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<ul><li><keyword id="9139921" type="UNKNOWN" weightage="20" keywordseo="Shemaroo-TV">Shemaroo TV</keyword> will target the Hindi-speaking markets of India and will aim to connect, interact, and reach out to families who are continuously looking to adapt to new changes. </li><li>The channel will go live on May 1.</li><li><keyword id="203890" type="COMPANY" weightage="20" keywordseo="Shemaroo-Entertainment">Shemaroo Entertainment</keyword> will market its new offering primarily on TV and Digital.</li></ul>Shemaroo Entertainment has announced the launch of a free-to-air (FTA) Hindi general entertainment channel, Shemaroo TV on May 1. Shemaroo TV will target the Hindi-speaking markets of India and will aim to connect, interact, and reach out to families who are continuously looking to adapt to new changes. The channel will come up with a mix of originals and iconic shows, which will be consumed for the first time by a broad set of FTA audiences. The channel will be available to audiences on all major DTH operators and cable networks. Speaking about the company's entry into the TV segment, <keyword id="207966" type="PERSON" weightage="20" keywordseo="Hiren-Gada">Hiren Gada</keyword>, CEO, Shemaroo Entertainment said, "There is a large audience hungry for content on FTA channels. Its a largely under-served market and a huge demand for content. The content of Shemaroo is spread across different verticals through which we maintain a healthy relationship with viewers and advertisers equally. While we manage large digital platforms, entering into the broadcasting space will help us with reach and enable us to build a stronger affinity with the audiences. With the launch of our flagship channel, Shemaroo TV, we are excited to strengthen our presence in the industry and deliver our promise of entertaining the Indian audiences." While the current lockdown will mean Shemaroo will not be able to market the new offering in the usual manner, they are going big on TV and Digital. They will also partner with 'like-minded brands' spread across Digital, TV and media, shared <keyword id="32440" type="PERSON" weightage="20" keywordseo="rahul-mishra">Rahul Mishra</keyword> , Head Marketing and Communications, Shemaroo Entertainment. "The idea is to reach out to audiences through each other's strengths in this tough situation," added Mishra. <keyword id="276655" type="PERSON" weightage="20" keywordseo="Sandeep-Gupta">Sandeep Gupta</keyword>, COO - Broadcast Business, Shemaroo Entertainment added, "If we see the current TV space and particularly the Free To Air space, there is large consumption of content but with less variety of shows and genres. Shemaroo TV will be enhancing the entertainment needs of the Indian audiences by its vast offerings of iconic shows, alongwith original shows across various genres. We have worked extensively to understand the needs of our consumers and have sharpened our insights based on what will appeal to them. Shemaroo TV will have an extensive reach and we aim to become one of the most popular destinations in the Free To Air General entertainment space."

Shemaroo Entertainment announces the launch of Hindi Entertainment FTA channel, Shemaroo TV

<ul><li><keyword id="9139921" type="UNKNOWN" weightage="20" keywordseo="Shemaroo-TV">Shemaroo TV</keyword>, the flagship Hindi GEC from the house of <keyword id="203890" type="COMPANY" weightage="20" keywordseo="Shemaroo-Entertainment">Shemaroo Entertainment</keyword>, is launching an original TV show titled ‘<keyword id="10809040" type="UNKNOWN" weightage="20" keywordseo="jurm-aur-jazbaat">Jurm aur Jazbaat</keyword>.’ </li><li>We caught up with <keyword id="207966" type="PERSON" weightage="20" keywordseo="Hiren-Gada">Hiren Gada</keyword>, CEO, Shemaroo Entertainment to understand how it was all put together, walked us through the channel's journey so far and future of FTA channels in India. </li></ul>Shemaroo Entertainment launched a Free-to-Air (FTA) channel last year in the midst of the lockdown, when businesses were coming to a standstill. A company that has effectively adopted to technological changes and macro economic disruptions since the early 1970s, Shemaroo has been smoothly sailing through all waves of changes. As the lockdown eased and the country slowly started limping towards normalcy, Shemaroo TV was burning the midnight oil to put together an original series for its audience. Now, it is all set to foray into original TV series with a crime show titled ‘Jurm aur Jazbaat.’ The general entertainment content on Hindi TV channels largely revolves around domestic issues, mythology, historical personalities or desi love stories. OTT audiences, on the other hand, are a fan of thriller films, sci-fi or crime shows. However, Shemaroo has taken the OTT route for its TV channel with the launch of its first crime-based TV show. In the recent past, even courtroom sagas have become a huge hit on OTT platforms: Criminal Justice: Behind Closed Doors, Nail Polish, Illegal season 1, Your Honour and The Verdict – State vs Nanavati (2019) are proof. On why the TV channel chose crime as its debut genre, Hiren Gada, CEO, Shemaroo Entertainment, said, “We did a market research to identify what is trending, what are the consumers watching, what they aren't, etc. So we finalised various categories to work with. After deep-diving into the market research we conducted, we realised that the crime genre has a very good connect with the Free-To-Air audiences. What also strongly came out was the fact that there is emotion behind every crime. So, to simplify the name, we called it Jurm aur Jazbaat. Once we decided the route we wanted to take, we worked with a couple of production houses in terms of creating pilots, ramping up and then going into the production part. Parallely, because this was our first fresh and original programming, we wanted to have a very strong mentor, who can connect with the audience, create a great viewing experience for them and that's how we zeroed in on <keyword id="6360486" type="PERSON" weightage="20" keywordseo="Ronit-Roy">Ronit Roy</keyword>.” Journey so far Since the inception of Shemaroo TV last year, the channel wanted to offer a mix of original content, licensed content and existing content. However, due to the nation-wide lockdown, the channel had to put a pause on its production like everyone else. It did not stop the entertainment house from launching a new channel. It wanted to lay a strong foundation before launching its original content. “We had to revamp our whole process for two reasons. One was logistically, we were not in a position to shoot at that time. And secondly, advertisers' spends had also reduced. So, we decided at that time to focus on our existing library as well as fresh creations and acquired shows from Star like Devon ke Dev Mahadev, Jeet hui parai, Shor from Sahara, and we had our own movies and shows. The focus at that time was to establish the channel in terms of viewership, distribution, primarily marketing, viewership, programming, consumer connect. Many other things and milestones which we wanted to achieve before we launch an original,” shared Gada. Present and future of FTA channels in India Currently, as per Gada, not more than two FTA channels are creating original content and Jurm aur Jazbaat will help the channel carve a niche for itself. While Shemaroo had also launched its Marathi channel, MarathiBana and a lot of learnings from that experience went into the launch of Shemaroo TV, the latter was rolled out while working from home. It launched unique initiatives to pull in more viewers. Overwhelmed with the response the channel has seen so far, Gada said, “Given the fact that we are a GEC less than nine months old, we have seen very good response and viewer traction. In fact, we've done many contests where we could gauge consumer participation. We received a lot of very good messages from our audiences and they showered us with love. That has helped build the overall viewership. And obviously, the team's hard work has paid off too.” It has also seen a good response from the top FTA advertisers. “I'm sure that a very strong connect with the core Shemaroo brand and being part of this ecosystem for decades, has played its strong part as a strong beautiful partner, given the challenge that overall advertiser revenue and spends have gone through, in the last year. We are part of that same trend but the fact that we have seen very good acceptance borne out by the fact that all the top spenders on the FTA space, most of them are already present on both our channels. We keep adding more brands and new categories as we move forward,” added Gada. This year, with the economy coming back on track, Shemaroo is expecting to see more advertisers on-board who cater to rural and Tier II and III audiences. Gada said, “With the economy back on track, and companies launching more and more products, good agriculture output with a good monsoon, the rural economy has done exceedingly well. With this, a lot more categories are now willing to participate on the FTA platform, because they are all seeing more consumption coming from these pockets. Over the next few years, as per capita income of the country grows, more and more categories of consumption will open up for these audiences. That will bring in many more categories into the FTA space. And I think that’s really the exciting part in the next three to five years. This is a segment which has been underserved as far as television is concerned and as far as products are concerned. In the next three to five years, this situation is bound to get corrected.” After measuring the response of its fresh content, Shemaroo is planning to launch more original content and simultaneously, keep acquiring popular series and films to be able to cater to a large audience. Sharing his plan for this year, Gada said, “We are going to take it one step at a time. We definitely have more originals lined up. The fact is that there's just two channels, which are offering fresh programming or original content. We are upping the game for ourselves at a certain level and that's going to be a continuous process for us, because that's how we plan to keep up our audiences loyal to us and keep coming back to us as we keep launching new offers for our viewers.”

