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<ul><li><keyword id="141413" type="General" weightage="20" keywordseo="zee-entertainment-enterprises" source="Orion">Zee Entertainment Enterprises</keyword> has released its quarterly earnings report.</li><li>As per the report, the giant's network share has increased to 17.7%.</li><li>It reported a 187% rise in consolidated net profit at Rs 270 crore for the quarter ending September 30, 2021.</li></ul>Zee Entertainment Enterprises Limited (<keyword id="353090" type="General" weightage="100" keywordseo="zeel" source="Orion">ZEEL</keyword>) has released its quarterly earnings report. As per the report, the entertainment giant's network share has increased to 17.7% and ZEE5 MAUs have gone up by 13 million to 93.2 million from Q1’22. It has reported a 187.3% growth in profit after tax (PAT) on a year-on-year basis at Rs 270.2 crore. <div type="twitter" handle="punitgoenka" handlename="Punit Goenka" image="http://pbs.twimg.com/profile_images/1296998849660293120/aW7KZfw-_normal.jpg" favoritecount="28" retweetcount="4" status="ZEEL’s Q2FY22 Results:A quarter of recovery &amp; revival, dom. ad rev grew YoY &amp; QoQ by 20.1% &amp; 18.9% resp. |14.9% YoY… https://t.co/71QLPvOOC8" createdat="1636634340000" id="1458776269806444545"></div> After two slow quarters, Domestic Ad revenues grew both YoY &amp; QoQ by 20.1% % &amp; 18.9% respectively, while revenue grew but Q2 continued to be partially impacted by Covid in the first half of the quarter. Internationally, the network collected Rs 487 million in advertising revenue and closed the quarter with Rs 878 million subscription revenue. <div type="image" title="zeel ad revenue" msid="87650283" hostid="261"></div> <keyword id="3415325" type="General" weightage="20" keywordseo="zee-studios" source="Orion">ZEE Studios</keyword> is planning to release a strong slate of movies across Hindi, Tamil, Telugu, Marathi and Punjabi languages for H2FY22 and is confident that opening of cinemas across the country to boost prospects of theatrical revenue in the second half of the fiscal. <keyword id="3186290" type="General" weightage="20" keywordseo="zee-music-company" source="Orion">ZEE Music Company</keyword> witnessed 60%+ YoY in YouTube video views and added ~1mn subscribers on YouTube in Q2. With 78mn+ subscribers, it is the second most subscribed Indian music channel on YouTube. ZEEL’s streaming platform, ZEE5’s Q2 Revenues stood at Rs.1,305mn, up 17% sequentially and EBITDA* at Rs 1,720 million. Its average watch time per viewer per month goes down from 190 minutes in Q1 to 186 minutes in Q2. It released 13 original shows and movies released during the quarter. <div type="Article" hostid="261" msid="85100569" title="COVID-19’s second wave impacts ZEEL’s margins for Q1’FY22; domestic ad growth stands at -22.7% than 2020" mstype="2" mssubtype="0"></div>

ZEEL’s ad revenue sees an uptick by 20.1% in Q2FY22; PAT rises 187.3% to Rs 270.2 crore

