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<ul><li>Advertisement growth typically returns with a lag to economic growth. </li><li>Increased spend towards movie and OTT content to arrest declining market share.</li></ul>As per <keyword id="46252" type="PERSON" weightage="20" keywordseo="Motilal-Oswal">Motilal Oswal</keyword> Institutional Equities, <keyword id="10213964" type="UNKNOWN" weightage="20" keywordseo="Zee-Entertainment-and-Enterprises-Ltd">Zee Entertainment and Enterprises Ltd</keyword> revenue declined by 19% YoY (in-line) as ad revenue fell 26% YoY. “We have revised up ad revenues by 6%/6% for FY21/FY22E on better revenue visibility. But, we reduce revenue estimates from other sales divisions, maintaining our overall FY21/FY22E revenue. EBITDA remains unchanged, with increased content cost toward: a) movie/OTT, to arrest the decline in market share in key markets b) high inventory unwind, offset by lower other operating expenses. Thus, we factor in a 14%/22% EBITDA / adj. PAT CAGR. Maintain Neutral, with TP of INR 190,” read its press statement. Ad revenues remain weak Zee’s consolidated revenues declined 19% YoY to INR 17.2b (in-line). Advertisement revenues declined 26% YoY to INR9b on account of a drop in ad spends due to the impact of COVID-19. On the other hand, subscriptions grew by 11% YoY to INR8b on the inclusion of music revenue in the Subscription segment. Hence, on a like-to-like basis, domestic subscriptions grew 2.3% YoY, primarily driven by growth in ZEE5 subscription revenues. Zee’s total operating expenses were flat YoY at INR14b – as programming resumed in a staggered manner across regions – including a one-time provision toward subscription receivables of INR812m. EBITDA thus declined 55% YoY to INR3.1b. (20% miss), with margins of 18.2% (32.7% in 2QFY20). Zee took one-time provisions of INR812m toward receivables from Siti Networks. Adjusted for a one-off, EBITDA increased 43% YoY to INR3.9b, with a 22.9% EBITDA margin. Additionally, it incurred: a) Exceptional items of INR970m toward provisions of receivables from Siti Networks – as ZEE has provided corporate guarantees b) FV loss of INR207m – due to a change in the market price of redeemable preference shares. n Reported PAT declined 77% YoY to INR942m (est. PAT of INR2.5b), and adj. PAT (for exceptional items) declined 70% YoY to INR1.7b Highlights from management commentary Subscription growth in FY21 is expected to fall short v/s higher expectancy by the management earlier, while ad revenues should normalize by 3QFY21 and may grow from 4QFY21. n Margin trajectory may return to normal by FY22E and ZEE5 is expected to achieve breakeven by FY24E. ZEE’s investment in SugarBox would depend on the upcoming contract from the Railways, to be received by SugarBox. n Inventory and advance deposits dropped to INR60b in Sep’20 from INR64b in Mar’20. Valuation and view Advertisement growth typically returns with a lag to economic growth. Furthermore, the risk of margin pressure remains from over INR1.9b quarter loss in OTT investments, along with increase programming cost towards: a) high inventory unwind and b) increased spend toward movie and OTT content to arrest declining market share. However, since FY20, management has highlighted that it remains highly committed to bringing in a) increased governance and higher transparency toward investment in financial assets and working capital and b) high governance standard, including a robust and independent board. “We remain watchful of the evolving business situation and governance measures, including the admission of new board members over the next few months and increasing financial disclosures for investors. We maintain our FY21/FY22E revenue and EBITDA estimates. Thus, we factor in a 14%/22% EBITDA / adj. PAT CAGR. The stock trades at 12.5x FY22E EPS of INR15; we value ZEE at 13x FY22E EPS, thus maintaining our Target Price at INR190. Maintain Neutral,” read the statement.

ZEEL's ad revenues declined by 26% YoY to Rs 9 billion due to COVID-19

<ul><li>ZEEL's domestic advertising <keyword id="45663" type="ORGANIZATION" weightage="20" keywordseo="Revenue">revenue</keyword> for Q3FY21 grew by 7.5% YoY and 43.6% QoQ.</li><li>Its international ad revenue and <keyword id="2212194" type="PERSON" weightage="20" keywordseo="subscription-revenue">subscription revenue</keyword> stood at Rs 577 million and Rs 1091 million respectively.</li><li>Its domestic subscription revenues reported a growth of 18% including revenue from its music business which has been reclassified as subscription revenue in this fiscal.</li></ul><keyword id="1417408" type="COMPANY" weightage="20" keywordseo="Zee-Entertainment-Enterprises-Limited">Zee Entertainment Enterprises Limited</keyword> announced that its domestic advertising revenue for Q3FY21 grew by 7.5% YoY and 43.6% QoQ. This sharp recovery post H1 is a reflection of a resurgence of consumer demand and spending, the broadcaster said in its statement. Its international ad revenue and subscription revenue stood at Rs 577 million and Rs 1091 million respectively. Its domestic subscription revenues reported a growth of 18% including revenue from its music business which has been reclassified as subscription revenue in this fiscal. Comparable growth of 9.3% in the domestic business was driven by both television and <keyword id="6245082" type="COMPANY" weightage="20" keywordseo="ZEE5">ZEE5</keyword>. ZEEL's all India viewership share stood at 18.2% in Q3. The network also launched 2 new channels – Zee Zest and Zee Vajwa, taking the network channel count to 47. ZEE5 global's MAUs and DAUs stood at 65.9 million and 5.4 million respectively in Dec’20 and it released 7 movies on ‘Pay Per View’ model. The report also stated that while its share is back to pre-COVID levels, overall network share has seen a decline due to FTA channels losing share and decline in the overall Hindi movie genre.

ZEEL's domestic ad revenue for Q3FY21 grew by 7.5% YoY

New Delhi, Jan 21 () Media and entertainment firm Zee Entertainment Enterprises on Tuesday reported a 38 per cent fall in its consolidated net profit for October-December quarter at Rs 348.60 crore, mainly on account of decline in advertising revenue.
 The company had posted a net profit of Rs 562.76 crore in the same period a year-ago, Zee Entertainment Enterprises Ltd (ZEEL) said in a filing to the BSE.
 Its total income stood at Rs 2,119.60 crore during December quarter as against Rs 2,252.75 crore in the corresponding quarter last year. 
 "Third quarter is normally a strong growth period for us, however, the tough macro-economic environment led to a decline in our ad revenues," ZEEL MD and CEO Punit Goenka said.
 Most of our advertisers are going through a slow growth period and that has led to a cut in advertising spends, he added.
 "I believe that the worst phase is behind us and we will start seeing an improvement from the next quarter," Goenka said.
 Despite the slowdown, the company continues to make investments in businesses where it sees potential for growth, he added.
 ZEEL's advertisement revenue during the third quarter declined to Rs 1,230.82 crore from Rs 1,426.57 crore a year ago, the company said.
 Shares of Zee Entertainment Enterprises on Tuesday closed 4.86 per cent higher at Rs 283.95 per scrip on the BSE. AKT RVK

