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<ul><li><keyword id="193300" type="General" weightage="80" keywordseo="cartoon-network" source="Orion">Cartoon Network</keyword>’s <keyword id="3113" type="General" weightage="100" keywordseo="tom" source="Orion">Tom</keyword> and Jerry have been a spark in everyone’s lives since the 1940s.</li><li>Even today, you can have a hearty laugh and be glued to the screen enjoying the love-hate riddled camaraderie between this lovable duo.</li><li>As this iconic duo turns 82 today, we catch up with Cartoon Network's <keyword id="108258" type="General" weightage="20" keywordseo="abhishek-dutta" source="Orion">Abhishek Dutta</keyword> to talk about its evolution in India, how the network had benefitted from this property over the years and what today’s kids expect from their cartoon shows.</li></ul>It was around 20 years ago that my grandmother, who was around 68-year-old then, and I would watch Cartoon Network’s The <keyword id="13138406" type="General" weightage="20" keywordseo="tom-and-jerry-show" source="Orion">Tom and Jerry show</keyword> together. She only knew one language but language was never a problem when it came to this show. I would come back from my school, keep my bag aside and just sit glued to the television for another 30 minutes in my uniform. This iconic cartoon show has managed to cut across age groups and language barriers. We would watch it on repeat, even though we always knew that Jerry, the mouse, would get away with his shenanigans and fool Tom. Jerry, a true trickster, delights in setting Tom up to bear the consequences of chaos caused by him, often with a wink at the audience to let them know they’re in on the joke too. Even today, the 82-year-old duo Tom and Jerry connects with its viewers on an emotional level and reaches out to the inner child in us that lived in a happier universe. Last year, when the COVID cases plummeted and the theatres were open during the festive season, ‘Tom &amp; Jerry: The Movie’ was released in India after a lot of contemplation. However, it outperformed at the box office, grossing nearly Rs 8 crore in terms of ticket sales, and was amongst the top-performing Hollywood family film/animation film in India in 2021. It was released across 1,000 screens in English, Hindi, Tamil and Telugu. It was only in 1995 that the channel Cartoon Network made its entry in India with dual feed. Cartoon Network operated from 5:30 am to 5:30 pm and Turner Classic Movies took up the remaining schedule. Soon after the launch, Cartoon Network started airing Tom and Jerry amongst other international shows, and the rest, as they say, is history. In 2001, Cartoon Network became a separate 24-hour channel and the show Tom and Jerry became an inseparable part of its legacy. As this iconic duo turns 82 today, we caught up with Cartoon Network's Abhishek Dutta to talk about its evolution in India, how the network has benefitted from this property over the years and what today’s kids expect from their cartoon shows. <div type="Video" msid="89457743" hostid="261" title="How the iconic Cartoon Network duo Tom and Jerry has managed to stay relevant over the years" dataSource="BUSINESSINSIDER" thumbUrl="https://denmark.timesinternet.in/cmslite/api/app/images.jpg?msid=89457743"></div> The secret behind keeping an iconic cartoon show relevant for today’s audience Today, kids have plenty of choices when it comes to content consumption. Dutta said that it is important to explore imaginary worlds that could also be a window to real-life examples, to stay relevant. So what makes Tom and Jerry relevant today? Dutta said, “So, for kids, the shows that they see on television, are basically an escape from the real world. This is where they come to have some enjoyment and fun. So over a period of years, Tom and Jerry has evolved to incorporate everything in our environment or whatever changes we have seen outside. Tom and Jerry, as characters, have seen so many setups; we have seen a lot of episodes in the house that they stay in, but even beyond that -- they have gone into space, they have gone into multiple outings. And this evolution of Tom &amp; Jerry with the time has actually kept the audience open throughout its history and that's how it maintains its popularity even today. Apart from this, even on our consumer products front, there are more than 1000 SKUs of Tom and Jerry consumer products in India across different categories.” Keeping pace with this evolution in the landscape, content creators and kids’ entertainment broadcasters are developing concepts, characters and themes that echo with local audiences while retaining their global appeal. So, to stay ahead of the curve, Cartoon Network gave a glocal twist to Tom and Jerry two years ago. “In 2020, we did something different with the show and added a commentary to Tom and Jerry. The reason for adding this commentary was that children have a very short attention span. So if they miss anything while viewing the show, that commentary keeps them hooked to it. And that did amazingly well for us. In fact, the first week that we relaunched the show with the commentary, it became the number one show in the category. Even today, Tom &amp; Jerry contributes substantially to our Cartoon Network channel and is loved by millions of our fans on the network,” shared Dutta. The show is dubbed in Hindi, Tamil and Telugu today. To up its glocal game, Cartoon Network is also bringing a new series ‘Tom and Jerry in New York’ to India during the summer holidays. Telling us how Tom and Jerry cuts across different age groups, Vikram Sharma, Head of Consumer Products, Advertising &amp; Partnerships, WarnerMedia India, Southeast Asia and Korea, said, “A testament to the widespread admiration of Tom and Jerry is that it remains the most popular Kids Consumer Products animation IP for WarnerMedia. Young and adult fans of the franchise in India have more than 1,000 SKUs of Tom and Jerry consumer products to love and own. The sheer diversity of the products available, spread across verticals such as fashion, accessories, toys, collectibles, puzzles, and stationery, proves the global phenomena that the characters are. In India alone, there are several key partnerships including Reliance Retail, Myntra, Flipkart, TheSouledStore.com, Bewakoof.com, Campus Footwear, Funskool, Bata (Pak), Hamilton, amongst others, that offer Tom and Jerry collection, reinforcing the IP’s fan-following.” To celebrate this lovable slapstick comedy’s anniversary, Cartoon Network India is airing new episodes of ‘Tom and Jerry Tales’ this week from 10:30 am onwards. The show is co-powered by Complan and Alpenliebe Gold and has onboarded Policy Bazaar and Parle Milk Shakti as associate sponsors. To add to this week-long extravaganza, Cartoon Network has also planned on-ground promotions and fan engagement in Pune and Mumbai malls.