<ul><li>With lockdowns in most states, ZEE's TV viewership jumped again during the quarter, though lower than Q1 of last year.</li><li><keyword id="353090" type="PERSON" weightage="20" keywordseo="Zeel">ZEEL</keyword>'s OTT platform ZEE5 closes the quarter with an average watch time of 109 minutes per viewer per month.</li></ul>ZEEL has released its quarterly earnings report. As per the report, second COVID wave reversed the strong recovery the group witnessed in H2FY21. Domestic ad revenues for both Q1FY22 and Q1FY21 were impacted by lockdowns. However, the impact this year was much lower, reflected in 127.9% YoY growth. Compared to Q1FY20, domestic ad revenues were lower by 22.7%. <div type="image" title="zeel revenue" msid="85101065" hostid="261"></div> This increase in marketing cost on a YoY basis is on account of the release of Radhe and continued investments in ZEE5. Marketing costs in Q1FY21 was lower on account of much lower original content production. ZEEL’s broadcast business network share dropped due to lockdown disruption and soft performance in some markets. On the other hand, its TV viewership again jumped during the quarter, though lower than Q1 of last year. ZEEL’s OTT platform, ZEE5 gains its momentum again on the back of an expansive content catalogue. It closed June with 80.2mn global MAUs, 7.1mn global DAUs and 190 minutes average watch time per viewer per month. ZEE5’s Q1 Revenue and EBITDA (loss excludes costs incurred by the business on ZEEL network) stood at Rs.1,117mn and Rs. (2,033mn). The platform released 11 original shows and movies released during the quarter. <keyword id="3186290" type="PERSON" weightage="20" keywordseo="Zee-Music-Company">ZEE Music Company</keyword> added ~3mn subscribers on YouTube. With 75mn+ subscribers, it is the second most subscribed Indian music channel on YouTube. To keep the ball rolling, ZMC is ramping up its content library by adding movies across Hindi, Tamil, Telugu, Marathi and Punjabi languages starting H2FY22.

COVID-19’s second wave impacts ZEEL’s margins for Q1’FY22; domestic ad growth stands at -22.7% than 2020

<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

<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>ZEE's domestic ad revenue for Q4FY21 grew by 8.9% YoY.</li><li>It posted a declined by 19.7% in its domestic ad revenue in FY21 owing to the pandemic. </li><li>The network reported a consolidated net profit of Rs 272.36 crore for Q4FY21.</li></ul><keyword id="141413" type="COMPANY" weightage="20" keywordseo="Zee-Entertainment-Enterprises">Zee Entertainment Enterprises</keyword> (ZEE) has posted a declined by 19.7% in its domestic ad revenue in FY21 owing to the pandemic. However, its domestic ad revenue for Q4FY21 grew by 8.9% YoY driven by the continued recovery in macro advertising environment. The network has reported a consolidated net profit of Rs 272.36 crore for the quarter ended in March 2021. Zee's ad revenue from international markets stood at Rs 52.6 crore, whereas its subscription revenue stood at Rs 55.3 crore. Its network share improved to 18.9%. <keyword id="6245082" type="UNKNOWN" weightage="20" keywordseo="ZEE5">Zee5</keyword>, which released over 75 originals in FY21 saw its Q4 revenue and EBITDA stand at Rs 107.5 crore and Rs 162.5 crore. While the resurgence in <keyword id="8764262" type="COMPANY" weightage="20" keywordseo="covid">COVID</keyword> cases impacted <keyword id="3415325" type="COMPANY" weightage="20" keywordseo="zee-studios">Zee Studios</keyword>' near-term plan of movies business, it has a strong slate of movies across languages in FY22. The increase in COVID cases and lockdown guidelines will have a bearing on Zee Studios’ release plans, the report revealed. Meanwhile, <keyword id="2272480" type="PERSON" weightage="20" keywordseo="Zee-music">Zee Music</keyword> saw 50%+ YoY growth in YouTube video views. Zee Music added 4 million subscribers on YouTube and with 72.8 million subscribers, it is currently the second most subscribed Indian music channel on YouTube.

ZEEL witnesses a decline of 19.7% in its domestic advertising revenue in FY21 due to the pandemic