Zee Entertainment Enterprises Q3 net profit dips 38 pc to Rs 348.60 cr

Playback singer <keyword id="36091" type="General" weightage="80" keywordseo="sona-mohapatra" source="Orion">Sona Mohapatra</keyword>, who has crooned hit numbers such as 'Bedardi Raja', 'Ambarsariya' and 'Rangabati', has addressed a lengthy tweet to <keyword id="3115373" type="General" weightage="80" keywordseo="parag-agrawal" source="Orion">Parag Agrawal</keyword>, CEO of the microblogging site, slamming the practice of not inviting women as headliners for cultural events at his alma mater <keyword id="6354859" type="General" weightage="50" keywordseo="iit" source="Orion">IIT</keyword> Bombay. In her tweet, <keyword id="38029" type="General" weightage="100" keywordseo="sona" source="Orion">Sona</keyword> wrote, "Dear @paraga, Ur alma-mater has for decades, mostly never hosted women as headliners in their cultural festival. IITB alumni, even CEOs slammed me on fb for writing this letter." Sona urged Agrawal to watch her film 'Shut Up Sona' to get a glimpse of what female artistes have to go through to get equal respect, representation, and remuneration. She added: "I hope U watch my film #ShutUpSona to see what our reality as female artists in the 21rst century is. Love &amp; Light." She also attached screenshots of her viral open letter on Facebook. The tweet serves as a reminder to what even the most successful women have to face when they come up against systemic sexism. 'Shut Up Sona' is streaming on Zee5 and Zee 5 Global. SEE ALSO: <a target="_blank" class="c-link c-message_attachment__title_link" href="https://www.businessinsider.in/politics/india/news/eknath-shinde-wants-a-breather-and-spend-time-with-families/articleshow/92666818.cms">Eknath Shinde wants a 'breather' and spend time with families</a> <a target="_blank" class="c-link c-message_attachment__title_link" href="https://www.businessinsider.in/science/environment/news/30-large-reservoirs-in-india-dip-to-a-decadal-low-after-erratic-rains-in-june/articleshow/92665877.cms">30 large reservoirs in India dip to a decadal low after erratic rains in June</a>

Sona Mohapatra directs tweet to Twitter CEO Parag Agrawal; addresses sexism in his alma mater

<ul><li>While the <keyword id="1754604" type="PERSON" weightage="20" keywordseo="coronavirus">Coronavirus</keyword> outbreak has led to productions of films and daily soaps being stopped across the country, TV viewership is going up due to people staying at home.</li><li>However, the GECs re now faced with the challenge of coming up with fresh content for its viewers.</li><li>In such a scenario, how are these channels planning to tackle the situation?</li></ul>It’s been close to 2 weeks since India’s film and television bodies decided to suspend shootings from to avoid the spread of the novel Coronavirus. The Indian Film &amp; Television Directors' Association (IFTDA), Producers Guild of India and Federation of Western Indian Cine Employees (FWICE) had decided on March 17 to put production and shooting on hold till March 31. As the PM announced his 21-day complete lockdown, production will not start before April 14. The biggest impact of this will be on GEC channels that usually work with a content bank of about two weeks. However, with the lockdown, these channels will soon run out of fresh content to air. Considering most people are stuck at home, OTT and TV viewership saw a spike, according to Broadcast Audience Research Council (BARC) India data. The total TV consumption saw a spike of 8% across India in the week ended March 20 (<keyword id="8763838" type="UNKNOWN" weightage="20" keywordseo="covid-19">Covid-19</keyword> Week 1), while the total time spent per user on smartphones went increased by 6.2% to 25 hours a week. Moreover, the consumption growth in the Hindi speaking markets (HSM) was at around 10% in comparison to the South region that grew by 5%. The HSM region saw an increase in terms of both reach and time spent. While this opens up possibilities for advertisers to catch more eyeballs, GECs are now faced with the problem of running out of content. In such a scenario, what is the strategy they are employing to ensure that they do not lose their audience who can only stay engaged if they are offered something new to watch? Ensuring all-round entertainment for consumers While production has come to a complete halt, all the channels believe that the show mustn’t stop and are strategizing at how to make the best use of the content at their disposal currently. Speaking about how it is working around the current situation, <keyword id="3387826" type="PERSON" weightage="20" keywordseo="Prathyusha-Agarwal">Prathyusha Agarwal</keyword>, Chief Consumer Officer, <keyword id="174248" type="DOMAIN" weightage="20" keywordseo="Zee-Entertainment-Enterprises-Ltd">Zee Entertainment Enterprises Ltd</keyword> said, “Taking into consideration the explosion in TV consumption and the changing composition of audiences, there is a need to customize programming for this emerging trend. At ZEE, we have geared up to serve these emerging trends with content for everyone in the family. For instance, starting March 25, Zee TV introduced an exclusive band ‘PyaarVyaar Originals’ with three new finite series including Sakshi Tanwar and Ram Kapoor starrer ‘Karle Tu Bhi Mohabbat’, Sharman Joshi Starrer ‘Baarish’ and Ronit Roy Starrer ‘Kehne Ko Humsafar Hain’ for the first time on television between 9 pm and 11 pm every week night. Longer binge-worthy episodes of our popular fiction shows have also been lined up across most channels to provide an immersive experience to our viewers who are staying much longer in front of the television. &amp;tv has also lined up curated specials of their comedy hits along with inspirational and devotional content to bring in positivity into our viewers’ living rooms.” For <keyword id="1570722" type="PERSON" weightage="20" keywordseo="Manisha-Sharma">Manisha Sharma</keyword>, Chief Content Officer, Hindi Mass Entertainment, <keyword id="187712" type="COMPANY" weightage="20" keywordseo="Viacom18">Viacom18</keyword>, the need of the hour is for the channels to take care of every family’s all-round entertainment needs. Speaking about what their roadmap in terms of content is, Sharma said, “At a time like this, we want to give our viewers the best of the content mix which will keep them smiling and comforted and hopefully let this time go by smiling and watching with their families in the confines of their homes. We have an eclectic mix of current and popular erstwhile shows that will take care of all their entertainment needs ranging from comedy, drama, slice of life, and reality shows. We have dedicated blocks for comedy, drama, and romance to give the viewers the best of the best content. A healthy dose of comedy between 5-6 pm with reruns of Belan Wali Bahu, popular show Dil Se Dil Tak starring Sidharth Shukla and Rashami Desai will be back at 6pm. We will continue to air fresh episodes of Vidya, Choti Sarrdaarni, Shakti…Astitva Ke Ehsaas Kii, Barrister Babu, Shubharambh and Naati Pinky Ki Lambi Love Story at their respective timeslots.” Riding on the nostalgia wave Doordarshan played a masterstroke with the announcement of the re-launch of yesteryear classics including Ramayan, Mahabharat and Byomkesh Bakshi. A lot of people have been talking on various social media platforms about what are the shows they would want channels to bring back. And a lot of the channels are listening to what the audience wants. Zee is bringing back some of its old, popular shows from its library across its channels, like ‘Kasamh Se’ on Zee TV and ‘Sambhaji’ on Zee Marathi and ‘Goyenda Ginni’ on Zee Bangla amongst others. Similarly, Viacom18 will be bringing back its show Dil Se Dil Tak and Bigg Boss 13. Speaking about what viewers can expect from its stable, <keyword id="8986388" type="UNKNOWN" weightage="20" keywordseo="arpit-machhar">Arpit Machhar</keyword>, Head of Marketing, <keyword id="8986387" type="UNKNOWN" weightage="20" keywordseo="enterr10-television-network">Enterr10 Television Network</keyword> (<keyword id="7514645" type="UNKNOWN" weightage="20" keywordseo="Dangal-TV">Dangal TV</keyword>) said, “We go through a lot of historical data before acquiring the license of any show. Dangal TV ratings, undoubtedly, have also been helpful in successfully monetising already aired shows. In the past, shows like Bandini, Chandragupt Maurya, Bhagwaan Shree Krishna have done exceptionally well. Ramayana, too has a very strong connect with viewers across India beyond the Hindi speaking markets. Mythological and historical shows along with some well-produced thrillers and family dramas make it an interesting package for viewers. We are in tune with this, considering Dangal TV too has been airing Ramayana as well as similar mythological shows like Devi Adi Parashakti, Mahima Shani Dev Ki for a while now. Devi Adi Parashakti and Mahima Shani Dev Ki are among the top 2 shows across Hindi GEC, HSM(U+R) as per latest data by BARC India for Week 11. We are aware that such content always has an audience and therefore we will continue to keep our viewers engaged with such shows.” Covid-19’s business impact While many sectors like events and out-of-home have been badly hit due to the lockdown, broadcasters are hopeful that they will be impacted less. Considering viewership is on the rise too, it presents an opportunity for both broadcasters and advertisers to make something out of an adverse situation. Dangal TV has seen a spike in its viewership, like most other GECs and is not focusing on new ideas. “Despite the COVID-19 challenge, Dangal TV is experiencing a spike in the average time spent.We are witnessing the early signs of a consumption uptick with an increase in the viewership. At Enterr10 Television Network, we are strongly connected and engaged with our viewers. Our numbers have been ahead of us. We are readily willing at focusing on exploring new ideas, IPs, etc. We haven’t stepped back in terms of exploring what more is possible, even during this period. Even in this unprecedented situation, we will continue to invest in good library, innovative programming and in distribution that will further aid in consolidating our position in both rural and urban markets. While there is huge competition amongst TV channels, our first priority is to consolidate, maintain and further strengthen our leadership position on television.” Pointing towards the fact that a lot of advertising on TV comes from FMCG that have been relatively less impacted, Sharma shared her optimism about the future. “The lockdown has hit the manufacturing, supply chain and consumption of all brands and that will invariably have an effect on ad spends. However, TV and digital will have a marginal impact as compared to other mediums like print, outdoors and radio as TV viewership is expected to see an upswing due to the forced lockdown. Secondly, a large amount of advertising revenue for a GEC comes from FMCG brands that are relatively less impacted in the current situation. Also, since it is an industry phenomenon, all GEC channels will witness a drop in ad spends,” explained Sharma. Added Agarwal, “Over the next 3 weeks, we expect content consumption on TV to go up as people look to keep themselves entertained. Given the temporary nature of the lockdown, it would be imprudent to quote any implication as of now, but we are sure that TV has become an essential service providing the much needed companionship to families in the current times.”

