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<ul><li><keyword id="187712" type="General" weightage="20" keywordseo="viacom18" source="Orion">Viacom18</keyword>'s Youth, Music and English Entertainment cluster is strengthening its 2022 multiplatform content strategy and has launched its maiden short-form video offering Fully Faltoo, with more than a dozen new web shows.</li><li>It has also set up ‘KaanPhod’, a new business division that will provide emerging musical artists an opportunity to showcase their talent.</li><li><keyword id="7250917" type="General" weightage="20" keywordseo="anshul-ailawadi" source="Orion">Anshul Ailawadi</keyword>, Head – Youth, Music and English Entertainment, Viacom18 about the new initiatives and how it will set stage for its future growth.</li></ul>Viacom18 has been on a mission, to catch the attention of the younger audience who are slowly moving away from traditional television to digital mediums. To catch the audience where they are, it is strengthening its Youth, Music and English Entertainment (YME) cluster which comprises <keyword id="8959" type="General" weightage="20" keywordseo="mtv" source="Orion">MTV</keyword>, <keyword id="3630968" type="General" weightage="20" keywordseo="mtv-beats" source="Orion">MTV Beats</keyword>, <keyword id="261768" type="General" weightage="20" keywordseo="comedy-central" source="Orion">Comedy Central</keyword>, Colors Infinity and Vh1. The unit recently expanded its digital footprint by launching the Fully Faltoo <keyword id="4668945" type="General" weightage="20" keywordseo="nft" source="Orion">NFT</keyword> platform that the network says saw over 3000 digital collectibles sold out within a couple of hours. The marketplace is now going to offer another range of digital collectibles from its brands like MTV, Vh1 and Comedy Central. The brand will also launch its maiden short-form video offering Fully Faltoo, with more than a dozen new web shows and snackable content. ‘KaanPhod’, a brand-new business division will provide emerging musical artists an opportunity to showcase their talent. Season one of ‘Mic Test’ on KaanPhod, will introduce 10 promising new artists and their original tracks, which will also be made available for viewers on television (MTV, MTV Beats, and Vh1), social and streaming platforms. To understand the performance of this division so far, and how they are further expanding on it, we spoke to Anshul Ailawadi, Head – Youth, Music and English Entertainment, Viacom18. Excerpts: Q) After 2 difficult years, things seem to be slowly getting back to normal. How has the cluster's performance been? We witnessed significant growth on Television as well as digital for the cluster. In an aggregate sense, total viewership is back in every way, and it is similar for revenue. However, from a consumer perspective, a lot has changed. For young people, 2020-21 has been very difficult as they have the longest future ahead of them and therefore we have seen a lot of interesting changes. People want to go back into the world of escapism, they want opportunities and creator economy has become much more powerful now. For MTV India, viewership has grown on TV and digital. We also experimented with sports and that has given us a very different type of audience, especially the non-prime time ones, the early morning entertainment ones. And MTV Beats, our FTA channel, is in No. 1 position again in the space and continues to remain strong. Our social followings, too, have grown substantially across platforms. Our number of followers and subscribers have increased. Q) While the consumer response to the cluster has been good, how has the advertiser response been? People who were advertising with us came back. In terms of ad growth and pipeline, it has been very robust. There has been a huge growth in volumes and we have seen both MTV and MTV Beats at the receiving end of this. And specifically for MTV Beats, which is a Free Dish channel, we have seen a significant increment. For the overall cluster, we witnessed a double digit percentage growth. Q) What are your key focus areas when it comes to your content strategy for the next financial year? We want to grow every property of our cluster 10x as compared to what it is right now and revamp and rejuvenate it with new insights that we have in terms of new consumer habits. Roadies is the first one with a very different concept. We will dial up our existing properties and also pivot towards digital by launching creator-friendly propositions in the form of Fully Faltoo, Fully Faltoo NFT and KaanPhod. KaanPhod will begin with 10 music videos, 10 artistes and 25 original music tracks; we will further amp it up. These are our priorities. Beyond this, we will come up with new content. We will look at announcing a new IP on MTV in a couple of months. We are also working with a few partners to make our calendars fuller. Q) What was the thought behind launching the NFT platform? What kind of response has it seen? While MTV is a media brand, for us, the way we look at ourselves is based on our bond with our audiences. We have to be present in whatever touchpoints our audiences are at. We saw the NFT space growing very rapidly. We felt that there was an opportunity for people to own a piece of our legacy. So with this thinking, we entered into the NFT space and we will continue to do so. We have more collectibles that are scheduled to drop very shortly. There are yet a lot of aspects about NFTs that haven’t been explored in a big way. We want to look at the utility each NFT can give to our audience and provide them with different formats of NFTs. We will look at doing all of this in the next 6-9 months. Within 36 hours, we sold 3000 pieces and eventually sold the 13 rare collectibles too. We received a very promising response. Q) Tell me a bit about the YouTube channel - Fully Faltoo and the new business division - Kaan Phod that you’re launching. What is your goal with these launches? We have been the first ones to give creators a voice. We realized that our audiences were everywhere and there is a lot of fragmentation in touchpoints with the audience. Each touchpoint is a different canvas and has a different grammar. So when we make content for mainly TV or OTT, it has a very different view with a certain line of content, grammar, vibes, and aesthetic. A lot of young people are consuming content that’s very different, for instance, YouTube, Facebook, Instagram or short format content. And this is an area that we understand very well. We understand creators and short-form content very well. We have been doing it for brands for so many years. And therefore we decided to launch Fully Faltoo and KaanPhod. Fully Faltoo will offer viral content from unique creators. KaanPhod, too, was an equally important choice. We felt that in the music space, there is a lot of asymmetry in opportunities for artists and creators. Fully Faltoo and KaanPhod are two offerings that we are launching where we will give people, who are talented, a chance to be visible on all our platforms and this is a unique spin for us in the coming year. Q) How are you wooing core advertisers to advertise on your channel? Today, advertisers also understand that the value of a property is critical. We are the OGs when it comes to branded content. We have been organically building brands. Last year we had <keyword id="422981" type="General" weightage="20" keywordseo="livon" source="Orion">Livon</keyword> for Supermodel of the year, <keyword id="13357426" type="General" weightage="20" keywordseo="unacademy-for-unacademy-unwind" source="Orion">Unacademy for Unacademy Unwind</keyword>. We did Style in 60 with Philips, partnered with Center Fresh for a comic hunt reality show. This is our legacy and we will continue to build on it. We are looking at more branded content partnerships and since our content is available on TV, OTT and digital, this gives brands and advertisers an opportunity to come to us.