<ul><li>The deal, announced in September last year, has received the <keyword id="139820" type="General" weightage="80" keywordseo="competition-commission" source="Orion">Competition Commission</keyword> of <keyword id="3658" type="General" weightage="80" keywordseo="india" source="Orion">India</keyword>'s nod. </li><li>The deal remains subject to applicable regulatory and other approvals, <keyword id="353090" type="General" weightage="80" keywordseo="zeel" source="Orion">ZEEL</keyword> said.</li><li>The combined entity will own over 70 TV channels, 2 video streaming services (ZEE5 and <keyword id="6358540" type="General" weightage="100" keywordseo="sony" source="Orion">Sony</keyword> LIV) and two film studios (<keyword id="3415325" type="General" weightage="50" keywordseo="zee-studios" source="Orion">Zee Studios</keyword> and Sony Pictures Films India). </li></ul> The Competition Commission on Tuesday gave its conditional approval to the mega-merger deal between Sony and <keyword id="6372205" type="General" weightage="80" keywordseo="zee" source="Orion">Zee</keyword> that will create one of the largest media groups in the country. The deal, announced in September last year, has received the Competition Commission of India's nod after the regulator accepted "voluntary remedies" proposed by the parties, sources close to the development said. In a tweet, the watchdog said it has cleared the deal with certain modifications. CCI said it has approved the "amalgamation of <keyword id="1417408" type="General" weightage="50" keywordseo="zee-entertainment-enterprises-limited" source="Orion">Zee Entertainment Enterprises Limited</keyword> (ZEEL) and Bangla Entertainment Private Limited (BEPL) with Culver Max Entertainment Private Limited (<keyword id="55015" type="General" weightage="80" keywordseo="cme" source="Orion">CME</keyword>), with certain modifications". Details about the proposed modifications could not be immediately ascertained. CCI had issued show cause notices to the parties after it initially concluded that the deal could have an adverse impact on competition, the sources said. Subsequently, the parties proposed voluntary remedies, which have been accepted by the regulator, they added. ZEEL said CCI has granted the approval in phase-1 after evaluating the official legal and economic submissions made by the company. Most of the deals get cleared by CCI in phase-1 and only if there are serious concerns then the deal concerned is put up for public scrutiny under phase 2. "Considering the immense value which the proposed merger will generate for all its stakeholders, the company has offered the necessary remedies in accordance with the regulator's guidelines," ZEEL said, adding that further details are awaited. On September 7, the National Company Law Tribunal (NCLT) had advised the company to convene and conduct the meeting with its shareholders on October 14 to seek their approval for the proposed merger. The deal remains subject to applicable regulatory and other approvals, ZEEL said. In a separate statement, Sony Pictures Networks India said it is delighted to receive CCI approval for the merger. "We will now await remaining regulatory approvals to finally launch the new merged company. The merged company will create extraordinary value for Indian consumers and eventually lead the consumer transition from traditional pay TV into the digital future," it said. Culver Max Entertainment Private Limited was earlier known as Sony Pictures Networks India Pvt Ltd. Deals beyond certain thresholds require the approval of CCI, which keeps a tab on unfair business practices and also promotes fair competition in the marketplace. Both parties had entered into a definitive agreement for the deal in December last year and the proposed merger has already received approval from stock exchanges NSE and BSE. ZEEL, in September 2021, said it has entered into a non-binding term sheet with SPNI to bring together their linear networks, digital assets, production operations and programme libraries. The combined entity will own over 70 TV channels, 2 video streaming services (ZEE5 and Sony LIV) and two film studios (Zee Studios and Sony Pictures Films India), making it the largest entertainment network in India, ZEEL said in September last year. Under the deal, there will be amalgamation of ZEE and BEPL with CME. Besides, preferential allotment of certain shares will be made by CME to Sunbright International Holdings Limited, earlier known as Essel Holdings Limited, and Sunbright Mauritius Investments Limited, according to a release issued by CCI. CME is an indirect wholly-owned subsidiary of Sony Group Corporation (SGC). CME has several general entertainment channels, film, sports and kids' entertainment channels in India. SonyLIV is CME's digital entertainment video service which provides OTT services in India and international markets. CME reaches out to over 700 million viewers in India and is available in 167 countries. BEPL is an indirect wholly-owned subsidiary of SGC and a part of the SGC Group. It is broadly engaged in the acquisition of rights for motion pictures, events and other TV cont ent; and in generating advertising revenue from the telecast of TV content. ZEE is a media and entertainment company, with presence across the segments of broadcasting, digital content, movies, music and live entertainment, spread over 190 countries, as per the release. ZEE5 is the company's digital entertainment video service which provides OTT services in India and international markets. SEE ALSO: <a target="_blank" class="c-link c-message_attachment__title_link" href="https://www.businessinsider.in/business/telecom/news/reliance-jio-to-begin-beta-trial-of-5g-in-four-cities-on-dussehra-with-unlimited-data/articleshow/94645577.cms">Reliance Jio to begin beta trial of 5G in four cities on Dussehra with unlimited data</a> <a target="_blank" class="c-link c-message_attachment__title_link" href="https://www.businessinsider.in/business/news/with-950-billionaires-asia-outnumbers-all-other-regions-forbes/articleshow/94644883.cms">With 950 billionaires, Asia outnumbers all other regions: Forbes</a> <a target="_blank" class="c-link c-message_attachment__title_link" href="https://www.businessinsider.in/entertainment/15-ott-releases-to-watch-this-festive-season-starring-madhuri-dixit-hasan-minhaj-and-more/articleshow/94640843.cms">15 OTT releases to watch this festive season starring Madhuri Dixit, Hasan Minhaj and more</a>