A lot more categories are now willing to advertise on FTA channels to reach out to rural India: Hiren Gada, Shemaroo

<ul><li><keyword id="203890" type="COMPANY" weightage="20" keywordseo="Shemaroo-Entertainment">Shemaroo Entertainment</keyword> has ventured into the broadcast space with the launch of a Hindi free-to-air GEC, <keyword id="9139921" type="UNKNOWN" weightage="20" keywordseo="Shemaroo-TV">Shemaroo TV</keyword>.</li><li>The channel will give the audience a combination of freshly brewed content as well as acquired content that has so far been available only on paid channels.</li><li><keyword id="207966" type="PERSON" weightage="20" keywordseo="Hiren-Gada">Hiren Gada</keyword>, CEO, Shemaroo Entertainment speaks to us about how the organization succeeded in launching a TV channel in the midst of the lockdown, and its marketing strategy going ahead. </li></ul>Shemaroo has managed to pull off a brave feat, it has launched a free-to-air (FTA) general entertainment TV channel, in the midst of a national lockdown, when most players are cutting spends and cancelling or postponing big-ticket launches, events and projects. Going live today, Shemaroo TV is aimed at catering to the under-served FTA category, giving the audience a combination of freshly brewed content as well as acquired content that has so far been available on paid channels. The launch comes at a time when most of us are stuck at our homes and television viewership is at an all-time high. Considering the adverse times we are living in right now, we thought it would be interesting to know what went behind Shemaroo’s TV channel launch and Hiren Gada, CEO, Shemaroo Entertainment let us in on their strategy. Work on the channel launch had started close to 8 months back when the company mapped the ecosystem, exploring the opportunities available. Around October it was decided that they wanted to operate in the FTA space. The process behind the launch Earlier this year, Shemaroo also launched its Marathi channel, Marathibana and a lot of learnings from that experience went into the launch of Shemaroo TV, shared Gada. Shemaroo had also simultaneously been working on the content side of things for the Hindi channel. “Since we started work almost 7-8 months ago, we were in a state of quasi-readiness even before the lockdown. Our content strategy was already in place. However, eventually putting everything together was a huge task and I would like to thank our team who in a way are our warriors who put everything together, in spite of everything. There was a lot of remote working involved around how do we ingest the content, around programming, the channel identity elements and a lot of the technical aspects too. A lot of work happened off-site. But there was a small set of people that managed to be in office for the ingestion of the content, which was the most important link,” shared Gada. The limitations (and opportunities) of launching during a pandemic The lockdown has led to the OOH and experiential industry also witnessing a complete shutdown. Spending on the Print medium is also largely muted. And when one has to organize a launch, these are the three primary mediums that organizations rely on. So how challenging has marketing been for the organization during the lockdown? “Its been both a challenge and an opportunity. We are missing out on a few key media that would ideally have been a part of the launch campaign. However, since people have been indoors, they are spending a substantially higher amount of time on television and digital. That opens up the digital and TV marketing aspects significantly,” explained Gada. Shemaroo will be largely using these two mediums to connect with audiences, letting them know about the new channel. Gada believes that due to their strong presence on digital, the medium could be their strength. “We will also be running a whole lot of campaigns on various mediums, including social media,” he added. Looking at the brighter side of the lockdown, Gada also said that this is a time when people are far more open to experimentation and sampling. “During normal times, people are hooked on to their daily soaps and to make people move t a different channel is a challenge. But now, the opportunity to get people to sample a new offering is significantly higher,” he explained. From the advertiser’s perspective While the FTA space is driven by advertising, brands at this moment are cutting down on spends. Shemaroo doesn’t have advertisers on board right now but the conversations with marketers have been positive, shared Gada. “Fundamentally, advertising follows viewership. So it doesn’t matter if you’re a new channel or an already-existing one. There may be some relationships and legacy deals in place but today, TV advertising has become much more scientific. When we mapped the FTA space post the new tariff order, we realized there’s a natural opportunity opening in the space to capture a considerable share of the estimated Rs 2,500 crore FTA advertising market. Also, with leading broadcasters pulling out from Free Dish, Rs 1,000 crore of advertising opportunity opened and was potentially available for existing and new channels in the FTA space. Also, there’s a severe shortage of content in both the <keyword id="874299" type="UNKNOWN" weightage="20" keywordseo="Hindi-GEC">Hindi GEC</keyword> and Marathi market. This means that while the eyeballs and mediums are in place, the vehicle is not there for the advertisers. And this was the sense we got from many of the agencies and brands we spoke to. We understand that in the ultra short-term, there’s a dip in ad spends, but once the lockdown opens, to a reasonable extent, we should be bouncing back reasonably well because ultimately India is a consumer and consumption-based economy where brand-building is very important and TV is the biggest medium to build any brand today,” shared Gada. Shemaroo’s focus for the next 2-3 months would be to increase consumption and get consumers hooked on to their content. “We believe the monetization is 2-3 months away as we get the entire process of capturing ratings in place. In the meantime, we will build our viewership and get more and more people to sample our channel,” he added. Launching today, the channel will be available on all major DTH operators and cable networks.

How Shemaroo pulled off the launch of its channel Shemaroo TV during the lockdown

