viewing patterns after the pandemic, over-the-Top platforms also posed a big threat to television viewership. However, broadcast players started realigning their goals, understanding these changing patterns and adopting agile approaches for content development. As a result, broadcasters have been working towards tailor-making their content that is adept to multiple platforms’ front-end user interfaces. This approach accelerated digital transformation in the broadcast industry by a few years and helped us believe that television and digital are indeed capable of growing hand-in-hand in India. This trend will continue to take shape further in 2022 as well. So as we move forward this year, the broadcast industry is optimistic about rising to its full strength together. We spoke to a few industry experts to discuss what lies ahead. Here’s what they said: Abhishek Dutta, South Asia Network Head, POGO and Cartoon Network: Homegrown kids’ content is definitely the one trend to watch out for. In 2021, WarnerMedia India’s kids’ entertainment channels, Cartoon Network and POGO launched several successful shows that celebrate Indian flavors as relevant localized content continues to hold sway among Indian viewers. According to FICCI-EY media and entertainment industry report (March 2021), regional languages will make up 60% of television consumption by 2025. This has dictated our strong hold on the pulse of the Indian audience and is reflected in our continued investment in homegrown content. This trend also means there is a massive opportunity for the wider animation industry sector in India – from creation and production to developing talent. Our fans-first strategy has shaped the “glocal” approach to our kids’ business in India. One that is focused on world-class animation and relatable stories. 100% homegrown shows and international content localized to suit Indian viewing preferences will continue to rule the roost. Anu Sikka, Head of Content Creation, Channel Strategy &amp; Research at Kids Cluster, <keyword id="187712" type="General" weightage="20" keywordseo="viacom18" source="Orion">Viacom18</keyword>: Engaging viewers in a language they best understand is essential in order to deliver great experiences. As content creators, it is important to narrate stories in a way that young dynamic minds can understand, relate and build a strong affinity. In India, with an exponential growth in the consumption of regional language content, viewers are keen on engaging with the characters in a language of their choice, thereby leading to larger brand visibility and deeper engagement levels. An increase in multi-lingual content will be the key driver for growth in the television industry. Curating multi-lingual content will lead to audiences developing an unbreakable bond with the storyline and its characters and further strengthen the relationship with the brand. Ruchir Tiwari, Cluster Head - Hindi Movie Channels, ZEEL: In 2021, there was a lot of acceleration because of the pandemic in terms of content consumption. It is evident in the way many billions of Indians have consumed long form content, multi-language content. Predominantly for the Indian market, expectations of the audience are very, very clear. What this is going to do is force all content makers to make good content. I think, right now, whatever the ratio of good content is -- the success rate was never very high because good content is a complex game plan. Now, 2022, it will be an opportunity as well as a challenge to the content creators to make compelling content and then the creators will start from this point of personal development. For me, compelling good content is a must have. Without that, there is no way out and that's the biggest opportunity we all have as an industry. Simran Hoon, CEO, The Q: With the hyper-dynamic market confusion and change in viewers’ preference, the manner and method of storytelling has gained prominence. Innovation in storytelling is hence the need of the hour and this will be one of the strongest trends that will emerge in the coming year. GEC’s will have to re-strategize to showcase content that is not just original and relevant but also interactive and engagement-driven. Another trend for 2022 is how content on Television is viewed. TV will be seen as a medium of entertainment and not ‘the destination.’ The Q has been an early adopter of this trend and has built itself in a unique style with our multi-platform availability. Anshul Ailawadi, Business Head – Youth, Music and English Entertainment, Viacom18: While 2021 was about optimism and perseverance, 2022 will be about taking bold bets and experimenting with content. The last 2 years have accelerated several shifts in consumer preferences and habits. Creators are now focussing on different feedback loops as markers of success instead of conventional viewership metrics. Content is being consumed in so many ways, it’s hard to assess (accurately) the potential of a story at the time of greenlighting it. We will see new concepts, new storylines and new faces across genres as age-old rules are tested, and at times, even broken.