With limited fresh content at their disposal, here's how GECs are tackling the lockdown

<div class="KonaFilter image-container display-table float_right"><div><div class="image on-image"></div></div></div>Tech giants are starting to turn their attention to "flying cars."Uber released a <a href="https://www.uber.com/elevate.pdf" target="_blank">98-page white paper</a> last week outlining its plans to bring "flying cars" to commuters by 2026. Google co-founder Larry Page is also <a href="http://www.bloomberg.com/news/articles/2016-06-09/welcome-to-larry-page-s-secret-flying-car-factories" target="_blank">funding a "flying car" project</a>&#xa0;through a start-up named Zee.Aero, and its prototype was reportedly <a href="http://www.montereyherald.com/article/NF/20161023/NEWS/161029863" target="_blank">seen in action</a> at&#xa0;Hollister Municipal Airport in October.But Airbus, which offers a legacy of building civil aircrafts and working with the Federal Aviation Administration, is also developing its own "flying car"&#xa0;as part of its Project Vahana&#xa0;- and its aviation experience could give it an edge. Project Vahana is being run&#xa0;under Airbus' Silicon Valley arm, named A³.To get this out of the way early, all of these companies aren't&#xa0;really interested in developing flying cars, hence the quotation marks. That would indicate they were trying to take the same route as <a href="http://www.businessinsider.com/terrafugia-could-have-flying-car-ready-in-2025-2016-8" target="_blank">Terrafugia</a>, which is building a hybrid car that can drive on the road and also fly.But&#xa0;A³, along with Uber and what we know of Zee.Aero, isn't focused on the car portion of a flying car. All three&#xa0;are working on VTOL aircrafts, which is short for&#xa0;Vertical Take-Off and Landing. That means the aircrafts don't need a runway to ascend, similar to a helicopter.<div class="KonaFilter image-container display-table"><div><div class="image on-image"></div></div></div>Zach Lovering, who oversees Project Vahana, said it plans to have the production version of its VTOL aircraft&#xa0;ready in four years.&#xa0;The Project Vahana aircraft will be an electric, single-passenger VTOL plane with eight rotors. Lovering told Business Insider it will have a range "on the order of a city size, the diameter of a city," but declined to provide a specific number. It will have a speed "twice as fast as cars" and will achieve an altitude of around 1,000 feet, according to Lovering.The aircraft will be fully&#xa0;self-piloted."The way I would think about it is somewhat like a train... which means before it takes off it has a known flight path it's going on." Lovering said.He said the aircraft will be equipped with lidar, radar, and cameras - the same technology used on many self-driving cars - so it can safely deviate from its flight path if an obstacle gets in its way.Lovering joined Project Vahana in February after spending four years working for Page's Zee.Aero."There's a much bigger focus here on actual productization and getting this thing out there, rather than focusing on developing really cool technology," Lovering said of his decision to leave Zee.Aero.<div class="KonaFilter image-container display-table float_right"><div><div class="image on-image"></div></div></div>But why pursue a VTOL aircraft?Lovering said he can see many uses for these types of transport systems, but that Project Vahana is primarily going after the commuter market.Lovering said he wants to create a ride-hailing experience that's "something like Uber has." Here's how he sees it playing out: the vehicles will&#xa0;have home bases on the top of buildings, such as large parking structures. Users will put where they are and where they want to go into a Project Vahana app, which will then direct them to the nearest depot with the aircrafts."You either take an Uber there or walk there, depending on how far away it is," Lovering said.Once a user gets in the VTOL aircraft, pre-flight checks would commence. Lovering said relevant information about the flight will be displayed on the app, and there may even be a screen inside the aircraft that could "hook up to your phone, just as a casting device." None of these details have been finalized, but speak to the ride-hailing interface Lovering hopes to create.Uber is also looking to use the VTOL aircraft for commuter purposes as part of its project dubbed <a href="http://www.businessinsider.com/uber-elevate-flying-cars-2016-10" target="_blank">Uber Elevate</a>. Uber is planning to have its&#xa0;first vehicles ready by 2021, just one year after Project Vahana plans to finish its&#xa0;aircrafts. Uber has said its official roll-out date will occur in 2026.Lovering added that Project Vahana's aircrafts could also be used to transport cargo from from facilities to distribution centers. They could also be used to deploy emergency medical stations in disaster&#xa0;areas.<h2>'Huge regulatory hurdles'</h2><div class="KonaFilter image-container display-table"><div><div class="image on-image"></div></div></div>But Project Vahana's vision for its VTOL aircrafts hinge on the FAA granting regulatory approval, and that's a big hurdle considering the FAA has yet to even approve commercial drone use."The regulatory aspects are definitely something difficult to overcome," Lovering said. "Although in our conversations with the FAA, we met with them earlier this year, they were very receptive to us."Lovering said the FAA is moving toward a standard certification process that would expedite the process for approving new kinds of vehicles.He added that there are organizations working with the FAA to help set these standards, like&#xa0;ASTM International, a volunteer organization that helps develop international standards; the Radio Technical Commission for Aeronautics, a volunteer organization that develops technical guidance for the industry and is sponsored by the FAA; and GAMA, an aviation industry trade association.The FAA did not respond to Business Insider's request for comment.<div><div style="position:relative;padding-bottom:56%"></div></div>(Above: A VTOL aircraft built by <a href="https://www.youtube.com/watch?v=zW28Mb1YvwY" target="_blank">Lockheed Martin</a>.)"It seemed like there were some clear paths forward for the regulatory environment as long as you have a pretty well-defined mission," Lovering said of his conversation with the FAA earlier this year.But there are other hurdles beyond tackling the difficult regulatory environment.Lovering said&#xa0;A³ needs to figure out how to build an "air infrastructure" so the aircrafts can fly safely. The group also needs to set up charging stations at landing sites since the aircraft will be electric.Lovering said it will be important to partner with other companies working on VTOL aircrafts to work out these challenges. He said he could see&#xa0;A³ working with Uber down the road for that very reason."There are just huge regulatory hurdles, air traffic management hurdles, structural hurdles," he said. "That&#xa0;certainly will require not just Airbus and one other company, but probably half a dozen to a dozen companies working together to solve this problem." <div class="margin-top"> <h3>NOW WATCH: <a href="http://www.businessinsider.com/terrafugia-flying-car-tfx-2016-2">This flying car is said to hit the market by 2025</a></h3> <div> <div> <div class="ooyala-video-player" data-video-autoplay="false" data-video-id="JtaTg1MTE6rLqZNYi3B_qqam-uSgM6ar" data-player-variable="ooyalapopvideo" id="ooyalaplayer_popvideo" style="width:1280px;height:720px"></div> </div> </div> </div>