<ul><li>As we enter a new year, we wanted to understand what to expect from the Over-the-top (<keyword id="1245953" type="General" weightage="20" keywordseo="ott" source="Orion">OTT</keyword>) industry in 2022.</li><li>In today's feature, we speak to industry experts who share their thoughts on what this year has in store for us.</li></ul>After 2020 we had hoped that 2021 would bring us some respite from the pandemic. However, things were challenging for a large part of the year. With many of us stuck within the four walls of our house for the most part of the year, OTT platforms sometimes became the only source of entertainment in our lives. Not only did 2021 see the launch of a lot of big-budget originals on various OTT platforms, a lot of movies like Sardar Udham Singh, Mimi and Shershaah launched on these platforms. Content producing companies put their best foot forward and created award-winning shows that won both commercial and critical acclaim. There has been a visible increase in investments in content production, a trend that is here to stay in 2022 as well. A recent joint report by industry body CII and Boston Consulting Group (BCG) stated that the Indian OTT sector is currently in the scaling stage with strong subscription growth and high investment in premium as well as original content. The Indian OTT sector is one of the most competitive amongst emerging markets with over 40 players. While there have been debates about more and more people moving away from TV, Mandeep Kohli, Managing Director and Partner, Boston Consulting Group India states that we are still some time away from that happening at a large scale in India. “The share of traditional media is slowly declining with increased digital adoption but there is still high headroom for penetration with only 54% of Indian households having a pay TV connection compared to more than 70% in China. For many households, TV continues to be the center of the home and a significant part of family time,” said Kohli, Managing Director and Partner, Boston Consulting Group India. The report further stated that the industry is at a scaling stage currently and has the potential to become a $13-15 billion industry by 2030. To understand what the new year has in store for us, we spoke to a few of the most important voices from India’s OTT industry, along with some of the biggest content production houses. Here is what they had to say about what lies ahead: Manish Kalra, Chief Business Officer, <keyword id="6245082" type="General" weightage="20" keywordseo="zee5" source="Orion">ZEE5</keyword> India The already-growing online media and entertainment business received a major boost with the black swan event that the Covid-19 pandemic was, setting a new growth trajectory in the last year. The audience adopted a more digitally advanced way of entertainment, something that went beyond the conventional mediums, leading to mass adoption of OTT platforms which resulted in a surge in both viewership and watch-time. This pandemic-induced growth in demand for quality content led to an increased focus on storytelling across languages leading to the creation of extensive and expansive content libraries. People also became more open to sampling diverse content from different languages and were keener to opt for the living room experience thanks to the increased adoption of connected devices. This growth of the connected devices ecosystem has made OTT a preferred choice not only for personal but also for family consumption. At ZEE5, we have seen a 3X growth in the viewership on connected devices. The rise in power-packed dynamic storytelling and the rise of connected devices has led to the advent of the ‘Home Box Office’ which is a trend that is here to stay. While we grew 200% this year at the back of an aggressive slate of content line-up and hyper-personalization, we aim to make deeper inroads into Indian homes going into 2022. Sameer Nair, CEO, <keyword id="1322450" type="General" weightage="20" keywordseo="applause-entertainment" source="Orion">Applause Entertainment</keyword> <div type="image" title="IMG_8153 (1)" msid="88694220" hostid="261"></div> I believe the biggest emerging trend for the streaming industry in 2022 and beyond is the increasing flattening of the Earth, with both geographical borders and language barriers breaking down as internet connectivity reaches the remotest audiences. Our audiences, both local and global, have become smarter, more perceptive and way more critical; this requires us as Content Creators and Distributors to significantly improve the quality of our storytelling, of our productions and of the consumer experience we offer. Authentic, rooted stories that have a universal appeal can and will breakout to reach audiences globally. The more we collaborate with talent from diverse cultures and geographies, the richer we will become as storytellers. The ‘One Planet One Species Shared Cultures’ is an idea whose time is truly upon us. Divya Dixit, SVP, Marketing &amp; Revenue, <keyword id="4241922" type="General" weightage="20" keywordseo="altbalaji" source="Orion">ALTBalaji</keyword> With the traditional marketing budgets on a decline and digital and influencer marketing taking center stage, there are many trends, however interrelated, that we will see emerging in 2022. The digital audiovisual industry will explode; according to Bain and Company, India's online video user base has increased to more than 350 million people, growing 24% in the last three years. Influencer marketing will rapidly move to include micro-influencers and not just be dependent on Celebrity influencers, thereby also promoting UGC. Video marketing, live streaming will give rise to Social commerce and tier 2 and 3 cities will claim the growth chart curve. With all these interrelated events/trends triggering off, Users will expect personalized experiences which will be offset by deeper integration of ML, which will give rise to AI usage; however, the world of marketers will also see a more focused emerging curve towards Organic retention – CRM, surveys, retention tools, recommendation cycles, SEO, UI/UX as Google continues the stance of stopping 3rd party cookies by end of 2023. Manjit Sachdev- Head – Originals, Voot and Voot Select, Viacom18 Digital Ventures <div type="image" title="Manjit Sachdev _Head Content at VOOT AND VOOT Select" msid="88694240" hostid="261"></div> After an unprecedented 2020, with an acceleration in the growth of OTT platforms, 2021 was a year for creating milestones in curating unique and enthralling stories for the audience. Now as we step into 2022 with hope and resilience, the OTT sector will witness an increase in the demand for personalized and purpose-driven content. Given the increasing competition in the OTT space, staying relevant and purposeful is most critical. Considering the changing realities in today's times, having a purpose-driven story telling approach is the way to go. Content with purpose has the power to travel beyond boundaries, spread values, knowledge and positivity and build deeper engagement with subscribers. This trend will act as a key differentiator in changing behaviours. Megha Tata, Managing Director, South Asia, Discovery, Inc As SVOD continues to grow aggressively, we are seeing an increasing number of audiences now willing to pay for good content. I believe a right combination of compelling content and pricing would be the key in attracting a bigger share of consumers into the SVOD world next year. Also, differentiated programming will add to a player’s competitive advantage in the midst of most mainstream players offering similar content. This is a trend familiar to what we saw even broadcast channels go through. I believe some players will be able to carve out a niche for themselves, while most streaming catalogs will end up resembling each other. Rishi Negi, COO, Banijay Asia 2020 was a game changer for the whole world, we strategized a smooth transition to the streaming era and the year 2021 was about sustaining the positive change and envisioning the prospects of growth. With changing narratives and experimental content taking a lead, along with the fact that the data &amp; streaming charges have dropped, has resulted in the content reaching a much bigger audience. I anticipate the year 2022 to be vibrant with original productions, compelling storytelling and some path-breaking performances. Fighting the content inflation with a wide variety of exceptional chronicles intertwined with existing catalog shows in this post-pandemic world, viewers are streaming more than ever. With nominal data plan and streaming charges, content is reaching even the darkest corner of the world. Considering the pace of content transmission, at Banijay Asia, we have become more aggressive towards producing content that delights the heartland of India. We see a hike in demand for stories which are untold, female centric and with CTV on the rise, we anticipate growing interest in regional unscripted content in 2022. While we have seen this trend kickstart already with our Tamil unscripted show The Survivors as it received unparalleled response from the audience and our hinterland drama Matsya Kaand recently crossed a 100M views on <keyword id="2214311" type="General" weightage="20" keywordseo="mx-player" source="Orion">MX Player</keyword> within a month. These numbers affirm that the trendsmap that we're following leads to a sustainable future. Given these past two years have been a real tester, we have pushed through every possible challenge posed by the virus this year and successfully produced shows for the streaming giants and kept the show running. While we have covered grounds with our scripted, non-scripted, international format adaptation, book adaptations, in the upcoming year, we aim to keep up with our pace and keep reinventing our ways. To sum it up, we are thoroughly looking forward to 2022 to be a year full of exciting and enthralling projects to keep our audiences engaged and invested. Rohit Jain, Managing Director, <keyword id="193261" type="General" weightage="20" keywordseo="Lionsgate" source="Orion">Lionsgate</keyword> South Asia and Networks, Emerging Markets Asia 2022 is going to be an exciting year for OTT players as the content pipeline will be stronger than ever. While the pandemic has leapfrogged growth in terms of viewers and subscription we expect 2022 to further amplify the reach and will witness growth not only in the metros but also in tier II &amp; tier III cities. Today’s viewers are constantly looking for edgy and unique stories. We have always said premium content is the ultimate winner. The OTT industry will have to concentrate on quality content over quantity of content. Siddhartha Roy, COO, Hungama Digital Media The media and entertainment industry has been making rapid strides in the interior of India. Regional markets are becoming the industry’s point of convergence as the digital infrastructure expands across the length and breadth of the country. Content houses and creators are going vocal through local, thereby, making homegrown, high-quality content available at the click of a button. Going further, consumption of entertainment, in addition to audio and video, will be extended to varied mediums, such as gaming. As the Indian online gaming sector is witnessing tremendous growth in 2020 it sets a tone that gaming will be the next big thing. The industry will witness a rapid rise in the use of AI and ML to create a customised and personalised experience for audiences. This makes industry consumer friendly; not just that, it helps in massive consumption and double consumer engagement. Hiren Gada, CEO-Shemaroo Entertainment Ltd <div type="image" title="Hiren Gada, CEO, Shemaroo Entertainment Ltd." msid="88726664" hostid="261"></div> With regional internet penetration growing at a rapid pace, localization of content and OTT apps are going to be one of the emerging trends to look out for. Content that was earlier restricted to just Bollywood and Hollywood is getting extended to other native languages and it is going to play a key role in attracting new consumers and in supporting other industries such as dubbing and subtitling that will further boost the content bank. Other than localization, we will also see content being offered across other segments that include devotional, and kids’ categories. As we see new OTT apps being launched almost every month with multiple paying models, the consumers will have more flexibility and power to make their own choices. With increased smartphone adoption along with affordable data, mobile penetration of the OTT will see more focus. Mobile-centric plans have been introduced by most OTTs today to cater to the Millennials and GenZs who have the hunger to consume content but not the deep pockets to pay. This space will continue to grow with the increased bundling of OTT by telecos. Additionally, the arrival of 5G which is most likely to take off this year will be a game-changer not just for the OTTs but also for the consumers. It will enable faster connectivity, accessibility to content and further enhance the viewing experience with reduced buffering issues, and an uninterrupted real-time streaming experience. Shailesh Kapoor, The Founder &amp; CEO, Ormax Media The last two years have been exceptional for the OTT market in India, aided in no small measure by the lockdowns. As things begin to get back to normal, the question that we will hear a lot more in 2022 is: Where is the next level of OTT growth in India going to come from? The category has grown at an estimated 30-35% in its user base and more than 50% in paid subscriptions over the last two years. But these growth rates are not sustainable in the long run. Platforms will have to look for offerings that are both compelling and distinctive, to get new subscribers in a category that will continue to grow, but at more modest levels of 15-20% per annum. Crossover content, be it Indian (such as Jai Bhim) or foreign (such as Squid Game or Money Heist), will play an important role in this regard. The language barrier has been broken considerably by the OTT medium, and with dubbing and subtitles available in many languages for all major shows and films now, platforms cannot stick to single-language, homogenous offerings anymore. We can expect more language-led experimentation, both in content acquisition and presentation."

Where the Indian OTT industry is headed in 2022

<ul><li><keyword id="149966" type="COMPANY" weightage="20" keywordseo="IAMAI">IAMAI</keyword> has announced the adoption of a comprehensive implementation toolkit in furtherance to the Universal Self-Regulation Code for Online Curated Content Providers.</li><li>The Code has been adopted by seventeen (17) leading Online Curated Content Providers in India. </li><li>The present set of signatories include <keyword id="6245082" type="COMPANY" weightage="20" keywordseo="ZEE5">ZEE5</keyword>, Viacom 18 (Voot), Disney+ Hotstar, <keyword id="2976376" type="PERSON" weightage="20" keywordseo="Amazon-Prime-Video">Amazon Prime Video</keyword>, <keyword id="128682" type="COMPANY" weightage="20" keywordseo="Netflix">Netflix</keyword>, SonyLiv, <keyword id="2214311" type="PERSON" weightage="20" keywordseo="Mx-player">MX Player</keyword>, Jio Cinema, Eros Now, Alt Balaji, Arre, HoiChoi, Hungama, Shemaroo, Discovery Plus, Aha and Lionsgate Play. </li><li>The Tool Kit is effective from 10 February 2021.</li></ul>The Internet and Mobile Association of India (IAMAI) has announced the adoption of a comprehensive Implementation Toolkit (Tool Kit) which is in furtherance to the Universal Self-Regulation Code ('Code') for Online Curated Content Providers (OCCP) that was put in motion on September 4, 2020. The core purpose of this Tool Kit is to provide for procedures to effectuate the various provisions of the Code; assist the signatories in fulfilling their commitments and responsibilities as set out in the Code; and to achieve effective self-regulation goals as envisioned by the signatories in the Code. Importantly, the effort of the Signatories, through this Tool Kit, is to also address feedback received from Ministry of Information and Broadcasting inter-alia, on the issues of conflict of interest and prohibited content. The Code has been adopted by seventeen (17) leading Online Curated Content Providers in India. The present set of signatories include ZEE5, Viacom 18 (Voot), Disney+ Hotstar, Amazon Prime Video, Netflix, SonyLiv, MX Player, Jio Cinema, Eros Now, Alt Balaji, Arre, HoiChoi, Hungama, Shemaroo, Discovery Plus, Aha and Lionsgate Play. The Tool Kit is effective from 10 February 2021. The all-inclusive 'Implementation Toolkit' will assist signatories in seamless transition to self-regulation and guide them on various dimensions like: Relevant laws of the land which will be adhered to by the signatories: <ul><li>Fair and transparent functioning of the grievance redressal mechanism, with escalation to an Advisory Panel with independent members</li><li>Training programs for creative and legal teams of OCCPs to enhance the knowledge and nuances of laws that govern content</li><li>Awareness programs for consumers to help increase understanding and use of age rating, content descriptor &amp; parental controls</li><li>Implementation of a detailed audit and compliance mechanism</li></ul> Amit Goenka, Chair, Digital Entertainment Committee, IAMAI said, “The Universal Self-Regulation Code, which is signed by the Country’s top video streaming services marks a watershed moment in the history of the online streaming industry. Today, with the adoption of ‘Implementation Toolkit’, it further strengthens our (OCCPs) commitment to augment consumer empowerment and creative excellence for the Indian entertainment industry to grow multifold. This Tool Kit amplifies all the critical points that were addressed in the Code signed last year and aims to address feedback received from the Ministry of Information and Broadcasting, particularly on strengthening the grievance redressal mechanism. It further sets out clear tentpoles that the OCCPs need to undertake to achieve a common goal of entertaining millions of Indians responsibly.” Furthermore, IAMAI will constitute first of its kind ‘IAMAI Secretariat for the Code’ comprising of representatives of the signatories to the Code and IAMAI which will administer the implementation of the Code and the Toolkit. IAMAI aims to develop a process to seek periodic updates from the Signatories regarding their progress with respect to compliance with the provisions of the Code.