Trends that will shape the broadcast industry in 2022

<ul><li><keyword id="2801660" type="LOCATION" weightage="20" keywordseo="BARC-India">BARC India</keyword> released the second edition of its What India Watched report for 2019 which revealed that 2019 generated 48.4 trillion television viewing minutes and 1.59 billion seconds of advertising.</li><li>Despite the rollout of <keyword id="1711202" type="COMPANY" weightage="20" keywordseo="NTO">NTO</keyword>, each household watched 5 hours, 11 minutes of television every day in 2019.</li><li>Regional channels, sports and the news genre reported a steady growth.</li><li>While TV ad volumes saw a 3.6% drop, share of top 10 advertisers reported growth.</li></ul>The <keyword id="397085" type="ORGANIZATION" weightage="20" keywordseo="Broadcast-Audience-Research-Council">Broadcast Audience Research Council</keyword> (BARC) India revealed that 2019 generated 48.4 trillion television viewing minutes and 1.59 billion seconds of advertising. While Ad FCT at 1.6 billion seconds fell by 3.6% (over 2018), the share of Top 10 advertisers grew by 3.8%. The findings were a part of the second edition of BARC’s What India Watched report under which it measured 634 channels.Viewership has seen a 38% growth over the last four years. Each household watches 5 hours, 11 minutes of television every day and as many as 222 million individuals tune in to primetime television at any given minute. The report also found that despite the rollout of a new tariff order (NTO), <keyword id="659577" type="PERSON" weightage="20" keywordseo="TV-viewership">TV viewership</keyword> registered a growth in 2019. GEC and movies continued to account for 3/4th of TV viewership. This growth in viewership has given an impetus to regional language markets. Share of viewership of channels other than Hindi and the 4 South languages have risen steadily, from 15% in 2016 to 23% in 2019. Viewership of most regional language channels have doubled in the same period. English Language channels have seen a decline in viewership - one reason is that sports content - which was traditionally broadcast largely in English - is increasingly available in Hindi and regional languages. Here, viewership for Hindi language channels have grown by 31% in the last 4 years and contributed to 44% of total TV viewership in 2019 Growth of the news genre 2019 saw a 23% growth in viewing minutes for News Channels over the previous year, with the genre accounting for 8.9% of total television viewing - its highest share over the last four years. 2019 was the year of General Elections, as well as polls to elect 7 State Assemblies. Earlier in the year, there was extensive news coverage of the Pulwama Terror Attack and the aftermath of that, including the Balakot Air Strike, and capture and release of Wing Commander Abhinandan Varthaman. Later in the year, the triple talaq debate and the abrogation of Article 370 dominated headlines. Beyond political affairs, there were several other developments that drove news viewership in 2019 - severe rains and floods in many parts of the country, Chandrayaan-2, the Ardh Kumbh Mela and ICC World Cup Cricket. These ensured high viewer interest through the year, across the country. The Maharashtra Legislative Assembly elections and the run-up to government formation, Supreme Court decision on Ram Janmabhoomi-Babri Masjid dispute and the controversy around Citizenship Amendment Act also led to successive viewership peaks for the news genre. Impact of NTO On February 1 2019, the Telecom Regulatory Authority of India (TRAI)'s New Tariff Order (NTO) for Broadcasting and Cable Services came into force. The report revealed that the NTO led to a drop in percentage of households that watched 30 channels or more on an average per week, while share of homes that watched 20 channels or less increased. Growth of sports channels In 2019, sports channels saw a growth of 17% (viewing minutes) over 2018. The genre contributed to 3.2% of total TV viewership in 2019 - which was the highest over the last 4 years. Beyond cricket, the most watched sports on TV are Kabaddi, Wrestling and Football. Together, they corner 85% of viewing minutes of non-cricket events. Moreover, in 2019, about 424 million viewers (which is 51% of the total TV viewing population) watched live matches of IPL-12. BARC India's Out of Home Measurement showed that an additional 9% watched the tournament in restaurants, pubs and other such ‘Out of Home’ locations. Urban vs Rural BARC India's BI-2018 Survey estimated that 44% individuals with access to TV live in Urban areas, while 56% are in Rural India. This is an outcome of higher TV penetration in Urban areas, given that television ownership is linked largely to economic status (among other factors like availability of power, cable TV distribution etc.). The Urban and Rural viewer profile has some key differences, which influence the respective character of TV consumption: While Rural India accounts for a higher viewership share than Urban India for GEC and Movies genre, the picture is reversed for the kids genre. In News, the viewership contribution is split evenly between Urban and Rural. Advertising on TV Over the last 4 years, the volume of advertising on TV (FCT) has grown by 21%. In 2019, 11,525 Advertisers ran 76.8 million ads across 634 measured channels that reached out to 197 million homes across India. All leading products and services use TV's huge reach to connect with their target consumers. Of these, FMCG occupies the top slot, accounting for 54% of ad duration in 2019. FMCG and e-Commerce were the two segments that increased their ad volumes on TV in 2019 over the previous year. In terms of genre share in advertising, GEC, Movies and News account for the largest share of Ad volumes (78% in 2019).