How the iconic Cartoon Network duo Tom and Jerry has managed to stay relevant 82 years after it was first aired

<ul><li>For the last few years, <keyword id="193300" type="COMPANY" weightage="20" keywordseo="Cartoon-Network">Cartoon Network</keyword> and <keyword id="10822" type="ORGANIZATION" weightage="20" keywordseo="Pogo">POGO</keyword> have focused on coming up with local animation shows that have steadily been witnessing an increase in viewership.</li><li>As the channel gets ready to launch another made-in-India show called‘Ekans - Ek Se Badhkar Snake’, we catch up with <keyword id="108258" type="PERSON" weightage="20" keywordseo="Abhishek-Dutta">Abhishek Dutta</keyword>, South Asia Network Head for Cartoon Network and POGO, to understand the impact the pandemic has had on the channel, its content strategy and the launch of its new superhero indigenous show.</li></ul>Ever since the government announced the lockdown in March last year, people have been stuck at home. It has changed the way we live, work, study, consume content and shop. The lockdown has also meant people are now spending more time at home, consuming content on different platforms. Television viewership has gained massively. Viewership in the kids’ genre too has seen an obvious uptick, with children being stuck at home. Data from Broadcast Audience Research Council (<keyword id="65298" type="COMPANY" weightage="20" keywordseo="BARC">BARC</keyword>) India earlier this year had revealed that the viewership of kids’ genre had increased by 20% during the pandemic. Non primetime kids viewing grew by 31% during the peak lockdown in 2020 compared to 2019. This spike in viewership has also led to channels in the genre to up their content game. We recently caught up with Abhishek Dutta, South Asia Network Head for Cartoon Network and POGO, to understand the impact the pandemic has had on the channel, its content strategy and the launch of its new superhero indigenous show. The pandemic effect While a lot of other traditional medium struggled, people being stuck at home worked in favor of TV, and the kids’ genre gained from this too. While advertising spends did suffer in the initial months, things started turning in the later half of the year, specially during the festive season. On how it has been for Cartoon Network and POGO, Dutta said, “Both 2020 and 2021 have been favorable for us. We have launched two local IPs for the kids this summer. Now we are going to launch ‘Ekans - Ek Se Badhkar Snake’ which is India’s newest, homegrown tech-savvy superhero. Cartoon Network and Pogo are the only network channels in the kids category that have executed six new local shows during the pandemic in India. Covid has had an obvious impact on our business. The second wave has also come with its own challenges but we are seeing growth coming back and hopefully we'll have a better second half. In 2021, the kids genre has registered growth and the months of January to April also witnessed an upside in ad spends, when compared to 2020. The importance of local IPs <keyword id="1617156" type="PERSON" weightage="20" keywordseo="Localization">Localization</keyword> has been a critical part of both the channel’s growth in India. The new show, ‘Ekans - Ek Se Badhkar Snake’, created in-house and produced by Kolkata-based studio Hi-Tech Animation, joins the existing portfolio of popular homegrown IPs by WarnerMedia India including ‘Dabangg - The Animated Series’ on Cartoon Network; ‘Titoo – Har Jawaab Ka Sawaal Hu’ and ‘Smashing Simmba’ on the companion channel POGO. Meanwhile, the effort has also been to create content that is relevant globally too. “Today, kids demand content that is fresh, unique, local and something that resonates with them. They don’t just seek entertaining and engaging content, relatability is one of the most important factors in kids viewership today. Which is why we are confident about our new show