Airbus is building autonomous air taxis to become the Uber of the skies

The US-based <keyword id="128682" type="COMPANY" weightage="20" keywordseo="Netflix">Netflix</keyword> has started testing longer subscription plans in the country, as it looks to woo new users in India where online video consumption has seen a massive growth in the past few years. According to sources, Netflix has started testing multiple months subscription plans (three, six and 12 months) that will be offered at a discounted price. However, this will be available only to some new users, and they may see different options, they added.
 The sources said the intent of the pilot is to see whether subscribers will be open to paying for several months, or a year in advance.
 Earlier this year, Netflix had piloted and then launched a mobile phone-only plan in the Indian market -- a first for the company globally. The new long-term plans being piloted are also India-first.
 When contacted, a Netflix spokesperson said, "We believe that our members may value the flexibility that comes from being able to pay for a few months at once. As always, this is a test and we will only introduce it more broadly if people find it useful."
 Currently, Netflix only offers monthly subscription plans across three price slabs of Rs 499, Rs 649 and Rs 799, respectively, apart from the Rs 199 mobile-only pack.
 Its competitors like Amazon Prime Videos, <keyword id="2739840" type="COMPANY" weightage="20" keywordseo="Hotstar">Hotstar</keyword> and ZEE5 already offer annual subscription packs (Rs 999) which is cheaper than their monthly plans (ranges between Rs 99-299). A premium player Netflix started its operations in India in 2016 and has introduced a number of Indian shows on its platform.
 Last week, Netflix founder and Chief Executive Officer Reed Hastings had said the company was focussed on creating original Indian content for audiences not just in India but also globally.
 "This year and next year, we spend about Rs 3,000 crore developing content and you will start to see a lot of stuff hit the screens. We got about 100 employees in Mumbai and a couple of thousand working on different productions. So, we are trying to become more Indian in content offering," Hastings had said.
 Globally, the company has over 158 million users. It does not provide country-specific numbers.
 There is a growing trend of consuming on-demand content services on television, a significant number of people watch content on smartphones. According to a FICCI-EY 2019 report, Indians spend 30 per cent of their phone time and over 70 per cent of their mobile data on entertainment.
 Online content consumption in India has seen massive growth with data plans becoming more affordable. Data rates in India are among the cheapest globally.