Netflix, Amazon Prime Video, Disney+ Hotstar, MX Player along with 13 other OTT players sign up for IAMAI's new implementation toolkit

<ul><li><keyword id="51758" type="COMPANY" weightage="20" keywordseo="Dish-TV">Dish TV</keyword>’s share price is currently locked at the 20% upper circuit.</li><li>Shares of the direct-to-home (DTH) service provider have gained over 66% in May alone.</li><li>Earlier last week, lenders of Dish TV invoked their pledge and sold over 5 crore shares in the open market.</li></ul><keyword id="6426538" type="UNKNOWN" weightage="20" keywordseo="Dish-TV-share-price">Dish TV share price</keyword> has hit the 20% upper circuit today, resulting in a price freeze for today. This comes after the lenders of the broadcast satellite service provider <a href="https://economictimes.indiatimes.com/markets/stocks/news/dish-tv-lenders-invoke-pledged-shares-sell-5-11-crore-shares-in-open-market/articleshow/82730868.cms">sold</a> over 5 crore shares in the open market last week. A month ago, former chairman of Zee Entertainment Enterprises Subhash Chandra revealed that he doesn’t own any stake in the direct-to-home (DTH) company. Apart from this, he also stated that he doesn’t have any management control of the company. <div type="image" title="Dish TV 01_04_20 to 25_05_21." msid="82938191" hostid="261" caption="&amp;lt;p&amp;gt;Dish TV share price since April this year&amp;lt;/p&amp;gt;"></div> Since the end of April, Dish TV’s shares have surged by over 66%, adding over ₹940 crore to investor wealth. But that’s not all – over the last one year, investors of Dish TV have seen their wealth increase from a little over ₹652 crore to ₹2,366 crore now. Since the <keyword id="1367150" type="PERSON" weightage="20" keywordseo="Dish-TV-stock">Dish TV stock</keyword> is locked at an upper circuit now, the price cannot go up any further today. However, sellers who want to book profits can still do so by selling at a slightly lower price. <cmsannotation type="cmsannotation" annotationid="Dish TV not the only stock to hit the 20% upper circuit today" comment="subhead" text="Dish TV not the only stock to hit the 20% upper circuit today">Dish TV not the only stock to hit the 20% upper circuit today</cmsannotation> Despite some volatility in the market and today’s gains being wiped out in the last two hours of trading, there are other stocks that have done well. Barbeque Nation, for instance, hit the 20% upper circuit before sellers came in at lower prices to book profits. Other shares locked at the 20% upper circuit include Hindustan Media, Coffee Day Enterprises, Shemaroo Entertainment, Schneider Electric Infrastructure, and Raj Television. SEE ALSO: <a href="https://www.businessinsider.in/stock-market/news/barbeque-nations-share-price-jumps-20-trading-halts-as-upper-circuit-gets-hit/articleshow/82933919.cms">Barbeque Nation's share price jumps 20% and gets locked in upper circuit</a> <a href="https://www.businessinsider.in/tech/apps/news/whatsapp-says-it-will-wait-for-the-indian-government-to-pass-the-personal-data-protection-law-before-limiting-features/articleshow/82931362.cms">WhatsApp says it will wait for the Indian government to pass the Personal Data Protection law before limiting features</a>

Dish TV shares hit the 20% upper circuit a week after lenders sell over 5 crore shares in the open market

<ul><li>The DPCGC will have an OCCP Council composed of publishers of OCC as members and an independent Grievance Redressal Board [GRB] -- consisting of a chairperson and six members.</li><li>The GRB will oversee and ensure the alignment and adherence to the <keyword id="184398" type="COMPANY" weightage="20" keywordseo="code-of-ethics">Code of Ethics</keyword>.</li></ul>The <keyword id="128625" type="COMPANY" weightage="20" keywordseo="Internet-and-Mobile-Association-of-India">Internet and Mobile Association of India</keyword> (<keyword id="149966" type="COMPANY" weightage="20" keywordseo="IAMAI">IAMAI</keyword>) today announced the formation of the Digital Publishers Content Grievances Council (DPCGC). Over the past two years, IAMAI has worked collectively with its members towards establishing a self-regulatory and grievance redressal framework for Online Curated Content [OCC] Publishers. In light of the <keyword id="6363148" type="COMPANY" weightage="20" keywordseo="information-technology">Information Technology</keyword> (Intermediary Guidelines and Digital Media Ethics Code) Rules, 2021, IAMAI is establishing the DPCGC as the Level-II Self-Regulatory Body for publishers of OCC as required under Rule 12, with the intent to empower consumers to make informed viewing choices. The DPCGC will have an OCCP Council composed of publishers of OCC as members and an independent Grievance Redressal Board [GRB] -- consisting of a chairperson and six members. The GRB will be chaired by a retired Supreme Court/High Court judge and the members would comprise eminent persons from the media and entertainment industry, experts from various fields including child rights, minority rights, and media law. The GRB will oversee and ensure the alignment and adherence to the Code of Ethics by the OCCP Council members, provide guidance to entities on Code of Ethics, address grievances that have not been resolved by the publisher within 15 days and hear grievances/appeals filed by the complainant(s). Subho Ray, President, Internet and <keyword id="592650" type="COMPANY" weightage="20" keywordseo="Mobile-Association-of-India">Mobile Association of India</keyword>, said, “IAMAI and members of the DPCGC are deeply committed to protecting consumer rights and empowering consumers with the right tools to make informed decisions, as well as have their grievances addressed. The formation of this body is an important step towards consumer choice, as more and more people are viewing content online.” IAMAI has notified the <keyword id="82970" type="COMPANY" weightage="20" keywordseo="Ministry-of-Information-and-Broadcasting">Ministry of Information and Broadcasting</keyword> that they are in the process of forming the DPCGC and has also shared a list of publishers who have confirmed to be members of the Council. So far, IAMAI has received confirmation from 10 publishers, including 1.) Alt Balaji 2.) Amazon Prime Video 3.) Arha Media 4.) Firework 5.) Hoichoi 6.) Hungama 7.) Lionsgate Play 8.) MX Player 9.) Netflix and 10) Shemaroo. IAMAI is also awaiting confirmation from several other such digital publishers. The creation of Digital Publishers Content Grievances Council (DPCGC) is a significant step in ensuring that publishers of OCC are compliant with IT rules 2021. The Digital Publishers Content Grievances Council will serve as a transparent and open channel to effectively address consumer grievances. As part of the process to be compliant, this newly formed body is an important step towards consumer empowerment and choice.