which has all the elements that kids today are looking for, its about a superhero and the show combines mystical elements and India's heritage while adding elements of science fiction. All these aspects make it an interesting storyline. We believe the underlying impact of the show will also be to let kids know that it is acceptable to have fears and conquer them as well. Our message through the show is, every child is a superhero in their own way.” Dutta also shared that there has been a steady increase in the viewership of made-in-India content because there is a lot of choice today. “Out of the top 10 shows in the category today, seven are locally produced shows. When you see the top 20 shows in the category, 15 are locally-produced. So there is a visible appetite for local content amongst kids today.” On the growth path Throwing light on a few things that he believes will help the channels grow further, Dutta added, “Cartoon Network has a historic, rich legacy in the kids and family space owing to vibrant shows that are loved across the globe. With the launch of a Ekans, Cartoon Network will further consolidate its leadership position as the country's pioneer and most-loved animation channel. While viewership has grown, increasingly we are witnessing demand for content that can be enjoyed as family, but that is also fresh, relevant, localized and compelling. We have already taken the lead in delivering homegrown content that resonates with this trend and we’ll continue to both acquire and create our own unique and relatable homegrown content that offers a local flavor through authentic voices, India-centric characters, and regional language features. Last year, in addition to shows like ‘Titoo – Har Jawaab Ka Sawaal Hu’ on POGO, we received an enthusiastic response to the localized thought over commentaries to our iconic global favorite the Tom and Jerry show in regional languages. Apart from this, Lamput, Cartoon Network's critically acclaimed short- form animation has continued to win hearts of the global audiences. It’s a non-dialogue chase slapstick comedy which won the Best Children's program at Asian Creative Academy Awards 2020 for the third time in a row, it was also nominated for an international kids Emmy Award, which is a first for any <keyword id="1089180" type="PERSON" weightage="20" keywordseo="Indian-animation">Indian animation</keyword>.” Cartoon Network will launch its new show, 'Ekans – Ek Se Badhkar Snake' on Sunday June 27, and thereafter air from Monday to Friday, at 11:30am and 7:30pm on Cartoon Network.

Here’s why Cartoon Network continues to focus on localization

Mumbai, Mar 16 () Actor Ajay Devgn on Tuesday announced that his upcoming production "<keyword id="7148126" type="UNKNOWN" weightage="20" keywordseo="the-big-bull">The Big Bull</keyword>", featuring <keyword id="499" type="PERSON" weightage="20" keywordseo="abhishek-bachchan">Abhishek Bachchan</keyword>, is set to release on Disney+ Hotstar VIP on April 8. The film, directed by Kookie Gulati, is part of the Disney+ Hotstar Multiplex slate, which was announced last year. Devgn took to Twitter and shared the teaser of the film, which reportedly chronicles the story of stockbroker Harshad Mehta, to be played by Bachchan. "Introducing 'The Big Bull'. The mother of all scams! Trailer out on 19th March. #TheBigBull releasing on 8th April only on @DisneyplusHSVIP, stay tuned!#DisneyPlusHostarMultiplex," the actor-producer wrote. "The Big Bull" also features Ileana D'Cruz, Nikita Dutta, Soham Shah, Ram Kapoor, Supriya Pathak and Saurabh Shukla. The movie is produced by Devgn and Anand Pandit with Kumar Mangat Pathak and Vikrant Sharma attached as co-producers. The story of Harshad Mehta-from single-handedly taking the stock market to dizzying heights before his catastrophic downfall-was recently put to screen by filmmaker Hansal Mehta in last year's acclaimed series, "Scam 1992".