We want to grow every property of our cluster 10x as compared to what it is right now: Anshul Ailawadi, Viacom18

<ul><li>As per the report, 21% <keyword id="159493" type="General" weightage="80" keywordseo="gen-z" source="Orion">Gen Z</keyword> feel it is the most important thing in life to follow their passions instead of having a stable job, trending up exponentially from 9% in 2016.</li><li>With side-hustle gaining more importance in Gen Zers lives, 70% felt side-hustles are the real shot to fame and success and 69% felt they would want to earn from their hobbies.</li></ul>MTV Insights Studio has launched the 2021 edition of its MTV Youth Study titled Atmanirbhar by Circumstance, to steer marketing and communications for youth in the right direction. A one of its kind study, Atmanirbhar by Circumstance is India’s largest youth research and a go-to handbook for the advertising and marketing community that provides a comprehensive overview of India’s Gen Z population. The in-depth qualitative and quantitative study reflects Gen-Z’s behavior, mindsets, habits and perceptions. Amid a raging pandemic, Atmanirbhar by Circumstance examines Gen Z's evolving thought processes and choices. With over 26,000 respondents aged 15 to 25 years from 50 Indian cities across NCCS A, B, and C, Atmanirbhar by Circumstance is the result of 185 questions covering seven broad topics: Education, Money, Romance, National Interests, Content, Family, Friends, and Spirituality, and COVID-19 Outlook. On conducting a nationwide study to learn more about India’s Gen Z population and on the launch of Atmanirbhar by Circumstance, Anshul Ailawadi – Head, Youth Music and English Entertainment at Viacom18, said, “2020 has been a pivotal year in so many ways. This edition of our youth study is the first such exercise post the first wave of the pandemic. It offers a rare glimpse into how young Indians are coping with a changing world in which every aspect of their lives – from their education and relationships to their careers and interests – needs to be rebuilt. It will go a long way in helping brands, creators and publishers establish a deeper connection with their Gen Z constituency.” “Chapters like Agla Chapter: Side Hustle, Pyar Dhokha Hai, COVID - 19 is temporary, Aspirations are permanent, bust common myths about this consumer set. They also showcase the evolving opinions of this age group. Overall, the findings indicate, India’s Gen Z is increasingly becoming independent or Atmanirbhar while continuing to ride high on aspirations. We hope this research empowers new age as well as legacy brands that are looking to deepen connect and build trust with their Gen Z consumer.” added Anshul. In addition to MTV’s Anshul Ailawadi, the launch also seen participation from leading brands such as, Godrej, Dabur, Dell Technologies and Spotify kicking off a discussion on Gen-Zfying the brands. The launch also had Gen Z representation from AIESEC, a non-governmental, and not-for-profit organization entirely run by youth for youth. Discussing trends relevant for Gen Zers were Vijay Kumar D - President of AIESEC in India, Joshua John Valloor - President of AIESEC in VIT, Dishay Sharoff - President of AIESEC in Mumbai, Kairavi Falguni Thakkar - Head of Partnership Development(PD) for AIESEC in India, and Jaiveer Bains - President of AIESEC in Patiala. On conducting a nationwide study to learn more about India’s Gen Z population and on the launch of Atmanirbhar by Circumstance, Anshul Ailawadi – Head, Youth Music and English Entertainment at Viacom18, said, “2020 has been a pivotal year in so many ways. This edition of our youth study is the first such exercise post the first wave of the pandemic. It offers a rare glimpse into how young Indians are coping with a changing world in which every aspect of their lives – from their education and relationships to their careers and interests – needs to be rebuilt. It will go a long way in helping brands, creators and publishers establish a deeper connection with their Gen Z constituency.” “Chapters like Agla Chapter: Side Hustle, Pyar Dhokha Hai, COVID - 19 is temporary, Aspirations are permanent, bust common myths about this consumer set. They also showcase the evolving opinions of this age group. Overall, the findings indicate, India’s Gen Z is increasingly becoming independent or Atmanirbhar while continuing to ride high on aspirations. We hope this research empowers new age as well as legacy brands that are looking to deepen connect