Television ad volumes dropped by 3.6% in 2019, share of Top 10 advertisers grew by 3.8%: BARC India

<ul><li> <keyword id="165503" type="COMPANY" weightage="20" keywordseo="Madison-Media">Madison Media</keyword>’s ‘Marketing just went Viral’ talks about the potential impact of <keyword id="8763838" type="UNKNOWN" weightage="20" keywordseo="covid-19">Covid-19</keyword> on <keyword id="2263" type="PERSON" weightage="20" keywordseo="Advertising-and-marketing">advertising and marketing</keyword>.</li><li>The report states that if the GDP growth falls till 2%, the overall AdEx could shrink by 0-5%.</li><li>The report also gives some advice to marketers about how to navigate the Covid-19 outbreak.</li></ul>In a report titled ‘Marketing just went Viral’, Madison Media has said that while it is still premature to revise AdEx estimates, if the GDP growth falls till 2%, the overall AdEx could shrink by 0-5%. Compiled by <keyword id="89313" type="PERSON" weightage="20" keywordseo="Vikram-Sakhuja">Vikram Sakhuja</keyword>, Partner and Group CEO Madison Media &amp; OOH, the report talks about the possible impact of the COVID-19 outbreak on the world of advertising. It also has some advices for marketers around how to navigate the uncertain times. The economic impact of the virus S&amp;P had lowered India's 2020 growth forecast from 5.7% to 5.2%. This was before the Covid-19. Ruchir Sharma, a renowned economist pegged the economic impact of Covid-19 as worse than the 2008 financial meltdown and similar to 'The Great Depression of 1930'. He expects World Economy to shrink by 1% and China after a contracted Q1 to grow at 2%. He feels India would be lucky to grow at 2%. Sakhuja in the report said that they have observed broadly that consumption de-growth rate is much higher than GDP de-growth rate. If so, a 3% drop in GDP (from 5% to 2%) could imply a very dramatic drop in consumption! This is affected by a combination of supply chain issues, less cash in hand and overall negative sentiment. This could lead to some significant reductions in sales, which will be sectoral. Categories which will bear the direct brunt are the ones involving social contact. Thus Airlines, Railways, Tourism, Restaurants, Retail, Auto and Live Sport &amp; Entertainment will become casualties. FMCG grew 1% during January 2020, down from 2.4% in the previous year. Urban growth at 0.2%, dragged down the entire segment even as hinterland consumption remained the same at 1.8% (Source: Kantar Worldpanel). “We don't expect Covid-19 to have an incremental adverse effect on FMCG. Here, supply chain issues rather than consumer headwinds are the factor to watch out for,” stated the report. Financial markets are worried that retail loans will have higher defaults. Most financial Institutions could go slow on disbursement of retail loans. This is expected to have negative impact on sales of durables and mobile phones - categories that were fuelled by easy availability of 'Zero Interest EMI’s!’ Real estate and jewellery too would be impacted by sentiment with consumers postponing high value purchases. This assumes that the Covid-19 situation can be brought under control within 4-6 weeks. Consumer behaviour during virus in terms of Media, Purchase and Sentiment TV ratings will go up as people are staying home. The BARC report for the period March 8-14 captured two and a half days of the virus taking hold. The first of the WFH started from Monday, March 16 2020. Even before people were forced to be at home, HSM TV viewership had gone up 4% v/s the earlier week in HSM, and 8% for TN, AP. Within HSM, across TGs, clear increases in viewership in Hindi News, Hindi Movies, Kids, Hindi GEC 2 &amp; English Niche. There was some drop in viewership in Hindi mainline GEC &amp; Sports (expectedly). No significant change in FTA viewership. As the lockdown continues, there’s expected to be a significant increase in TV viewership. However there is a ban on fresh serial production, GEC channels will run out of fresh programming and have started reruns. This may depress high viewership and may cancel some gains of more viewers watching more TV. It will be 3 weeks before we see BARC impact of re-runs. Most channels will be willing to protect CPRPs in case Ratings fall in this period. Digital viewing will also go up. In the week of March 9-15 v/s March 2-8 top 40 online news sites recorded a 23% growth v/s March 2-8 and 31% growth v/s January 6-12. OTT and YouTube will also increase. With increased supply on biddable platforms CPMs will come down. OOH and cinema will fall. Apart from reduced footfalls there are also some cities like Mumbai which came out with a ruling to display only <keyword id="1754604" type="PERSON" weightage="20" keywordseo="coronavirus">Coronavirus</keyword> sites that will contract supply. Most events have been cancelled which will have a devastating impact on this sector. Over and above, the visible impact of IPL, another Rs 3,000 crore worth of events are facing cancellation. E-commerce will go up, especially for daily essentials. People may avoid shopping for stuff touched by hand. During this period, consumers can be expected to be less distracted and more mindful of messages and more open to promotions. They will buy what they need rather than desire, and given the uncertainty, will have a tendency to hold on to their money. Talking about payments to media, the report said that Madison has proactively sensitized IBF and INS on delays in payments on 60th day in March. While Media will be understanding, delays needs to be the exception, with good reason provided. Impact on AdEx In its report that it had released in February, Madison had predicted that AdEx in 2020 could increase from 67600 to 74650 (+10.4%) - with a 5% growth in traditional and 28% growth in Digital. However, this was before the Covid-19 outbreak and the media agency said there is a need to review it now. Speaking about the impact of the current situation on AdEx, the report said, “In a state of steady GDP growth (6-8%), AdEx grows about double GDP. When GDP falls, the AdEx falls much more than GDP fall in the next year. Conversely when GDP growth picks up, AdEx growth picks up even more. When we had projected a 10.4% AdEx growth in PMAR 2020, we had assumed a GDP growth of 4-5% till September and 7% beyond that. It is reasonably certain that GDP growth will be lower. If the GDP growth does fall till 2%, we may see an overall shrinking of AdEx by 0-5%.” How sector-wise AdEx will shape up <div type="image" title="Sector wise" msid="74886498" hostid="261"></div>
 Advice for advertisers <ul><li>Invest in staying close to the consumer. Employ listening tools to capture category and brand sentiment.</li><li> The silver lining of this pandemic is that consumers are open to advertising. If you have messages that are relevant for consumers, you should air them. Do not be opportunistic, building trust is more important than short term sales.</li><li> We should aim to get audience assurances on TV deals, and with increased Online Supply of Biddable inventory, CPMs will be low. From an efficiency standpoint it's a good time to advertise.</li><li> Good time for moment marketing. Contextual placement and intelligent re-targeting can work.</li><li> If P&amp;L pressures are forcing a cut in budget, then make active trade-offs rather than merely scaling down plans pro-rata.</li><li> Invest in promoting sales on e-commerce.</li><li> Marketing messaging needs to be authentic, topical, one that builds trust and reassures. In the times of Covid, marketing needs to be controlled and not viral.</li></ul>