Netflix tests multi-month packs in India to woo new users

<ul><li>The most number of <keyword id="1968469" type="General" weightage="20" keywordseo="social-app" source="Orion">social app</keyword> downloads in the first half of 2021 were from India.</li><li>India also ranked second for the most hours spent in social apps just behind China.</li><li>The App Annie report shows how live streaming and short video content are leading the trends in social apps.</li></ul>India is currently the biggest market for social apps globally in terms of downloads, according to App Annie’s ‘Evolution of Social Apps’ <a href="https://infogram.com/1pmrg199wrmd76s3gpw7gr9w5dbz91z2x9d?live">report</a>. India also takes second place for the most hours spent in social apps. The report highlights how livestreaming is the latest trend in social media and shares statistics on which apps are doing the best and in which markets. According to the report, Asia accounted for the most number of downloads of social apps in the first half of 2021 dominating 60% of the overall market. India is far ahead in the race with over 1.5 billion downloads. It actually has been leading the race surpassing the US in 2018, the report added. Globally, 70 billion social apps have been downloaded to date since 2010. In the first half of 2021 alone, there were 4.7 billion downloads of social apps. This data has been calculated from the App Store and Google Play Store and for social, social networking and communication apps. <div type="image" title="social app downloads" msid="86003650" hostid="261" caption="&amp;lt;p&amp;gt;Countries with the highest number of social apps downloads in H1 2021.&amp;lt;/p&amp;gt;"></div> The most downloaded social and entertainment apps in India are <keyword id="9555198" type="General" weightage="20" keywordseo="mx-takatak" source="Orion">MX TakaTak</keyword>, <keyword id="819905" type="General" weightage="20" keywordseo="instagram" source="Orion">Instagram</keyword>, <keyword id="6393600" type="General" weightage="20" keywordseo="josh" source="Orion">Josh</keyword>, <keyword id="8678883" type="General" weightage="20" keywordseo="moj" source="Orion">Moj</keyword> and <keyword id="6358096" type="General" weightage="20" keywordseo="snapchat" source="Orion">Snapchat</keyword>. Among the top five apps, <a href="https://www.businessinsider.in/advertising/ad-tech/news/mx-takatak-moj-and-josh-are-the-three-most-downloaded-apps-in-india-in-the-last-quarter-sensor-tower/articleshow/81963654.cms">MX TakaTak, Josh and Moj </a>are TikTok-like short video apps. App Annie highlighted how apps like TikTok, MX TakaTak and Snapchat offering short video content and live streaming have dramatically increased. According to the report, there were 740 billion hours spent on social apps in the first half of this year. This accounted for 44% of the time spent on mobile globally. The report adds that there has been steady growth in the past three years. <div type="image" title="hours spent on apps" msid="86003668" hostid="261" caption="&amp;lt;p&amp;gt;Countries with the most number of hours spent in social apps.&amp;lt;/p&amp;gt;"></div> App Annie predicts that the total time spent in social apps with live streaming in focus is set to surpass half a trillion hours on Android phones alone. In India, people spent almost 160 billion hours on social apps this year on the Android platform. The top five apps that Indians are spending time on are YouTube, WhatsApp, Facebook, Instagram and Truecaller. YouTube continues to remain the leader not just in India but globally as well. App Annie credits the platform’s “depth and breadth of engagement” as the reasons behind it ranking first in streaming and video. But TikTok could soon emerge as the leader in this space as it has already crossed YouTube in terms of average time spent per user in the US and UK. In terms of consumer spending, the most popular apps in India are Hotstar, Chamet, Tango Live, Truecaller and ZEE5. Chamet is a one-on-one multiplayer video and voice chat app that lets you connect with people from around the world. Tango Live is a social live streaming app where people get paid for hosting live videos. India, however, is not among the top countries when it comes to consumer spending ranking 17th in the list. The US has the highest consumer spend accounting for 30% of the total market. SEE ALSO: <a href="https://www.businessinsider.in/tech/news/protonmail-faces-criticism-after-leading-police-to-the-arrest-of-a-climate-activist/articleshow/85999452.cms" data-type="tilCustomLink">ProtonMail faces criticism after leading police to the arrest of a climate activist</a> <a href="https://www.businessinsider.in/tech/news/whatsapp-to-soon-let-you-hide-your-last-seen-from-specific-contacts/articleshow/85997894.cms" data-type="tilCustomLink">WhatsApp to soon let you hide your ‘Last Seen’ from specific contacts</a>

India accounts for the highest number of social app downloads globally: App Annie

<ul><li>Owing to lack of physical mobility in last 1.5 years, people stayed in-house, and digital adoption increased across devices.</li><li>On-demand content viewership on CTV increased manifolds.</li><li>Cheaper internet packs, affordable smart TVs, convertibles and connectable like fore stick etc transformed traditional TV into CTV.</li><li>Therefore, OTT consumption / gaming etc. on the connected big screen went up.</li><li>This report highlights who is the consumer, what does she/he want, how are they accessing content and what will future trends look like.</li></ul><keyword id="12034873" type="General" weightage="20" keywordseo="india-ctv-report" source="Orion">India CTV Report</keyword> 2021 - Mapping Connected TV (CTV) Viewership in India and the Opportunities for Brands” a report from mediasmart, an Affle company, highlights the changing media consumption patterns of the Indian consumer. India is undergoing digital transformation and consumers are steadily moving away from traditional linear TV to CTV and OTTs. This change presents an untapped advertising opportunity for brands and advertisers. The report highlights consumer adoption insights layered with an expert view on possible advertising potential of the CTV medium. According to the report, key CTV viewership trends and insights include:<ul><li>Out of the select audience surveyed, 78% own a Smart TVand 93% of these smart TV users access internet based content</li><li>Mobile-first, active and aware CTV consumers: CTV users are young, urban adults who are already mobile-first and are actively engaging with diverse apps such as - 89% of the respondents are social media users, 82% are e-commerce, 44% are gamers and more</li><li>Content on demand: over 59% respondents prefer downloading apps via Smart TV App Store, while 26% respondents primarily consume content via pre-installed apps and a small section (15% respondents) use the dongle to stream content on TV</li><li>One device, many uses: Close to 70% respondents spend between 1 to 4 hours on CTV watching movies (91%), streaming music (64%), playing games (47%) or watching news (64%)</li><li>Spending ability and OTT preferences: Over 65% respondents subscribe to more than one OTT app. There is 40%+ adoption for the leading eight OTT apps in India: Disney+Hotstar, Amazon’s Prime Video, Netflix, Zee5, MXPlayer, Sony LIV, VOOT and Alt Balaji. The inclination on app usage is also heavily dependent on seasonality and timing</li><li>Limited barriers to viewership and adoption: Unlike mobile usage of internet, which requires literacy levels, CTV consumption cuts across age, language, and city barriers. By going vernacular, advertisers can engage with users in ads of their language</li></ul>Nikhil Kumar, Sr. Director, mediasmart talks about the CTV potential in the report - “The world is moving towards immersive watching experiences and CTV is an exciting space to be at. It is interesting to see leading advertisers in the country adopt CTV advertising as a critical new addition to their media mix. CTV advertising is here to stay and with evolutionary solutions provided by mediasmart on Household Sync technology, we are powering brands to engage with relevant consumers across the connected devices.” India is a young market with a tremendous potential for CTV adoption. CTV inherently is more engaging than traditional TVs and brings together the twin strengths of (a) engaging storytelling associated with CTV advertising and (b) targeting associated with Programmatic &amp; Digital advertising. Affle’s mediasmart platform offers an innovative approach to help optimise the CTV opportunity. With mediasmart’s unique Household Sync technology, advertisers can make ads more engaging by syncing CTV ad campaigns with ads on other connected devices in the same household. Brands can launch CTV campaigns to a specific audience in the same household, target premium inventory, measure results and drive them to the nearest store. Amardeep Singh, CEO of Interactive Avenues, talks about the CTV opportunity in the report - “Advertisers globally - and in India - are lapping up the CTV opportunity as it continues to grow as an exciting medium for digital advertising. We have seen great results and ROI for some of our top clients who are already using the CTV ad technology from mediasmart. This research is a step in the right direction to build standard industry metrics, even as technologies like Household Sync make CTV more measurable and impactful.” With data plans becoming more affordable, India is one of the biggest markets of internet users. Availability of cheap Smart TVs, diverse and affordable internet content and an untapped demographic group opening to the digital-first world presents a massive opportunity for CTV adoption and growth. This makes for a fertile ground for advertisers to innovate solutions for different brands with diverse business needs. Affle’s mediasmart is driving the CTV innovation across India, SEA, Europe &amp; other key markets and aims to revolutionise the way brands interact with consumers on various connected devices.