Abhishek Bachchan starrer 'The Big Bull' to premiere on Disney+ Hotstar next month

"<keyword id="1835032" type="General" weightage="100" keywordseo="drishyam" source="Orion">Drishyam</keyword> 2", fronted by <keyword id="6354714" type="General" weightage="80" keywordseo="ajay-devgn" source="Orion">Ajay Devgn</keyword>, has raised more than Rs 150 crore at the domestic box office, the makers said on Friday. Production banner Panorama Studios shared the latest box office figures of the suspense thriller movie, which opened to positive reviews upon its release on November 18. "Sach aur jhooth ke drishya audience ko pasand aa rahe hain! 2nd Tuesday Net India collection - 5.15 cr, Net Grand total - 154.48 cr," the company posted on its official Twitter page. The movie is a sequel to <keyword id="243805" type="General" weightage="50" keywordseo="devgn" source="Orion">Devgn</keyword>'s 2015 crime thriller "Drishyam", which was the Hindi remake of the Mohanlal-starrer <keyword id="25099" type="General" weightage="50" keywordseo="malayalam" source="Orion">Malayalam</keyword> movie of the same name. The sequel to the Malayalam film released in February 2021. "Drishyam 2" also features actors Shriya Saran, Tabu, Rajat Kapoor, Ishita Dutta and Akshaye Khanna. The film is produced by <keyword id="24468" type="General" weightage="50" keywordseo="bhushan-kumar" source="Orion">Bhushan Kumar</keyword>, Kumar Mangat Pathak, Abhishek Pathak and Krishan Kumar. It is presented by Viacom18 Studios, T-Series and Panorama Studios. SEE ALSO: <a target="_blank" class="c-link c-message_attachment__title_link" href="https://www.businessinsider.in/business/news/burma-burma-a-burmese-restaurant-chain-raises-over-2-million-in-seed-funding/articleshow/95878243.cms">Burma Burma, a Burmese restaurant chain, raises over $2 million in seed funding</a> <a target="_blank" class="c-link c-message_attachment__title_link" href="https://www.businessinsider.in/business/news/ndtv-scrip-hits-upper-circuit-after-prannoy-and-radhika-roy-resign/articleshow/95878524.cms">NDTV scrip hits upper circuit after Prannoy and Radhika Roy resign</a>

Ajay Devgn's Drishyam 2 crosses Rs 150 crore mark

Mumbai, "<keyword id="1835032" type="General" weightage="100" keywordseo="drishyam" source="Orion">Drishyam</keyword> 2", headlined by <keyword id="6354714" type="General" weightage="50" keywordseo="ajay-devgn" source="Orion">Ajay Devgn</keyword>, has minted more than Rs 100 crore at the domestic box office, the makers said on Friday. In a press note, production banner Panorama Studios shared the latest box office figures of the film, which opened to positive reviews upon its release on November 18. "The film has shattered many records since its release. The second highest grosser and opener of the year has entered the Rs 100 crore club in its first week," the statement read. The movie is a sequel to Devgn's 2015 crime thriller "Drishyam", which was the Hindi remake of the Mohanlal-starrer Malayalam movie of the same name. The sequel to the Malayalam film released in February 2021. "Drishyam 2" also stars Shriya Saran, Tabu, Rajat Kapoor, and Ishita Dutta and Akshaye Khanna. It is produced by Bhushan Kumar, <keyword id="429011" type="General" weightage="50" keywordseo="kumar-mangat-pathak" source="Orion">Kumar Mangat Pathak</keyword>, Abhishek Pathak and <keyword id="7498" type="General" weightage="50" keywordseo="krishan-kumar" source="Orion">Krishan Kumar</keyword>. The film is presented by Viacom18 Studios, T-Series and Panorama Studios. SEE ALSO: <a href="https://www.businessinsider.in/tech/news/oneplus-nord-watch-review-a-decent-watch-with-a-hint-of-premiumness-under-a-budget/articleshow/95281350.cms">OnePlus Nord Watch review: A decent watch with a hint of premiumness under a budget</a> <a href="https://www.businessinsider.in/science/news/this-bio-engineered-houseplant-claims-to-clean-the-air-as-efficiently-as-30-air-purifiers/articleshow/95507043.cms">This bio-engineered houseplant claims to clean the air as efficiently as 30 air purifiers</a>