If GDP growth falls till 2%, overall AdEx could shrink by 0-5%: Madison Media

<ul><li> It will introduce its first TV ad featuring Bollywood stars. </li><li><keyword id="6118216" type="UNKNOWN" weightage="20" keywordseo="Spotify-India">Spotify India</keyword>’s first national TV campaign in India features a deadly combo — <keyword id="6354700" type="DEFINITION" weightage="20" keywordseo="Anil-Kapoor">Anil Kapoor</keyword> and Ishaan Khattar. </li></ul> Global digital music service Spotify which swept the Indian market with dirt cheap subscription, is now making a bigger play. It will introduce its first TV ad featuring Bollywood stars. Anil Kapoor along Ishaan Khattar will feature in the ad films and stills. “In this campaign, Anil Kapoor makes a cool dad, who even in his 60s, is as young and energetic as a 20 year old. Ishaan as the son, is India’s new generation – full of energy and optimism,” said Rajdeepak Das, Managing Director India. In spite of the many challenges Spotify faced in India like court cases with Saregama, it is marketing its services aggressively. “The new campaign reinforces how seamlessly Spotify fits into their lives through availability of 50 million tracks, including the latest and most popular, access to 3 billion plus editorially, algorithmic and user-curated playlists, said Amarjit Batra, Managing Director - India, Spotify. The world’s largest music platform promising to provide an uninterrupted experience, based on the vast music library and the option to play tracks anytime, anywhere. According to Spotify, the campaign features four TVCs in Hindi, Telugu, and Marathi, and are being aired on popular GEC, movies and English cluster channels, in addition to a few regional channels. There are also creative activations across online and social media platforms, to amplify the digital conversations, including interactive digital engagements that feature Kapoor and Khattar, and other artists and influencers on Twitter, Instagram and Facebook. “The youth in India often deals with the pressures of judgement, individuality, social norms, and more; in this chaos, music acts as a companion,” said Rajdeepak Das, Managing Director India and Leo Burnett, Chief Creative Officer South Asia.

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