Competition Commission gives conditional approval to Sony-Zee merger deal

<ul><li>With a recent funding of $110 million funding from Times Internet and Tencent, MX Player closed 2019 on a good note, however the challenge for the platform has been to get viewers to engage with its content library on a daily-basis. </li><li>On the back of its varied content range, interactive content plan, and a mix of partnership content and originals, MX Player is hopeful of grabbing the number one spot in the OTT space soon. </li><li>Gautam Talwar, Chief Content Officer, MX Player shares the next big plan for the platform in 2020. </li></ul>For MX Player, 2019 ended on a rather good note. The platform’s web-series Queen, which was originally made in Tamil, saw an overwhelming response from other parts of the country. The series was later dubbed in Hindi, Bengali and Telugu. Post-launch, the platform saw an upsurge in its downloads on the Google app store and started trending on spot one for a week. On the back of its varied content range that caters to different audiences across age groups, interactive content plan, and scale of users, MX Player is hopeful to be the number one player on every metric in a few years. “I hope to be the absolute number one in the OTT segment in two-three years. We are second in line and there’s no reason why we shouldn’t be on the top of the pile in three years. The scale of the app is very large and with all the metrics including watch-time and everything else, we should be galloping towards the number one position very soon,” expounds Gautam Talwar, Chief Content Player, MX Player. It also received a $110 million funding from Times Internet and Tencent towards the end of 2019, helping it inch closer towards its goal of becoming the number one player. Plan for the New Year The home-grown platform has about 175 million Monthly Active Users (MAUs) and stands at 75 million on its Daily Active Users. This is where the bridge exists. While the number of app downloads and MAUs have increased dramatically, for MX Player, the challenge has been to get viewers to engage more with its content library on a daily-basis. Therefore, in 2020, the agenda is to get its audience to watch more content on its platform. “We have new audience coming in on a daily basis. The whole point is to make sure that they start watching our programs. We want to deliver to them the content that they want to watch, and for us, that is the real challenge, not really getting the downloads,” shares Talwar. MX Player further aims to build a vast content library with interactive tools for its audience, to partner with more networks and launch 20 originals in different languages. Innovation and interaction are going to be another focus areas in 2020. “I think with every product we put out into the market, there are massive improvements in the features of the product and we will keep improving them on a regular basis. Interactivity with the content, on the other hand, is going to be the next big trend for us. We're working very hard to ensure that our consumers interact with every piece of content that we launch,” adds Talwar. As far as the advertisers are concerned, the platform has seen a steady growth there, too. “Overall, the platform is growing -- the numbers are growing, watch-time is growing -- there is no reason why advertisers should not follow,” says Talwar. Content Marketing Strategy Since its inception, the marketing strategy for MX Player has been 'Everytainment'. It provides a varied content library that caters primarily to Tier II and Tier III audiences. In 2019, originals such as Hey Prabhu!, Aafat, Hello Mini, Im'Mature, and Love Ok Please performed well for the platform. Explaining the strategy behind these shows, Talwar said, “Every human being watches content basis a certain need gap -- a certain emotion that he wants to feed and therefore, we make sure that apart from the large shows that we have in the pipeline, we take this mood of the viewer into consideration, and then a programming and content strategy is followed to satiate that particular need gap. This is why we make sure that the programming is across genres. We understand our audience very well and try and build on that, and our marketing also reflects that.” While the plan for the new year is yet to be set in motion, right now, MX Player is pinning its hopes on its latest launch ‘Queen.’