and build trust with their Gen Z consumer.” added Anshul. In addition to MTV’s Anshul Ailawadi, the launch also seen participation from leading brands such as, Godrej, Dabur, Dell Technologies and Spotify kicking off a discussion on Gen-Zfying the brands. The launch also had Gen Z representation from AIESEC, a non-governmental, and not-for-profit organization entirely run by youth for youth. Discussing trends relevant for Gen Zers were Vijay Kumar D - President of AIESEC in India, Joshua John Valloor - President of AIESEC in VIT, Dishay Sharoff - President of AIESEC in Mumbai, Kairavi Falguni Thakkar - Head of Partnership Development(PD) for AIESEC in India, and Jaiveer Bains - President of AIESEC in Patiala. Some of the key highlights of the report: 1.AGLA CHAPTER: SIDE-HUSTLE <ul><li>21% Gen Z feel it is the most important thing in life to follow their passions instead of having a stable job, trending up exponentially from 9% in 2016</li><li>With side-hustle gaining more importance in Gen Zers lives, 70% felt side-hustles are the real shot to fame and success and 69% felt they would want to earn from their hobbies</li></ul>2.OG BAE RETURNS <ul><li>For Gen Zers money holds prime importance in a post COVID world. For 46% of respondents, money is all that matters, up from 21% in 2019. 46% said they would rather focus on being rich and successful instead of living a meaningful life, up from 25% in 2019</li><li>A staggering 74% felt there are a lot of undiscovered careers and ways to make money</li></ul>3.PYAR DOSTI DHOKHA HAI <ul><li>Gen Zers’ belief in true love continues to decline. 1 out of every 2 respondents said they flirted with someone else apart from their boyfriend or girlfriend during the lockdown. 25% said they don’t believe in marriage up from 10% in 2019 and 8% in 2016</li><li>13% shared they are in a committed relationship down from 26% in 2019 and 35% in 2016</li><li>They are less likely to date someone they meet online and believe that people treat relationships like stories – ‘here today, gone tomorrow’.</li></ul> 4. VOLUME OVER WORDS <ul><li>The study indicates that although Gen Zers are extremely vocal on subjects of national interest, they have muted participation for on-ground events.</li></ul><ul><li> 83% agree that political topics are a part of peer conversations</li></ul>5.APPLY CONTENT TO BURNT AREAS 21% watch shows as a method of escapism into an imaginary world, up from 17% in 2019. 67% said streaming apps allowed them to watch the content of their choice without having to pretend or fear being judged For 66% streaming content of their choice made them feel more expressive and free 43% said listening to music kept them emotionally healthy and is still the #1 stressbuster 6.ALEXA, GIVE ME PEACE OF MIND Given the negativity and volatility of the world around them, Gen Z is seeking refuge in family, religion and friends. 52% attributed their happiness to their family, up from 42%in 2019 and 13%in 2016. During the lockdown, 65% of respondents said their families were the most motivating factor. Being family oriented rose to the top of their partner's priority list 70% felt more in control of their life after prayer and 62% said being spiritual gave them clarity in a confusing world 42% would avoid having friends who compete with them, up from 18% in 2019; 45% felt friends are only for fun up from 25% in 2019 7.COVID IS TEMPORARY, ASPIRATIONS ARE PERMANENT <ul><li>56% Gen Zers believe that life will be back to normal overthrowing the concept of the ‘new normal’ after COVID-19 subsides</li><li>51% will wait for the right opportunity to come their way instead of going after just anything that is offered to them</li><li>74% said DIY during the lockdown has now grown to become a habit and 82% were more proud and confident about themselves after completing DIY tasks</li></ul>

Gen Z decoded: MTV's latest report reflects Gen Z’s behavior patterns,mindsets, habits and perceptions

<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.

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We want to grow every property of our cluster 10x as compared to what it is right now: Anshul Ailawadi, Viacom18

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Gen Z decoded: MTV's latest report reflects Gen Z’s behavior patterns,mindsets, habits and perceptions

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Trends that will shape the broadcast industry in 2022

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