Over 66% people in India subscribe to more than 1 OTT app: Report

<ul><li>As COVID-19 forces thousands of people to stay home, Eros Now is offering a 2-month free subscription to Indian customers. </li><li>This comes after several state governments have urged people to avoid all non-essential travel and work from home to contain the outbreak. </li><li>According to an online app Annie, its daily active user rose by 78% between 27 February and 7 March. </li></ul>As COVID-19 is forcing lakhs of people to stay home, streaming player Eros Now is offering a 2-month free access to its Indian customers. “We are opening the gates of Eros Now to watch the product, which otherwise would cost ₹49 a month. So we are allowing 2 month free access until the end of March. There might be a little bit of flow bound on the new content that comes in but we have at least 10,000 <keyword id="6369154" type="UNKNOWN" weightage="20" keywordseo="films">films</keyword> across languages for our audiences,” Ali Hussein, CEO told Business Insider India. This comes after several state governments urged people to avoid all non-essential travel and work from home to contain the novel <keyword id="8595403" type="UNKNOWN" weightage="20" keywordseo="Coronavirus-outbreak">coronavirus outbreak</keyword>. So far, the virus has infected 151, and killed 3 in India. 
	
	<div type="twitter" handle="ErosNow" handlename="Eros Now" image="http://pbs.twimg.com/profile_images/1236991142383632384/C4T52R23_normal.jpg" favoritecount="67" retweetcount="19" status="Your stay at home just got a lot more interesting! To help you get through your #quarantinetime, Eros Now brings… https://t.co/10oEGNkesC" createdat="1584546439000" id="1240303778005475328"></div>





 People have been binge watching more due to social isolation and closure of malls and cinema halls. Eros Now is among the many platforms in India that have witnessed a peak in its unique viewers. According to an online app Annie, its daily active user rose by 78% between 27 February and 7 March. According to a Business Standard report, most Zee5 and Voot witnessed u<a href="https://theprint.in/india/ficci-launches-online-course-on-coronavirus-management-to-help-if-situation-gets-worse/383525/">pto 20% rise in usage the past few days</a>. Eros Now is now looking to cash in on the renewed interest in streaming shows and movies. It claims to have 137 million registered users and 26 million paid subscribers. “It is still early to say how much. But yes, there is an opportunity for us. If there is free time available then entertainment tends to be a free choice for a lot of customers in India. That’s the reason why we are not charging our customer but providing them the window to indulge with entertainment on our platform,” Hussein added. Eros Now had planned to add at least one original series in a month and 40 theatrical releases in its content library. It aims to spend between $50-70 million on original content in the next 12-18 months. However, some of its releases like Haathi Mere Sathi have also been postponed due to <keyword id="1754604" type="PERSON" weightage="20" keywordseo="coronavirus">Coronavirus</keyword>. Apart from education apps like Byju’s and Unacademy, Amar Chitra Katha also offered free access to all its comics online See also: <a href="https://www.businessinsider.in/science/environment/news/dolphins-return-to-italy-venice-canal-shines-chinas-air-clears-up-the-impact-of-coronavirus-isolation-says-we-need-to-rethink-our-ways/articleshow/74705435.cms">Dolphins return to Italy, Venice canal shines, China’s air clears up – the impact of Coronavirus isolation says we need to rethink our ways</a>

Eros Now offers 2-month free subscription after its unique users peak to a new high

In line with global trends, Indian consumers are also taking to the consumption of content in the digital space. “Digital video space is the fastest growing sector, even within digital. It is growing faster than even eCommerce. The bull run that you had in eCommerce space, Expect the same bull run from 2015-2020,” said Puneet Johar, co-founder and CEO of To The New Ventures (TTNV), a digital services company. He gave us an insider view of the industry and also shared insights on the cut-throat battle that lies ahead for the <keyword id="2436335" type="UNKNOWN" weightage="100" keywordseo="online-video-streaming">online video streaming</keyword> players. Tighten your seat belts before we take you in for a ride. . 

	Numbers decoded
 

	You can never understand an industry and its game better, unless you learn all the numbers associated with it by heart. Let’s take a look at the numbers that matter in the digital space. 
 

	• Internet population: India added 43 million Internet users (20.5% growth) from October 2013 to September 2014 and total Internet users crossed 254 million out of which 235 million users accessed Internet through mobile devices. 
 

	• Expenditure: The amount spent by an Internet user on an average on entertainment also increased by a whopping 34% from 2012 to 2014. 
 

	• How the netizens spend their time: In terms of media consumption, an average mobile Web user in India consumes 6.2 hours of media daily of which 21% of the time is spent on audio and video entertainment by youths.
 

	• Present Growth: Online video content space is growing at a pace of 70-80% YoY, in terms of consumption and revenue growth.
 

	• Future growth: Spending per month by users on digital media especially entertainment is expected to grow by 2.5 times by 2020. 
 

	The big hack code
 

	On-demand entertainment services led by audio and video content are at the heart of digital space in India. While the evolution towards on-demand download and streaming of the content has just begun, a very promising ecosystem is already evolving as multiple players have launched their digital streaming platforms.
 “In the next 2-3 years online video consumption will become a mass consumption medium. It will definitely take shares from television which is expected to be a disproportionate share in the next five years. I think 20-25 per cent of television advertising money would move to <keyword id="1583722" type="UNKNOWN" weightage="100" keywordseo="mobile-video">mobile video</keyword> or online video in the coming five years,” said Puneet. 

	One wouldn’t be surprised with the projections if one looks at the present numbers. The number of online video users crossed 200 million in 2014, an increase of more than 70% since 2011.
 

	Major players
 The space that was mainly dominated by established players like <keyword id="10879" type="CITY" weightage="100" keywordseo="YouTube">YouTube</keyword> has seen an influx of other players who are bringing in innovation and support to the industry. There are mainly three buckets comprising the industry: 

	1. The established, pure digital video players like YouTube ;
 

	2. Users making their own content like Star and Zee who are television networks;
 

	3. Innovative players like TTNV, who are coming up with innovation on the video space, like TTNV’s new app <keyword id="2860973" type="UNKNOWN" weightage="100" keywordseo="fame">#fame</keyword> which allows live mobile video streaming. 

	YouTube gets around 60 million unique visitors every month. About 63% of Indians using YouTube watch videos, and about half of them watch TV shows and film trailers.
 

	The innovative players who are pioneering live streaming through their apps in India are growing at a fast pace too. Within 3 months of the launch TTNV, there has been over a million downloads, over 20,000 creators who are participating in the journey, over 250,000 registered users and more than 40,000 live videos have been created through this app.
 

	VuClip report states that 80% of its consumers watch videos on their mobile devices at least once every 2-3 days with more than half opting to watch daily.
 