'Drishyam 2' crosses ₹100 crore mark at box office

New Delhi, Mar 28 () Former cricketer Yuvraj Singh-backed health technology firm Healthians and social media platform Likee have partnered to run a coronavirus awareness campaign from Saturday. As part of the collaboration, several doctors associated with Healthians will interact directly with users of Likee on the issue. "Over a period of five days, doctors and nutritionists associated with Healthians will join live sessions conducted by the Likee Official India team," Likee said in a statement. During the sessions, a medical team will answer all the queries related to the coronavirus outbreak and will use the opportunity to provide smart and useful tips on wellness and raise awareness about the pandemic, according to the statement. "It is our social responsibility to equip Likee users with all the information they need in this time of crisis. It is also imperative that the source of information is authentic and reliable. Hence, we have joined hands with Yuvraj Singh's Healthians to empower millions in this war against Covid-19," Likee India head Abhishek Dutta said. The sessions will commence on Saturday - March 28, 2020, and will continue thereafter on Sunday, Monday, Tuesday and Wednesday. There will be a one-hour session each day from 6 pm to 7 pm. Healthians co-founder Mr Deepak Sahni, Dr Pranava, Dr Deepak Parashar and nutritionist Saumya Shatakshi will interact with the Likeers during the drive. "Our collaboration with Likee is to reassure and empower them with information that's relevant and meaningful so that their fears and doubts are allayed," Healthians founder and CEO Deepak Sahni said. PRS PRS MRMR

Healthians, Likee partner to run COVID-19 awareness drive

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

Trends that will shape the broadcast industry in 2022

<ul><li>The Supreme Court on August 18 had reserved judgement on whether the <keyword id="1080402" type="PERSON" weightage="20" keywordseo="Final-Year">final year</keyword> degree examinations in universities should be held before September 30, in accordance with the University Grants Commission (UGC) guidelines. </li><li>The state government counsels have argued that they have the power to promote students without exams in the backdrop of the ongoing Covid-19 pandemic.</li></ul>All eyes will be on the Supreme Court this week as students and institutions await the verdict on the UGC case and final year examinations expected soon. At the last hearing on August 18, the apex court had reserved its order and asked for parties to respond and present written submissions on their final arguments within three days. The Supreme Court on August 18 had reserved judgement on whether the final year degree examinations in universities should be held before September 30, in accordance with the University Grants Commission (UGC) guidelines. The state government counsels have argued that they have the power to promote students without exams in the backdrop of the ongoing Covid-19 pandemic. The top court will also decide whether state governments have the power to take a decision against conducting final year examinations under the Disaster Management Act. <div type="twitter" handle="advocate_alakh" handlename="Alakh Alok Srivastava" image="http://pbs.twimg.com/profile_images/1294535286634844162/RWuM2LsB_normal.jpg" favoritecount="5027" retweetcount="1865" status="In our #UGC matter, Supreme Court has heard all of us today &amp; arguments are concluded.We will submit our final wr… https://t.co/altI2oDlVS" createdat="1597740451000" id="1295643478588657665"></div> Highlights of the hearing <ul><li>Sr. Adv. Arvind Datar, counsel for Maharashtra, said the UGC Act is traced to Entry 66 of List 1. My submission is that UGC can lay down standards, but it can’t compel exams to be held.” However, SC nullified the argument by stating that UGC does not conduct examinations.</li><li>Datar further argues if IIT — a central institute of international repute — can issue degrees without conducting final year examinations then why can’t other universities do the same. </li><li>Datar argued that the most important thing today is the welfare of the student. The Supreme Court slammed his argument by saying, “students cannot decide their welfare, Authorities can decide their welfare.”</li><li>Datar further argued, “UGC guidelines make uniform rules for the whole country without taking the pandemic and practical difficulties into consideration. This is violative of Article 14 as they are treating unequal situations equally.”</li><li>Justice Bhushan goes back to the question of whether the final semester can be skipped while Datar is explaining the CGPA system in the court. </li><li> If there is a standard fixed by UGC that without a final exam, a degree cannot be given, can universities really decide to cancel the final exam? Then all the universities will come up with their own method, SC said. </li><li>Datar argued that UGC can say don't award a degree without holding an exam but it cannot say that you hold the exam by 30th September at any cost.</li><li>Advocate General Kishore Dutta for West Bengal says the state will not be able to hold online exams because students don’t have the technology to give the exams.</li><li>Sr. Adv. KV Vishwanathan, counsel for New Delhi argued that there is a divide between the classes of people with rich having access to technology and poor being at a disadvantage</li></ul>What happened in the previous hearing? On August 14, the Supreme Court decided to move the hearing to August 18. On the same day, Dr. Abhishek Manu Singhvi, the lead counsel, said “There is a great disparity between the classes of students who are expected to appear. Many students have gone back to their hometowns.” Previously, on August 10, the University Grants Commission (UGC) told the Supreme Court that degrees would not be recognised if no examinations are held for final-year students even as the country faces a coronavirus crisis. The UGC response was conveyed by its counsel, Solicitor General Tushar Mehta, on a batch of pleas that challenged the UGC schedule for final-year university exams before September 30.The petitioners' counsel contended that the UGC guidelines for holding exams are "not legally or constitutionally valid". Mehta argued that the decision by Delhi and Maharashtra to cancel exams in their respective state universities is against the UGC rules.He argued that UGC is the only body that can prescribe rules for conferring a degree, and state governments cannot change the rules. The Supreme court granted time to the UGC to respond to the stand taken by the Maharashtra and Delhi governments to cancel university exams. The bench also asked the UGC to address the question of whether the Disaster Management Act would override its notification on guidelines for exams. SEE ALSO: <a href="https://www.businessinsider.in/careers/latest-job-openings-at-google-microsoft-jp-morgan-goldman-sachs-ericsson-amazon-adobe-zomato-for-software-engineers/slidelist/77585263.cms">Google, Microsoft, JP Morgan, Goldman Sachs, Ericsson and other companies hiring software engineers in India right now</a> <a href="https://www.businessinsider.in/politics/world/news/barack-obama-has-privately-voiced-concerns-that-joe-biden-could-f-things-up-according-to-a-report/articleshow/77574349.cms">Barack Obama has privately voiced concerns that Joe Biden could 'f--- things up,' according to a report</a>