IAMAI announces formation of Digital Publisher Content Grievances Council

<ul><li>In our latest series, we look at different industries to understand what was 2020 like for them and to crystal gaze into the upcoming year, and identify some of the trends that will set the tone for 2021.</li><li>During the past few months of the global pandemic, people staying at home around the world have turned to various streaming services for entertainment. </li><li>With the coronavirus still around, we speak to OTT players to find out what would 2021 look like for the industry. </li></ul>Better connectivity, cheaper devices and even cheaper data plans have been aiding the growth of India’s over-the-top (OTT) industry over the past few years. However, 2020 became a year when more and more people came onto the digital ecosystem, thanks to being stuck at home during the lockdown. With people barely moving out of their houses, they turned to the digital world for their daily fix of entertainment. Also, people were more open with experimenting with different platforms. If an IBEF report is to be believed, the OTT sector in India saw a 30% rise in the number of paid subscribers, from 22.2 million to 29.0 million between March and July 2020. There was a visible increase in the time people were spending on most platforms. It therefore became important for platforms to come up with differentiated, fresh content that would help them stand apart. Owing to the fact that multiplexes were shut for months, many platforms also started launching movies directly on digital. Consumers have been happy for the most part. As we enter 2021, expectations from the sector are high. With the coronavirus still around, many people will continue staying in. So what will this mean for the OTT sector in 2021? Will more and more people continue coming onto platforms, and prefer to pay for the content that they like? How will OTT platforms be able to ensure consumer stickiness? What are a few trends that will stand out in 2021? We reached out to a few experts from the industry and here’s what they had to say. Archana Anand, Chief Business Officer, ZEE5 Global: <div type="image" title="Archana Anand zee5" msid="79998579" hostid="261"></div> I see two key themes that swung into prominence in 2020 emerging as key drivers of the <keyword id="9056838" type="UNKNOWN" weightage="20" keywordseo="ott-industry">OTT industry</keyword>’s skyrocketing growth in 2021. With the lockdown, we’ve seen a trend of people across the globe warming up to the idea of paying for quality content, and also being willing to commit to annual subscription packs where they see value. I see this trend only accelerating in 2021, leading to strong SVOD growth. This has also been a year where international content has gained massive traction across markets. With ZEE5 and other OTT platforms offering dubbed and subtitled content, enabling people in one geography to seamlessly access stories from any other, content is now truly democratized. Storytelling is increasingly blurring boundaries and storytellers are finding newer audiences beyond their own borders. I think 2021 is going to be the year that international content comes into even greater prominence as online audiences literally discover a world of new content via their OTT platforms. Hiren Gada, CEO, Shemaroo Entertainment Limited: <div type="image" title="Hiren Gada, CEO, Shemaroo Entertainment Limited" msid="79995505" hostid="261"></div> 2021 is going to be an exciting year as OTT is already riding the wave of increased data consumption and internet penetration in the small towns and rural India. The year gone by also saw some great innovations and developments in the OTT space. From direct-to-digital releases to the increasing growth in the regional content, this year has bolstered the growing popularity of OTT to an all-time high. One trend that is expected to take centre stage is highly localised and regional content. The key to ace the trend is to have an in-depth understanding of the traditions and culture of the viewers. Understanding the deep-rooted connections our viewers have with their mother tongue, we have developed a strong regional strategy for Shemaroo across all our platforms. We have a huge content bank that ranges from Bollywood, Gujarati, Marathi, Punjabi, Kids, Devotional, and various specialised trays. Content companies saw a huge change and spike in the content viewing pattern of the audiences during the lockdown. Our regional offerings saw an impressive surge in viewership especially in the Gujarati category with viewership as high as 102% in the peak months of the lockdown. While Bollywood is our mainstay, our teams have been constantly acquiring and upgrading our regional offerings, so our audiences have something new every time they tune in. We aim to make it a more robust and comprehensive pick for any consumer who wishes to enjoy varied regional content. Ferzad Palia, Head, Voot Select, Youth, Music and English Entertainment, Viacom18: <div type="image" title="Ferzad Palia." msid="79995514" hostid="261"></div> Year 2020 saw the OTT category driven by groundbreaking storytelling and macro factors resulting in significant growth for SVOD services. Viewers’ willingness to pay for quality content is now well established. However, around 65% of subscribers are still from Top 10 metros. 2021 will buck this trend and see the Premium OTT Category in India expand its footprint outside of the top 10 metros, heralding the next phase of growth for the category. Karan Bedi, CEO - MX Player: <div type="image" title="Karan Bedia Mx player" msid="79998628" hostid="261"></div> Video streaming has become the primary mode of entertainment for most digital consumers across India this year. With this backdrop, India is set to become a key market for growth in OTT video in 2021. This will lead to an avalanche of new unique original content for these audiences as they have very little to watch on TV. In this situation, marketers are also increasingly aware of where their money works best, and would like to focus on those mediums, namely digital and OTT. Divya Dixit, SVP, Marketing, Analytics and Direct Revenue, ALTBalaji <div type="image" title="Divya, altbalaji" msid="79995519" hostid="261"></div> Digital is an ever-evolving medium and when it comes to OTT players, competition across the industry is soaring high with everyone at their toes trying to secure their places in the minds of consumers. While the pandemic of 2020 redefined content consumption, the year 2021 will chart new business alliances and revenue models for platforms to acquire direct subscriptions. The report from FICCI and E&amp;Y predicted 30-35 million paying subscribers on OTT platforms alone in the year 2021, and we are excited about carving a substantial pie out of the same. Our objective has always been content massification and with the next billion internet users set to hail from the Hindi heartlands, India’s digital industry promises a host of fresh avenues to explore and expand. The soon-to-arrive 5G networks will only work as an important factor for OTT platforms to scale further heights. Prime Video India spokesperson: “2020 has been a very exciting year for us at Prime Video India – at a time when a large section of customers, looking for high quality entertainment, are turning to streaming video - we launched 18 direct-to-digital movies (across 5 Indian languages) and 8 Indian Amazon Original Series, in addition to several Global Originals and hundreds of licensed and exclusive titles. One of the most consistent trends we observed in 2020 is that great content transcends geographical barriers. Indian stories are traveling across the globe - 1 out of 5 viewers of Indian Originals are from outside India. Both Four More Shots Please! and Made in Heaven were nominated for the International Emmy Awards, a testimony to local, authentic stories finding a global audience. Our first slate of DTS movies received close to 50% (and sometimes more) viewership for titles in Indian languages from customers outside the home states. Our Bollywood direct-to-service movies were block-buster hits - Gulabo Sitabo and Shakuntala Devi have been our most-watched movies on Prime Video in India as well as the most-watched Hindi/ Bollywood Movie outside India. Localized content not only helps us remain relevant, relatable but eventually also helps in widening audience reach - we also see global shows going deeper in India. We released Parasite with Hindi subs in India and that opened viewership to a whole new audience. We also dubbed some of our popular Global Amazon Originals like Tom Clancy’s Jack Ryan and more recently, the second season of the The Boys in Indian languages, leading to more people discovering and watching these titles. This gives us an insight that customers are ready to watch content that has originated from any part of the world, if the story and the characters resonate with them.”

OTT: The trends to watch out for in 2021

<ul><li>The platform uses over two decades of BookMyShow’s rich user understanding and data insights to focus on personalised content discovery with access to a finely curated selection of <keyword id="180362" type="COMPANY" weightage="20" keywordseo="world-cinema">world cinema</keyword>.</li><li>Warner Bros’ <keyword id="6631414" type="COMPANY" weightage="20" keywordseo="Wonder-Woman-1984">Wonder Woman 1984</keyword>, Tenet and Sony Pictures’ The Craft: Legacy to be available on <keyword id="10709129" type="UNKNOWN" weightage="20" keywordseo="BookMyShow-Stream">BookMyShow Stream</keyword> starting February 5th.</li></ul>BookMyShow is all set to usher in a whole new movie-watching experience. It has rolled out ‘BookMyShow Stream,’ a homegrown Transaction Video-on-Demand (TVOD) streaming platform. With over 600 movie titles and 72,000+ hours of content, BookMyShow Stream will feature a handpicked, specially curated library of some of the best, celebrated and award-winning films and content from around the world along with India that users can Rent or Buy and watch. With over 22,000 hours of content being Exclusive to the platform at launch, BookMyShow Stream will feature multiple marquee Premieres every Friday. BookMyShow Stream is a highly data-rich offering that focusses on relevant and targeted content for consumers across specific film categories such as Premieres, Exclusives, World Cinema, Missed in Theatres, Festival Favourites and dedicated Bundles and has been built on the back of over 21 years of rich consumer understanding and data insights on user behaviour and preferences garnered on the platform. Starting today, BookMyShow Stream will be home to <keyword id="127480" type="PERSON" weightage="20" keywordseo="Christopher-Nolan">Christopher Nolan</keyword>’s Tenet, Gal Gadot starrer Wonder Woman 1984 and Horror fantasy The Craft: Legacy, giving Indian cinephiles an opportunity to catch these blockbusters that they missed in theatres. Besides these, films like Alone, Yes God Yes, The Peanut Butter Falcon, The Guilty, Les Miserables, Unhinged and acclaimed Russian Sci-fi thriller Coma, from premium Independent studios will premiere exclusively on BookMyShow Stream. BookMyShow Stream will feature marquee Hollywood content through partnerships with leading Global production giants including Sony Pictures, Warner Brothers and Universal Pictures amongst others. The platform will also bring compelling films from the library of major Indian production houses such as Viacom18, Shemaroo and Rajshri Productions as also Regional content providers like Divo and Sillymonks, amongst several others. BookMyShow Stream will be one of the first Indian streaming platforms to host acquired content from Independent Film distributors like PictureWorks, Superfine Films, Impact Films, Kahwa Entertainment and VR films. Bringing the magic of world cinema to Indian audiences, the movie streaming platform aims to be the go-to destination for some of the best and most popular World Cinema spanning countries such as Spain, France, Denmark, Sweden, Norway, Germany, Slovakia and Netherlands. The content available on BookMyShow Stream is amongst the most celebrated films across key International Film Festivals including award-winning showcases at the Cannes Film Festival, Venice Film Festival, Berlin International Film Festival and Sundance Film Festival, to name a few. Commenting on the launch of BookMyShow Stream, Ashish Saksena, COO - Cinemas, BookMyShow said, “With ‘BookMyShow Stream’ – the largest Made-in-India Transaction Video-On-Demand platform yet, we are moving a step forward towards nurturing India’s movie consumption habit by providing users the best of global cinema right to their personal screens. ‘BookMyShow Stream’ is an innovation that is a result of over two decades of deep consumer understanding and robust data insights on user behaviour and preferences. It will give entertainment lovers access to highly curated cinema offerings from around the world, thanks to some long-term, marquee and exclusive partnerships with global &amp; Indian content powerhouses. ‘BookMyShow Stream’ is a natural extension of our cinemas business and respects the existing theatrical windows for content. It empowers users to pay only for the content that they watch - a prevalent trend in other global cinema markets, as yet untapped at scale in India. ‘BookMyShow Stream’ aims to inculcate global consumption trends by providing a highly curated avenue for handpicked cinema from across the world. With flexible purchase options and a seamless user interface, this new offering furthers BookMyShow’s journey from being a gateway to an evolved curator of tent pole content experiences." BookMyShow Stream will offer users the option to rent a movie for a finite duration or buy it for unlimited access with prices that suit all pockets. The streaming platform will offer an extremely personalised and seamless experience based on a user’s preferences, transaction and behaviour on BookMyShow, thus enhancing the discovery and streaming process significantly. Developed in-house and compatible with multiple devices, BookMyShow Stream enables an extremely personalized experience for content discovery including a seamless streaming flow and checkout experience across all formats of viewing. BookMyShow Stream will be available for viewing on BookMyShow’s mobile app and website as also Apple TV, Android TV, Firestick, Chromecast and desktop browsers. BookMyShow Stream will allow users to experience features such as downloads, offline viewing and casting.