	Weapon of Death
 

	Advertising is one the major factors which would be the major factor that will enable this industry to conquer TV. Digital ad market size in India is estimated to increase to Rs 354 billion by 2020. 
 

	The number of brands coming in to join this platform is an exponential growth. There are over 25 brands who are participating in content creation through #fame (TTNV’s initiative). 
 

	TTNV’s Puneet is expecting to grow up to 50 brands by the end of this year. 
 

	High-definition and ultra definition video content usage is the next major weapon which is expected to increase exponentially and its combined share is expected to be 21% of Internet video traffic in 2018, up from 4.5% in 2013.
 

	Challenges
 

	Educating people about a new innovation is always the biggest challenge.
 

	Infrastructure would be the next big challenge as providing Wi-Fi zone and upgrading from 3G to 4G would require immense infrastructure in which India is still lacking. More operators need to come into the game sooner.
 

	Future
 

	TTNV claims the gamification of app is going to be the next big thing in the online mobile video streaming industry. After entertainment, users spend maximum amount of their time in gaming. Once there is a gaming like experience between the app and the user, it would attract more audience.
 

	“The whole experience of the creator and the user will be gamified in the next 2 months. This will enhance the user experience hugely,” says the CEO of TTNV.
 

	He added that localisation and social influence are going to be other two big drivers for the new players.
 

	So,this is how the game would end with clearly one winner. We wait anxiously for the day when the gravestone would read R.I.P- our very own idiot box.
 (Data and statistics source: <keyword id="6358918" type="PERSON" weightage="100" keywordseo="Deloitte">Deloitte</keyword> analysis; Digital Media: Rise of On-demand content) 
	 
	Image credits: rysham

Deadly game of online mobile video streaming decoded!

<ul><li>In this new year, we want to crystal gaze into what the year has in store for the industry.</li><li>In today's feature, we talk to experts from the out-of-home industry who give us a sense of what one should expect from the <keyword id="2014281" type="ORGANIZATION" weightage="20" keywordseo="OOH">OOH</keyword> industry in 2021.</li></ul>The Covid-19 induced lockdown last year hit the out-of-home industry hard. With people not venturing out for weeks, billboards across the country were left empty. April, May and June almost witnessed zero business. However, as the country started opening up, advertisers started coming back to the medium, slowly but steadily. The festive season, while holding a lot of expectations, did not see the kind of enthusiasm from advertisers as was expected. Everyone was in the ‘let’s-wait-and-watch’ phase, with brands being cautious of spending too much on advertising. However, now despite the virus still being around, people are out and about. And with vaccines soon expected to hit the markets, things will only look up from here. And with increasing mobility with each passing day, one can only hope for things to keep improving. While we might still be some time away from a complete recovery, the process has already started. Segments like OTT, real estate and FMCG have always been big spenders on the medium and with people slowly resuming travel, more and more advertisers are coming back too. It is also expected that 2021 could finally see the boost that Digital OOH has been waiting for in India. We reached out to experts from the OOH ecosystem to understand their expectations from 2021 and here’ s what they had to say. <keyword id="939652" type="PERSON" weightage="20" keywordseo="Noomi-Mehta">Noomi Mehta</keyword>, Chairman &amp; MD, <keyword id="3910022" type="COMPANY" weightage="20" keywordseo="selvel">Selvel</keyword> One <div type="image" title="Noomi-Mehta" msid="80170862" hostid="261"></div> 2021 will be a defining year because the classic form of OOH will not rebound to the extent that we hope it to. I don’t think the normal hoardings across the country are going to be filled, they won’t get the level of occupancy we are looking for. The shift towards digital is extremely clear to me now. Clients are moving their monies to digital not because of any particular reason but because it is one medium that gives them the most accountability where it is possible to measure and trace the actual performance vis-à-vis the money spent. The same is going to happen to outdoor, which is why the recent initiatives we’re taking, to establish a common currency of measurement, is going to be of paramount importance as we move ahead and will lead the way forward. If we’re able to achieve this by the second half of the year, outdoor as a medium will take off definitely. <keyword id="2406965" type="PERSON" weightage="20" keywordseo="Atul-Shrivastava">Atul Shrivastava</keyword>, CEO, <keyword id="2911687" type="PERSON" weightage="20" keywordseo="Laqshya-Media-Group">Laqshya Media Group</keyword> <div type="image" title="Atul Shrivastava - Group CEO - Laqshya Media Group" msid="80170929" hostid="261"></div> The OTT platforms have seen a huge spike in users over the last several months. As the pandemic is slowing down in India, these platforms will invest in both content and the advertising of the content to keep the growth rates up. As per the available data, the unprecedented rise in subscribers in the first half of the year is gradually slowing down. With 60-70% growth witnessed around May, figures for monthly subscriber rise have now reached around 20%. The subscription war is imminent and the platforms must use smart advertising to make their respective brands stronger. The unique suitability of OOH to the digital platforms business has received a lot of business and academic attention – and we expect a lot of the ‘conventional' brands to learn from the experience of OTT platforms. It is because of this compatibility between OTT and OOH that we dominated the promotion of shows on OTT Platforms over the last couple of years. Post the lockdown, OOH came back with a bang. Most visible campaigns were launched by ZEE5 and a few others. Important to note is that India's homegrown platforms, too, have emerged as strong players in OTT category and as leaders in the smart use of OOH media. As per the recent WARC Report, OOH is globally forecast to be the second-fastest growing medium in 2021, with ad spend rising by a fifth (20.2%). We expect this rally to happen in India as well. <keyword id="6814809" type="UNKNOWN" weightage="20" keywordseo="Aman-Nanda">Aman Nanda</keyword>, Chief Strategy Officer, <keyword id="2015316" type="PERSON" weightage="20" keywordseo="Times-OOH">Times OOH</keyword> <div type="image" title="Aman Nanda" msid="80171052" hostid="261"></div> The year 2020 has reaffirmed our faith in the power and impact of OOH media to drive audience sentiment at scale. New categories such as OTT entertainment, online education and hygiene products emerged as the biggest spenders, and OOH spends have shifted from business districts to residential areas, as people are spending more time around their own neighborhoods. The pandemic has also sprung fledgeling remote client relationships, and our team has adapted to remotely working to deliver the best OOH solutions to our esteemed clients across India. Ajay Mehta, Founder and MD, Interactive Television (iTV) and MD, Kinetic India <div type="image" title="Ajay Mehta, Managing Director of Cinema (ITV) and OOH (Kinetic)" msid="80171113" hostid="261"></div> 2021 will be a watershed year for the OOH Industry. From the lows experienced by the industry amidst the lockdown, the industry will start rising aggressively and will clock an extremely high growth rate. This will be on the back of multiple factors including normalising of people <keyword id="1058872" type="UNKNOWN" weightage="20" keywordseo="out-of-home">out of home</keyword>, to new touchpoints to demand from OOH heavy categories like Auto and OOH. While people interpret the Out of Home Industry as a medium that lacks data points and measurement, the fact is that some of us from the Industry have used the time during the pandemic to create several tools and initiatives which use multiple data points to enable advertisers to plan, execute and measure their investments based on deep insights. 2020 has just been the start of this and I see this trend sustaining and gaining traction in 2021. This year will also see new touchpoints coming into the limelight and programmatic and Digital Out of Home will drive this. Lastly OOH is an impact medium and to achieve the same, we see advertisers demanding more innovative solutions to achieve the same. Fabian Trevor Cowan, Country Head, Posterscope India <div type="image" title="Fabian Cowan Picture" msid="80171199" hostid="261"></div> Every season has its lipstick trend and just because your perfect color is a pinky beige, that doesn’t mean you can’t wear deep burgundy - Bobby Brown This quote pretty much supports my take on the OOH trends for 2021. For the last 230 plus years of its supposed official existence, the OOH medium has witnessed many trends but has always maintained and reinforced its core survival traits of high visibility, high impact and high contextual capabilities. This will continue to be its core growth areas in the future as well. 5 trends that will only help reinforce these attributes will be ‘increased bandwidth speeds’ on the back of the 5G possibility, which will aid DOOH solutions. Usage and inclusions of ‘Diversified data-sets’ will become the norm rather than an exception in planning for OOH. ‘Automated’ platforms’ will be the natural progression for DOOH networks. ‘Tech collaborations’ will come to the fore to enhance the DOOH solutions, making them more realistic and impactful and lastly ‘OOH with a purpose’ will be the underlying premise for all brand communications in 2021 given that a post-pandemic world will seek more meaningful communications from brands.