UGC Guidelines 2020: Supreme Court verdict likely soon on final year exams

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<ul><li>With the industry changing at a rapid pace, throwing a new set of challenges every day, experts are hoping that 2021 will be a game-changer that will help them redefine a lot of rules in advertising, with smarter marketing techniques. </li><li>We spoke to a few industry experts to identify these new opportunities that 2021 will bring forth for the broadcast industry and here is what they had to say. </li></ul>In 2020, the <keyword id="34937" type="ORGANIZATION" weightage="20" keywordseo="media-industry">media industry</keyword> changed a lot and because of that, 2021 will see a far-reaching impact on consumer behaviour and their viewing habits. While some changes will take us back to the ‘old normal’ like on-set shoots, going back to office, etc., some would accelerate digitalisation in the media industry and push us forward at least by 2-3 years. When the whole country was confined to their homes, consumers turned to OTT platforms and TV channels to entertain themselves. TV sets and mobile phones became the only sources of connection with the outside world. News channels also benefited as people stayed glued to their TV sets to catch on COVID-related updates and lockdown measures. As a result, consumption of content increased like never before. There is no denying that the future is digital. Technology will continue to play an important role in redefining the business operations and broadcasters will also focus on delivering aggregated content and device experiences this year. During the lockdown, the return of old mythological shows like Ramayan and Mahabharat from the 90s led to an exponential rise in viewership and advertisers count on TV. These shows soon became the main source of entertainment among Hindi GECs as it contributed about 43% to overall viewership of the genre, revealed BARC. The re-telecast of Ramayan alone garnered the highest-ever rating for a Hindi GEC show since 2015 at 1.20 trillion minutes and Doordarshan’s average daily viewers grew by 62 million. As the lockdown was lifted gradually and the economy started limping back to normalcy in July, television continued to be the screen of the household and an important medium for advertisers to reach their consumers. After seeing a lean few months, IPL brought the much-needed cheer for the Indian advertising industry and consumers in September. Dream11 IPL 2020 set a viewership record with an overall consumption increase of 23% than 2019. IPL’s Television viewership reached an outstanding 31.57 million, revealed Star India. It was the biggest IPL carnival the nation saw. According to BARC, return of original shows on TV along with the festive season and live sporting events boosted the ad volumes, taking the overall growth in ad volumes to 34% as compared to H1, 2020 and eventually minimising the reduction in volumes to a marginal -3% for the overall year than 2019. After facing unprecedented turbulence in the year 2020, broadcasters are now looking forward to seeing what 2021 has in store for them. Here is what they are expecting: <keyword id="3387826" type="PERSON" weightage="20" keywordseo="Prathyusha-Agarwal">Prathyusha Agarwal</keyword>, Chief Consumer Officer, ZEEL: <div type="image" title="Prathyusha Agarwal" msid="80617012" hostid="261"></div> I see "Thriving VideoVerse of The Soaring 20s" as the biggest trend in Entertainment that will shape 2021. As a whole generation hit by the pandemic will kick into hyper-active mode to rebuild lives, economy and a whole new world, consumers will demand entertainment not as an earned indulgence at the end of a hard day's work but an always on entitlement. It will be a need as essential as the daily bread, acting as food for their souls, sparking their minds and a reservoir of emotions that they can dip into as a respite from the hard reality that a post COVID world will be. Viewers will share their dining tables and living rooms with our content on television satisfying the craving for anticipation of a new story, the first bite to savour the emotion and form a firm bond engaging with our characters every day. They will then stretch it across multiple screens, platforms and interactions, micro-dosing, binging on it, dipping in, dipping out and gorging on it through time and space. As broadcasters, we need to gear up our backend to tailor-make our content such that it is adept to the multiple platform front-end user interfaces. There is a shift needed from thinking of content development as an uncertain creative process to building a nuanced understanding of the cultural core that makes viewers tick, what they want/ need, where do they need it and have the capability to evolve our craft to deliver that. Its time to unleash the full potential of the Viewer VideoVerse which is way larger than any product x platform, seamlessly serving "fit for delight" content across screens. Nina Elavia Jaipuria, Head - Hindi Mass Entertainment and Kids TV Network, Viacom18: <div type="image" title="Nina Jaipuria." msid="80617021" hostid="261"></div> In a connected world where linear and digital media are increasingly becoming intertwined, the year 2020 has been crucial in reaffirming the fact that unlike many western countries, Television and Digital will grow together in India. And this is one of the key trends that will continue and further take shape in the year 2021. The industry is expected to grow at 17% CAGR over next 4-5 years – while digital is expected to grow at a rapid pace, the traditional TV medium is also expected to witness a steady growth. This TV + Digital combined growth will result in a continued hike in demand for content – both long form, episodic and short form – as well as provide significant opportunities for content creators. Rural and semi-urban areas witnessed highest growth driven primarily by increased reach due to top broadcasters going back on Freedish this year. Furthermore, the availability of original content in regional languages across all genres contributed to this upswing. Concurrently on digital, given the increased demand and competitive landscape, OTT players are betting heavily on regional and differentiated original content to expand their library and drive-up user engagement. The growth in consumption of content across touchpoints is a trend that will enable unlocking the industry’s true potential – from both macro-economic as well as soft power capabilities. Avinash Pandey, CEO, ABP Network: <div type="image" title="avinash ABP news" msid="80617060" hostid="261"></div> In 2021, online content consumption will continue to trend. Broadcasters are now open to new ideas of reaching out to their audiences, be it through podcasts or online video content. Furthermore, empathetic, intimate, and contextual storytelling will be crucial for content creators this year as the pandemic has placed a special focus on personal experiences and unfeigned stories. Hyperlocal content and neighbourhood stories, therefore, will help broadcasters engage with their consumers on a deeper level. At ABP Network, we have left no stone unturned when it comes to expanding on digital. We have invested into video content, podcasts and other forms of digital media to create greater value in the long-term. Our regional channels, too, continue to dominate in their respective markets across diverse platforms. Harnessing new opportunities on both fronts, we have expanded our offerings to create new avenues of growth and monetisation for 2021 and beyond. Abhishek Dutta, South Asia Network Head for Cartoon Network and POGO: <div type="image" title="Abhishek Dutta, Abhishek Dutta, South Asia Network Head for Cartoon Network and POGO" msid="80617040" hostid="261"></div> Indian viewers now expect relatability and relevance in terms of characters and contexts so demand for homegrown IPs will continue to rule the roost in 2021. India’s sustained co-viewing patterns and the rise in greater access to entertainment will cement Kids and Family Content as the ‘anchor genre’ in the country. Markand Adhikari, Chairman and Managing Director, SAB Group: <div type="image" title="Markand-Adhikari SAB" msid="80617050" hostid="261"></div> We will not just see the addition of new users but also increasing the retainership of existing digital consumers. Online gaming consumption and demand for OTT originals is only going to increase as technological advances greatly aid them. The best part is that their model is subscription-driven and not dependent upon advertisers. Though television is very much here to stay, OTT is going to gain a lot of traction in the mid-term. Further, the dependency of M&amp;E companies on technology will likely increase to leverage cost-efficiency and create revenue enhancement opportunities. As monetisation and revenue in terms of ad-spend, continues to grapple, profit protection and cash management with greater technology integration will gain strategic significance for M&amp;E companies. The industry is likely to remain focused on sustenance at current levels along with a renewed emphasis on flexibility which would accelerate the move to a variable cost model and reduced fixed costs. While the long-term implications of COVID-19 are yet to emerge, the above-mentioned developments will likely come into focus in the M&amp;E industry as the post-COVID reality becomes clearer.