You can now watch movies on BookMyShow Stream

Recently, Society Tea launched a new campaign ‘Masala Nahi Toh Mazaa Nahi’. Conceptualized by Ogilvy, the campaign revolves around every Indian’s love for cinema and chai. Riding on the strategy of this campaign, Shemaroo Entertainment tactically took over a Society Tea outdoor in Mumbai with a campaign of its own. The Shemaroo Outdoor goes on to agree with Society Tea outdoor to say, ‘Toh masala chai ke saath ek masala movie ho jaye?’. While this campaign between Society and Shemaroo was more like a friendly reply, there have many numerous instances where brands have taken on each other. <keyword id="25952" type="CITY" weightage="20" keywordseo="Mercedes-Benz">Mercedes-Benz</keyword> CEO Dieter Zetsche retired from his post recently, after leading the car manufacturer for 12 years. And while the world spoke about Zetsche’s stepping down, an ad spot by BMW, paying tribute to Zetsche went viral. BMW released a video, bidding farewell to Zetsche, which people might argue is a very nice gesture. The ‘heartwarming’ ad sports a Zetsche look-alike who is seen saying goodbye to colleagues at Mercedes-Benz, returning his ID and then seen leaving for home. The ad ends by saying, ‘Thank you, Dieter Zetsche, for so many years of inspiring competition.’ However, BMW brilliantly adds itself to the spot when they show the character zooming off in a BMW car with the words ‘Free at last’ on the screen, in the last frame seconds of the ad. The ad ticked all the right boxes, it felt like a genuinely heartfelt tribute, while also being smart advertising. However, while people initially lauded BMW for being humble and raising a toast to the CEO of a rival brand, many others later pointed out that the last shot, where Zetsche is seen driving out in a flashy BMW car makes the ad cheeky and not really as heartfelt as most people were making it out to be. <div type="Youtube" id="9rx7-ec0p0A" title="Retirement is about exploring your wide open future." thumbUrl="https://i.ytimg.com/vi/9rx7-ec0p0A/mqdefault.jpg"></div>
 <keyword id="1440186" type="PERSON" weightage="20" keywordseo="competitive-marketing">Competitive marketing</keyword> isn’t really a new phenomenon. For years, rival brands have engaged in guerilla advertising, calling each other out and pulling each other down, in an attempt at achieving one-upmanship. For consumers, it is entertainment, where competing brands end up engaging in pun wars, which can be very witty at most times. Closer home, we came across a few examples of competitive marketing when smartphone manufacturer Xiaomi took a dig at rival brand OnePlus. OnePlus has been putting in some big bucks to promote its latest offering OnePlus 7. It recently roped in Hollywood actor Robert Downey Junior as its face and has been marketing its new phone aggressively. Looking at this as an opportunity, Xiaomi came up with an OOH campaign and placed it right beside OnePlus hoardings with the punchline, ‘Starkly Superior To The Lastest One’, clearly taking a dig at OnePlus. The images were tweeted by Xiaomi India Head, Manu Kumar Jain, and the Twitterverse was quick to notice this, which were shared across platforms widely. <div type="twitter" handle="manukumarjain" handlename="Manu Kumar Jain" image="http://pbs.twimg.com/profile_images/1097747771208040448/8ds587oq_normal.jpg" favoritecount="6767" retweetcount="792" status="&quot;Starkly superior to the latest one!&quot; +1 if you liked these punny ads! 🤓😁 #RedmiK20 and #RedmiK20Pro coming soon!… https://t.co/EVejqmkGRW" createdat="1559458989000" id="1135079389446647811"></div>
 About a month back, Oven Story came up with a series of videos where they promoted their pizza offerings while also poking fun at some of its well-established rivals like Pizza Hut and Domino’s. <div type="Youtube" id="01lS-9YAtqs" title="Oven Story Pizza, ye to #NextLevelCheese hai! III 40sec" thumbUrl="https://i.ytimg.com/vi/01lS-9YAtqs/mqdefault.jpg"></div>
 European lager beer brand Beck’s Ice too launched a digital film that took a direct dig at competitor Kingfisher, the ad implied that its competitor’s beer was not as smooth as Beck’s Ice. <keyword id="33542" type="COMPANY" weightage="20" keywordseo="Burger-King">Burger King</keyword> recently also took its competitive advertising to a different level when it launched an Augmented Reality campaign where it asked people to ‘burn’ its competitor’s ads, and get a Whopper in exchange. <div type="twitter" handle="Ogilvy" handlename="Ogilvy" image="http://pbs.twimg.com/profile_images/1134818095279878146/uHppwvz7_normal.png" favoritecount="4482" retweetcount="4543" status="Title: Burn That Ad Client: Burger King Agency: @DAVID_SaoPaulo_ For their latest campaign, Burger King entices cu… https://t.co/HZSysvXWMs" createdat="1553090752000" id="1108369063951126528"></div>
 In the past too, we have seen some big brands engaging in competitive marketing. Who can forget the Cola wars in India in the 90’s? Or the campaign where Times of India came out with a video, pulling the Hindu down while launching in Chennai, which was dominated by the Hindu. The Hindu also later came out with a campaign titled, ‘Stay Ahead With The Hindu’. Both the campaigns were widely spoken about, despite it being before the time of social media. <div type="Youtube" id="_-qUnFZa6PM" title="TOI CHENNAI EDITION WAKE UP!" thumbUrl="https://i.ytimg.com/vi/_-qUnFZa6PM/mqdefault.jpg"></div>
 <div type="Youtube" id="OT3xeaWVINA" title="Stay ahead with THE HINDU" thumbUrl="https://i.ytimg.com/vi/OT3xeaWVINA/mqdefault.jpg"></div>
 Competitive marketing has an obvious advantage. It makes people sit up and notice. In the age of social media, anything that is a little different from regular communications generates a lot of chatter. Speaking about how brands can stand to gain, <keyword id="873832" type="PERSON" weightage="20" keywordseo="Saurabh-Uboweja">Saurabh Uboweja</keyword> Chief Executive Officer Brands of Desire management consulting firm says, “Competitive marketing is a powerful tool if used intelligently. It brings unforced attention, creates dialogue around your brand and establishes your superiority over your adversary.” Since the advent of social media, coming up with campaigns like this has also become common because a lot can be said in just one post. This also makes it cost-effective. Says N Chandramouli, CEO, TRA, “Guerrilla marketing or competitive advertising is usually low cost and usually piggybacks on a larger advertising campaign. It’s like a judo move, where you use the weight of the opponent against them. It becomes good conversation, and is usually remembered for a long time.” He further adds, “If done well, ads like this can be extremely effective. It brings the competing brand into the consumer consciousness, if it is well executed.” However, many also believe it is a double edged sword. Adds Uboweja, “It is sometimes confused with plain or crass sloganeering and may backfire as a result, making a brand appear desperate for attention.” Agreeing to Uboweja, Karthik Srinivasan, Independent Brand Strategist says, “Brands need to be very careful while coming up with campaigns like this. Campaigns go viral when they evoke a strong emotion in viewers, that emotion can be positive, negative, humor or disgust.” Sharing an example when two brands engaged in competitive advertising, while not putting each other down, Srinivasan says, “When Boeing turned 100 back in 2016, Airbus came up with a video thanking the former for the healthy competition. Similarly, Boeing came up with a video to wish Airbus a happy 50th birthday. In both the cases, the brands kept the snide-ness at the minimal. However, that also meant these videos were not as widely shared as the others.” <div type="Youtube" id="xWaTjYpczKQ" title="One thing to say to Boeing" thumbUrl="https://i.ytimg.com/vi/xWaTjYpczKQ/mqdefault.jpg"></div>
 <div type="Youtube" id="5j3ob0CfH9I" title="Airbus, We're Glad You're Here" thumbUrl="https://i.ytimg.com/vi/5j3ob0CfH9I/mqdefault.jpg"></div>
 While brands do capture a lot of eyeballs for campaigns like these, they can also face a backlash, making it critical for brands to be very careful. Srinivasan explains, “People only share content like this when they feel strongly. And it’s not a very good idea to do that on a back of a strong negative emotion. In case of Xiaomi, they pulled OnePlus’ legs but the next time they fall short in some regard, people will pull Xiaomi down too. Brand need to realize that a piece of communication can also evoke a positive emotion and such creatives can also do well with consumers, if the campaigns are executed well.”

Does Competitive Marketing Still Work For Brands?