OOH: What 2021 has in store for the outdoor industry

<ul><li>Customers purchased <keyword id="2180439" type="General" weightage="100" keywordseo="fire-tv" source="Orion">Fire TV</keyword> devices in 80% of pin codes across India.</li><li>Smaller cities like Hisar, Tiruvallur, Chittoor, Alwar, Imphal, and South Andaman saw increased growth in sales of Fire TV devices.</li><li>Checkout the latest news and updates on <a href="https://www.businessinsider.in/">Business Insider</a>.</li></ul>From <keyword id="541349" type="General" weightage="20" keywordseo="tarak-mehta" source="Orion">Tarak Mehta</keyword> ka Ooltah Chashmah to Peppa Pig, <keyword id="18635" type="General" weightage="80" keywordseo="amazon" source="Orion">Amazon</keyword>’s latest Fire TV Streaming Trends gives us a sneak peek into how content was consumed across its Fire TV devices in India in 2021. With hundreds of OTT services available on Fire TV devices, all the action has moved right into consumer’s living rooms. With a vast selection of TV shows, movies and originals from thousands of popular content providers, Amazon’s Fire TV is now an integral part of the customer’s entertainment. While spending a considerable chunk of time indoors, customers did not just stream movies and shows on Fire TV, but also listened to music, accessed yoga and fitness content, and interacted with Alexa, Amazon’s cloud based voice assistant. Fire TV ensured entertainment for the entire family with something for everyone in 2021. Fire TV was first of its kind when launched in India, and customers continue to love it as it remains one of the most popular streaming devices for millions of households in the country. With features like Live TV integration, which has expanded to 100+ channels from apps like Sony Liv, ZEE5, Voot, Discovery+, SunNxt, and a more personal, faster, and easier user experience, Fire TV is making TV viewing an interactive and enjoyable experience for customers. Amazon has sold more than 150 million devices worldwide and with users streaming billions of hours of content every month globally, they aim to make it their go-to destination for all things entertainment. Some of the streaming trends from last year shared by Fire TV customers include: Fire TV—your binge-watching buddy <ul><li>In 2021, customers spent nearly 4 hours each day watching content on their Fire TV devices, up from 3 hours per day as compared to 2020.</li><li>1 in 3 Fire TV customers said farewell to a cable or DTH connection.</li><li>Customers interacted with Alexa on an average of once every 4 seconds on Fire TV devices.</li></ul>Fire TV expanded to more cities <ul><li>Customers purchased Fire TV devices in 80% of pin codes across India. Smaller cities like Hisar, Tiruvallur, Chittoor, Alwar, Imphal, and South Andaman saw an increased growth in sales of Fire TV devices.</li><li>Customers across India are taking advantage of hardware and feature improvements on Fire TV, 1 out of every 4 customers added or upgraded to a newer, faster version of Fire TV devices. </li><li>Fire TV Stick was among the top 10 most popular products on Amazon.in during Prime Day and Amazon Great Indian Festival.</li><li>35% customers gifted or shared Fire TV devices with their friends and families. </li></ul>Fire TV customers are looking for laughs <ul><li>Comedy retained its spot as the most preferred TV genre among Fire TV consumers.</li><li>Fire TV users asked Alexa to play Tarak Mehta ka Ooltah Chashmah once every minute, making it the most searched TV show on Fire TV devices.</li><li>Peppa Pig, Doremon and Cocomelon were the most popular kids shows on Fire TV devices, with at least one user asking Alexa for these shows every minute! </li></ul>Endless entertainment featuring Prime Video on Fire TV <ul><li>On Fire TV devices, consumers enjoyed watching the latest movies across languages, from the safety and comfort of their homes. Some of the most streamed movies on Prime Video include: <ul><li>Hindi - Shershaah, Sherni, Sardar Udham</li><li>Tamil - Jai Bhim, <keyword id="3597146" type="General" weightage="20" keywordseo="sarpatta-parambarai" source="Orion">Sarpatta Parambarai</keyword>, Master </li><li>Malayalam - Drishyam 2, Cold Case, Malik</li><li>Telugu - Drushyam 2, Tuck Jagadish, Narappa </li><li>Kannada – Rathnan Prapancha, Yuvarathnaa, Roberrt</li></ul></li><li>The Family Man Season 2 was the most streamed Indian show while The Wheel of Time was the most streamed international show on Prime Video on Fire TV devices</li></ul>More than TV shows and movies <ul><li>1 in every 4 Fire TV user tuned into their Fire TV device to listen to music.</li><li>Customers increased their streaming hours of Yoga and Fitness apps by 15% versus last year.</li><li>Smart home control requests by customers using Alexa on their Fire TV devices increased by over 150% in 2021 versus last year. </li></ul>Disclaimer: This is a sponsored post in partnership with <keyword id="6354743" type="General" weightage="20" keywordseo="Amazon-India" source="Orion">Amazon India</keyword>

You Searched For "zee ad spends" and got 13 results

ZEEL's ad revenues declined by 26% YoY to Rs 9 billion due to COVID-19

BI India Partner

ZEEL's domestic ad revenue for Q3FY21 grew by 7.5% YoY

BI India Partner

Zee Entertainment Enterprises Q3 net profit dips 38 pc to Rs 348.60 cr

PTI

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IANS

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Eros Now offers 2-month free subscription after its unique users peak to a new high

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Indian customers spent nearly four hours daily on Fire TV devices, according to Amazon Fire TV Streaming Trends 2021

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