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<keyword id="32063" type="PERSON" weightage="80" keywordseo="honeymoon">Honeymoon</keyword> is the most romantic beginning that every marriage deserves. It is the most memorable vacation in a couple’s life that enriches them with memories that last forever. And when the honeymooning couple hails from the uber-rich and uber-stylish Bollywood – honeymoon <keyword id="24194" type="UNKNOWN" weightage="80" keywordseo="destinations">destinations</keyword> get exotic and experiences become lavish. So if you are hunting for a unique honeymoon destination, check out where your favourite Bollywood stars went for their honeymoon. 
 
1. Kareena Kapoor &amp; Saif Ali Khan 
After their quiet wedding, this royal couple flew to Gstaad amid the picturesque Swiss Alps. However, it was not the first time that Saifeena were holidaying at Gstaad. It is one of their favourite places; so whenever a chance pops up, they go there. 
 
2. Aiswarya Rai &amp; Abhishek Bachchan 
Abhishek and Aishwarya prefer keeping their personal lives under wraps. So after their wedding in 2007, the two jetted to Europe to celebrate their wedded bliss. 
 
3. Avatika Malik &amp; Imran Khan 
It was a fairy tale wedding when Imran married his childhood sweetheart Avantika in 2011. To make it all the more special and spend some time together, the couple headed to a privately owned island in Phuket, Thailand, for their honeymoon. They are also expecting their first child this year. 
 
4. Vidya Balan &amp; Siddharth Roy Kapur? 
Even the busiest of the business tycoons can’t say ‘no’ when it comes to spending some quality time with his spouse. That’s why UTV head honcho Siddharth Roy Kapoor tied the knot with Vidya Balan at a hush-hush ceremony and then flew to the scintillating Caribbean Islands for their honeymoon. 
 
5. Lara Dutta and Mahesh Bhupati 
Tennis ace Mahesh Bhupati and former beauty queen &amp; actress Lara Dutta exchanged wedding vows in Victorian style at the fort of Aguada in 2011. The couple then went to Bali for their honeymoon to mark the happy beginning of their marital bliss. 
 
6. Kiran Rao &amp; Aamir Khan 
While their friends from Bollywood make a beeline for exotic international locales, Aamir went to Panchgani for his honeymoon and stayed at a super luxury resort. 
 
7. Shilpa Shetty &amp; Raj Kundra 
After their big fat wedding, the couple made it to a bigger honeymoon at the Bahamas. They chose a popular resort and had a great time amid mesmerising waterfalls and lazy lagoons. 
 
8. Sussanne Khan &amp; Hrithik Roshan 
Although their marriage is going through a turbulent phase right now, during their happy days, the much-in-love couple went to Europe for their honeymoon. 
 
9. Natasha Madhwani &amp; Fardeen Khan 
It was a high-profile wedding and after all the hustle-bustle, they wanted to spend some quite time with each other. So the couple chose the serene Fiji Islands as their honeymoo

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