<ul><li>After the comeback of epics such as Ramayan and Mahabharat, there is a huge demand for classics. Riding on the nostalgia wave, <keyword id="2810265" type="PERSON" weightage="20" keywordseo="ott-players">OTT players</keyword> are also using their old content. </li><li>For the first time in history, to overcome the restrictions and market their content in the best way possible, OTT players have tied up with TV channels to push their content. </li></ul>After Doordarshan brought back its two epics, Ramayan and Mahabharat, Star TV and Sony followed the trend and is taking us back to the golden era by rerunning some old shows like Sarabhai VS Sarabhai, Khichdi, CID, and Aahat respectively. Now owing to the fact that production has been stalled till the lockdown is lifted, OTT platforms are taking a similar route. While ShemarooMe is premiering Bollywood movies every Friday, it has also seen a huge jump in people watching classic movies. “There is a lot of experimentation happening right now -- the audience is actually going back and watching blockbuster movies from the past such as Jaane Bhi Do Yaaron or older shows like Nukkad. And it’s been consumed by the younger generation too. So, that's opening up a new set of content for a new set of audience who have not been exposed to it till now. And that's sort of interesting for us as a platform to wait and watch,” shares Rahul Mishra, Head Marketing and Communications, Shemaroo Entertainment. <keyword id="4241922" type="PERSON" weightage="20" keywordseo="ALTBalaji">ALTBalaji</keyword>, on the other hand, which already has a huge library of content, is also considering bringing back a few of its classic, much-loved serials. Moreover they are also in talks with other platforms for content syndications, to broaden their content offering. “We are utilising this time to do business syndications, we did one with ZEE. We are also utilising our vast content library and queuing up our originals ready,” said Divya Dixit, SVP, Marketing, Analytics &amp; Direct Revenue, ALTBalaji. <keyword id="7444876" type="UNKNOWN" weightage="20" keywordseo="Discovery-Plus">Discovery Plus</keyword> is also leveraging its global partnerships to help consumers stay indoors and stream the outdoors. To stay relevant in today’s environment, they have lined up COVID-19 documentaries. “Discovery has a lot of content that hasn’t been exposed to Indian audience. We have a strong global library to sustain for a long period of time. For us, it’s a mix of marquee specials, global library and partnership content. We already had a couple of pieces ready on Coronavirus, we are trying to stay relevant as we can,” said Issac John, Business Head – Digital (South Asia), Discovery. Moreover, with gaming seeing a spike across the world, platforms like <keyword id="2214311" type="ORGANIZATION" weightage="20" keywordseo="Mx-player">MX Player</keyword>, that had recently introduced gaming on its platform, has an edge as people are on the lookout for different modes of entertainment. “We introduced gaming about 8-10 weeks back and in the last five weeks, it has seen a 4X surge in engagement. And we are using that inventory available on our platform to cross promote our own shows. In terms of the number of games played by one user and the time spent by that user on the gaming tab is actually something that we didn't expect and we are actually using that to cross promote our own shows,” said Abhishek Joshi, Head of Marketing and Business Partnerships, MX Player. He also shared that MX Player has recently inked a content deal with Sony Pictures Television and Paramount. “We are the first Indian AVOD platform to have struck such a deal with an international studio.” Tough times are pushing marketers to come up with creative ways to sell their content. Disney+ Hotstar original series Hostages is now airing on Disney-owned TV channel Star Plus. For the first time in history, OTT content is broadcasted on a TV channel. ALTBalaji has also partnered with ZEEL to broadcast its originals such as Kehne Ko Humsafar Hain, Baarish, Karrle Tu Bhi Mohabbat. Joshi says, “While this integration has happened at an unfortunate time, it will help the OTT players embark on a collaborative journey rather than an either-or strategy, which we have always been speaking about.”

OTT players bank on content archives and work on content syndication to meet the rising demand due to the COVID-19 lockdown

<ul><li>Logicserve has undergone a visual transformation to match with today's ubiquitous digital world. </li><li>The agency’s new logo symbolizes its personality traits of being -- Curious, Adaptive, and Intelligent, which, Prasad Shejale, CEO &amp; Founder, <keyword id="3900173" type="PERSON" weightage="20" keywordseo="Logicserve-Digital">Logicserve Digital</keyword>, says are ‘indispensable to thrive and lead in the dynamic world’.</li><li>Logicserve has seen 102% CAGR in the last 5 years and hopes to become a ₹180 crore agency by March 2020.</li></ul>To adapt to the constantly changing landscape, Logicserve Digital, a digital marketing agency and the Indian arm of Logicserve Group, is donning a new visual identity. The agency has revealed a new logo to match with today’s dynamic world. It symbolizes Logicserve’s personality traits of being -- Curious, Adaptive, and Intelligent. 
 
 
 
 
 
 
 
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 The circle at the bottom is similar to the anchor seen in a question mark or an exclamation -- it symbolises curiosity that is the genesis of any change or transformation. The fluid shape showcases adaptability highlighting the company’s ability to change and evolve. The mnemonic that looks like a profile view of a brain, symbolises intelligence and thought leadership. Telling us further about why Prasad Shejale, CEO &amp; Founder, Logicserve Digital, felt now was the right time to launch a new visual identity, he said, “Multi-specialisation is the need of the hour and varied skill sets are required to design a solution for the challenges faced by today’s world. Here, the company represents its core capabilities – Media, Creative, Data &amp; Insights, and Technology – as distinct from one another through different colours and shapes. The core capabilities are ever changing and evolving, which is why the shapes are fluid and transient in nature. These core capabilities are interdependent and when brought together, embodies what they offer to the world – an integrated solution.” Clientele and Growth Plans Logicserve Digital has so far serviced more than 300 clients including Paytm Mall, Inshorts, Bajaj Finserv, DHFL General Insurance, Tata Motors, Shemaroo Entertainment, Hungama, Oppo Realme, Thomas Cook India and Fullerton India. When Shejale founded Logicserve Digital in 2012 with one office, it has now grown to a team of over 320 employees with three offices in Mumbai, Bangalore, and Delhi. The agency also expanded its operations to Dubai this year. In the last financial year, Logicserve recorded ₹110 crore plus as its revenue and throughout the last five years, the digital agency has seen a growth rate of 102% CAGR. This year, it hopes to grow 3X faster than the rest of the players in the digital industry and become a ₹180 crore agency. “Achievement of these significant milestones has made 2019 a wonderful year for us so far. We have been beating the industry and will continue beating them in the growth perspective -- at least three times more than what the industry is growing. So if the industry is growing at 33%, we would definitely want to keep on growing at 100%,” explains Shejale. 
 
 
 
 
 
 
 
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 Standing Out in the Clutter Shejale says the reason for this smooth-sailing is because the agency provides 360-degree digital solutions and is quick to latch on to new trends. “We are one of the early trend-catchers. When people were talking about programmatic, we immediately built a programmatic division and that’s why we picked up a lot of programmatic buyers in this country. Right now, digital is so much beyond media. It has four different skill sets and we have to weave them together to give an integrated solution to the customers. And there are very few agencies who can take an integrated approach properly,” says Shejale. Way Forward for Digital Media Shejale says high internet penetration, low price of data, and increased internet accessibility has helped the digital industry boom exponentially. Clients have also started realising the importance of digital media and its reach. Telling us the reason behind digital’s growth, Shejale says, “We stand at an important juncture where the rising adoption of digital platforms by consumers is encouraging brands to reach out to masses not only in Tier I cities but also in Tier II and Tier III through digital channels. The consumers expect personalization and their behaviour is changing a lot. This makes it important for brands to focus on digital. The digital medium also offers more flexibility on budget, accountability, and Returns on Investment, therefore, brands are trying innovative approaches including the latest ‘Social Commerce’. In 2020, we will witness the growth of digital industry at a very different pace owing to emerging trends backed by technology including Artificial Intelligence, Virtual Reality, Martech tools, data penetration, etc.”

Logicserve Digital dons new identity after seeing 102% CAGR in the last 5 years; hopes to become a ₹180 crore agency by March 2020

<ul><li>While the ad industry has a lot of womentoday, many drop out by the time they reach mid-management levels, primarily due to the lack of flexible hours, or the flexibility to work from home.</li><li>The women leaders we spoke to believe organizations need to prioritize training more women, to prepare them for leadership roles, and this should be a part of the company’s culture.</li><li>There is also a need to relook at the way employee’s performances are evaluated, coming up with newer ways of assessing talent in a time where the way of doing business has seen a complete overhaul.</li></ul> In late 2019, a report by Credit Suisse stated that women’s representation in boardrooms in India increased only by 4.3% between 2014 and 2019. The report further stated that the current female representation on boards is only 15.2% which invariably led to dialogues around the conspicuous lack of women leaders in the upper rungs of the corporate world. Having said that, the world of advertising, marketing and media is one industry that has seen a lot of women in roles of leadership. While we are still far from an equal man-woman ratio in the industry, it is heartening to see more and more women take the top spots. Conversations with most women leaders from the industry led us to believe that this is an industry that welcomes women to be a part of the workforce. However, it is during their mid-career levels that a lot of women drop out of the workforce, leading to a dip in women who take up higher positions. We reached out to some of the most influential women in the industry currently, to gauge what are the reasons for these drop-outs, and what needs to be done, as an industry as well at individual organizational levels, to ensure that women are retained, and even if they drop-out, are encouraged to rejoin the workforce. We received an overwhelming response to our queries from across the sector from women who made some really compelling points. These women who feel passionately about the subject laid their hearts bare, telling us ways they think the industry can evolve, to become more inclusive. Here are some of the most prominent voices. Building a culture of inclusivity It is often noticed that while a lot of women are joining the workforce, many of them take the decision of quitting once they decide to get married or decide to have children. Many find it difficult to come back, due to the lack of flexible working hours at their workplaces, or even due to a certain amount of judgment where people look at them a little differently after they come back from a long break. Most of the women leaders we spoke to believe that the work culture needs to evolve a little, to make way for such women, giving them the flexibility that many of them need, once they start a family. <keyword id="4356726" type="PERSON" weightage="20" keywordseo="srija-chatterjee">Srija Chatterjee</keyword>, Managing Director, Publicis Worldwide, India shared that while a few corporates have started giving some assistance to women, the ad industry hasn’t yet started doing that actively. “As an industry, we have woken up to women leaders and we are trying to make things happen for women, to make sure that they don't jump off from the workforce. However, there's still a long way to go. The biggest reason women stop working is when they get into that life stage of having children. A lot of corporates are today providing strong support, through office crèches or flexi-timing options. That has not yet happened in our industry. From a business perspective, the size of our agencies might not be that big, which makes implementing this a bit of a challenge. But the more and more we get into a group structure, and offices become more centralized, it will enable organizations to look at shared resources to help women pursue their passion. This is something that could be done, but has not been done yet.” A lot of times, there is also a lot of judgement involved when women come back to work after a long break. Delving deeper into the need for a change in attitude, Pallavi Chakravarti, Executive Creative Director, Taproot Dentsu said, “You’ve been out of the scene way too long - you can’t expect the salary that you do after the kind of leave you’ve taken - but won’t your attention be divided now?” These are just some of the things women hear when they are seeking to make their way back into the workforce, post a long gap. Of course, this is not a blanket statement - times are changing, mindsets are changing, as are corporate policies. But if companies truly want to be gender-neutral then statements and questions like the ones I’ve cited above would never be heard again. Additionally, flexible working hours, working from home, working on time-bound projects are all steps that more and more organisations can adopt to ensure equal opportunities. And when I say equal, I mean that these options should be made available to both men and women. Shedding some light on how OLX is working on retaining some of its women, Sapna Arora, Chief Marketing Officer, OLX India said, “Setting the right example of favourable work culture much suited to women, not just in terms of facilities and infrastructure, but also in terms of broadening our thinking within an organization across various levels, is the key to inspire women working population to join the workforce and perform better. OLX, as an organization, is working on taking baby steps in creating empowering workplace for women. A couple of years ago, we at OLX embarked on a journey to evaluate the gender diversity ratio and actively worked to encourage more women in roles such as data scientists, engineers, front line sales and more. This is a conscious choice we have made under our global diversity and inclusion programme which seeks to improve the gender ratio across STEM and leadership roles.” Talking about the need to prioritize diversity in leadership, Emrana Sheikh, Enterprise HR Head for India and South Asia – Johnson &amp; Johnson said, “Today, companies are increasingly equating their C-suite diversity to competitive advantage for their businesses – and rightly so, it leads to robust dialogue, richer decisions and the empathy to design good, and human-centered solutions. For organizations looking for a paradigm shift in their work cultures, C-suite diversity sets an example for the rest of the team. At the basic level, it can be a source of inspiration that resonates down to the front-line staff. This is only possible when diversity in the leadership is prioritized and its long-term implementation is ensured at all levels through intentionality and focused talent management. Internal platforms such as Diversity &amp; Inclusion Council and Employee Resource Groups further drive culture strategies from a variety of lenses, championing inclusivity as a collective goal across levels. An inclusive culture transcends barriers, bias and bureaucracy, and makes the employees truly feel that they belong. All around, women are a critical mass of consumers, influencers, stakeholders and communities. Hence, reflection of the same in organizations is a business imperative.” Sharing a similar sentiment, Neena Dasgupta, CEO and Director, Zirca Digital Solutions added, “Organizations need to ensure that women in the workplace are respected and recognized.For women to thrive in the workplace, organizations need to ensure an environment that is rooted in equal opportunity and a culture that is geared to assist women achieve their goals.” Sharing some tips on a few things that can be done at the organization level to help women continue to be a part of an organization, Ayesha Ghosh, General Manager, Taproot Dentsu added, “Younger women need to see older women in positions of influence. Flexible working hours and working from home might be a challenge in an industry that’s made a virtue of unreasonable working hours but we ought to be non-negotiable about starting early, cutting idle chatter, short lunch breaks and everything else that helps finish work early so that parents (and everyone else, really!) get to spend some time with their families. Ingraining fundamental values will go a much longer way than making token gestures. Enforcing paternity leave, for instance, so that the onus of child-rearing is not on the mother alone. When a parent, regardless of gender is expected to manage time such that they are responsible for their work as well as for their families, everyone will automatically spend less time on idle chatter and work a lot more efficiently.” An organization's culture also needs to have empathy at its foundation, shared Oindrila Roy, Head of Strategy, India, Essence, to make a difference. "As with any type of workforce integration, empathy should be the edifice on which workplaces are designed to integrate and retain both women and men more seamlessly. For women, it starts with stepping into her shoes, evaluating challenges from her point of view and arriving at solutions which are conducive. For example, an online survey conducted by JobsForHer found that 38% of women do not return to the workforce after giving birth, due to the lack of good day care for children. If that is the challenge, companies need to think of solving this problem innovatively - can the organisation collaborate with a nanny service provider to avail reliable childcare options to its employees? Reassured and empowered parents are likely to stay in the workforce longer." Modifying existing performance benchmarks Rubeena Singh, CEO, iProspect India believes that there is a need to relook at the performance benchmarks on which employees are evaluated. “In the middle years, I often see that we are trying to evaluate people on certain benchmarks. The criteria for these performance indicators have been put in place years ago when it was a largely male-dominated workforce. Things like 8 hours of work, or work in office, or if you want a senior position, you should have worked in different geographies etc. But sometimes, for women, it becomes very difficult to be mobile and move to different parts of the country, especially once they get married. As an industry, we really need to re-evaluate the criteria. We should look for quality now, if people are curious, if they are team-players, how innovative and out-of-the-box can they think. If these changes are brought about, a lot of women will find it easier to catch up from where they left, even if they are coming back after a long break.” Treating both men and women as equals at the workplace A lot of women leaders feel that there is an immediate need to start looking at both men and women as equals in the workspace and not differentiate on the basis of gender. Lara Balsara Wajifdar, Executive Director at Madison World said, “We need to look at women leaders as leaders first and not as women leaders. Don’t differentiate us on the basis of our gender, but differentiate us on the basis of our work! Our industry is always hungry for good talent and if the talent is good, the agency will always accommodate personal requests as long as the work is not affected.” Many also feel the starting point is to start a conversation, where both the genders are treated as equal participants. “<keyword id="6372584" type="UNKNOWN" weightage="20" keywordseo="gender-equality">Gender equality</keyword> is not just a women’s issue, it’s a human rights issue – that extends to all realms, including the workplace. To encourage equality across all lines of command in the workplace and have more women leaders, we need more men to be equal participants in the conversation around gender equality. Having the male workforce as partners can bring empowerment and equal respect among all genders. Global change-making initiatives like the UN’s ‘He for She’ Movement, of which I am a strong advocate, have been setting strong examples for people of all genders to take bold steps in solidarity and are working towards a gender-equal world,” said <keyword id="235731" type="PERSON" weightage="20" keywordseo="Nadia-Chauhan">Nadia Chauhan</keyword>, JMD &amp; CMO, Parle Agro. Pointing out to some things that need to be done at an organizational level, Rishika Lulla Singh, CEO Eros Digital at Eros International said, “There needs to be a cultural shift and change at workplaces to eradicate gender inequality and retain women employees. It is about time that companies consider deserving women for higher level positions and evaluate their performance sans bias. If there are more women leaders out there at the top positions, it gives a sense of confidence to the global sisterhood with strong role models. It is essential that companies organize mentorship programs to break the stereotype of what a man and a woman can or should do. There are several ways to retain a woman employee at work, but we also need to encourage more women to join the workforce. Equal pay, ensuring all voices are heard and feeling valued, creating safe work environment, etc. are all the least we can do.” Pooja Jauhari, CEO, The Glitch put it rather succinctly in her three-point recommendation on how to retain women. She said, “Firstly, treat your entire talent base with gender blindness. Best person for the job. Without over-thinking their family, marital, ‘emotional’ status. Just get the right person for the job. Secondly, allow your talent to align personal and professional goals and build a support system for them to come back to the same position at work after a break (marriage| child birth) and lastly, stop saying a certain gender matters more, prove by example by showing gender balance across functions.” Training young employees to think of themselves as leaders There is also a need for seniors to build an environment of motivating young women while also making them aware of their potential as future managers, shared Sujata Dwibedy, Group Trading Director, Ampilifi India. She said, “This question is asked to mostly senior women but ideally, both senior men, women and the entire team should be equally responsible to motivate the young, efficient women. The entire organisation gains if they can train and then retain competent women leading up to a management role. It is critical to show them advancement opportunities and their growth path. Policies might have to be tweaked but if it benefits all, it should not matter. Building an inclusive workplace, an organisational environment that values diversity not just for the sake of appearances but for the competitive edge that comes with access to multiple perspectives would make a difference.” There are a lot of internal barriers that women have to cross and training them to believe in themselves could help in ensuring they make it to the top. <keyword id="346168" type="PERSON" weightage="20" keywordseo="Lulu-Raghavan">Lulu Raghavan</keyword>, Managing Director, Landor Associates said, “Even before thinking of getting more women leaders, we have to think of how we can create a better working place holistically. Secondly, you have to ensure that women at the top, doing good work get the visibility. It starts with the leadership, company philosophy and culture. You’ve got to find them and put them on the top because deserving women do exist. You can’t give us an excuse that there aren’t any women relevant for the top positions. A lot of training has to be done with women themselves; there are a few external barriers such as company policies, work environment, how other people behave towards you, and there are internal factors, which we women have set up through the years. It is the lack of self-confidence, self-doubt and imposter syndrome. We women have to be trained to be leaders. It should be different from the overall management chain because it is decades of social conditioning that companies have to break when women join them. “ Anita Kotwani, Senior Vice President, New Business, Mindshare added, “The industry needs to first acknowledge that Woman leaders can deliver as well as their male counterparts for senior-level roles. The grooming required should be done for the role and not the gender. If that happens you will see the necessary shift with more woman leaders leading the mantle.” Sharing her optimism about the future where she envisions more and more women to be on the top, Kranti Gada, COO Shemaroo Entertainment said, “A few years ago, I participated in a program called ‘Tanmatra’ organized by IIM Bangalore, to help develop and groom fellow women counterparts for about 9 months and the stories I heard about the differences in opportunities shocked me a little. I was happy to be at Shemaroo, where we have seen women in key roles leading from the front and managing the core business with ease and expertise. While the ratio of women is a little skewed in the industry, the gender gap is narrowing, and we will see more women taking charge in future in every field.”

You Searched For "Shemaroo Entertainment" and got 13 results

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