MX Player aims to beat Netflix, Amazon Prime and ZEE5; confident of becoming No 1 by 2023

<ul><li>Zee has introduced a new content consumption medium for consumers &amp; film distribution model for producers.</li><li>It has partnered with distribution players including Dish D2H, <keyword id="94550" type="COMPANY" weightage="20" keywordseo="Tata-Sky">Tata Sky</keyword> and Airtel Digital TV, as well as key distribution platforms in the international markets. </li><li>The service will also be available on the OTT Platform - <keyword id="6245082" type="UNKNOWN" weightage="20" keywordseo="ZEE5">ZEE5</keyword>, in India &amp; overseas.</li></ul><keyword id="174248" type="COMPANY" weightage="20" keywordseo="Zee-Entertainment-Enterprises-Ltd">Zee Entertainment Enterprises Ltd</keyword>. (ZEE) has launched its ‘<keyword id="9863712" type="COMPANY" weightage="20" keywordseo="cinema2home">Cinema2Home</keyword>’ (C2H) service, <keyword id="9862721" type="PERSON" weightage="20" keywordseo="zee-plex">Zee Plex</keyword>. This new offering will help consumers watch new releases sitting at home, at an 'attractive (per film) price point'. A release from the organization said that along with convenience for consumers, this new movie distribution model will enhance the overall commercial ecosystem for the film producers, enabling them to present their creative work, to a wider range of audiences on established entertainment platforms. Speaking about this new initiative, <keyword id="163696" type="PERSON" weightage="20" keywordseo="Shariq-Patel">Shariq Patel</keyword>, CEO, Zee Studios said, “We are very excited to bring this new offering to all the movie buffs across India and around the globe. While we all love to catch the latest movies at the nearest theatres, we sensed the need for a solution like Zee Plex, which gives the consumers flexibility and convenience, to catch their favourite films in the comfort of their homes, along with friends and family. We have received great interest from producers and are looking forward to release a strong slate of blockbusters across languages.” <keyword id="529229" type="PERSON" weightage="20" keywordseo="Atul-Das">Atul Das</keyword>, Chief Revenue Officer – Affiliate Sales, ZEE added, “We are thrilled to announce the launch of Zee Plex, a first of its kind service for movie lovers. This would be available in India from October 2 as a Pay Per View service to subscribers of leading distribution platforms like Dish D2h, Tata Sky and Airtel Digital TV. We believe Zee Plex will provide another opportunity for our partners to offer a unique and pioneering service to their consumers across different languages. We very much look forward to developing this opportunity in the coming years.” With new releases every month, Zee Plex aims to bring the theatres right to the consumers’ homes, offering them a quality family viewing experience at an attractive price-point. ZEE has partnered with leading television distribution platforms in India and has also established strategic alliances with distribution partners in the international markets. Zee Plex as a C2H service, will also be available on ZEE5 (ZEE’s OTT Platform) globally. Key highlight of Zee Plex: o On Television, the service will be available on leading distribution platforms in India and established content distribution networks across the globe. o The service will be available 24x7 and feature shows at various intervals through the day giving consumers the required flexibility. o Consumers will also be able to book their movie shows well in advance prior to release date. o On Digital platforms, the service will be available on ZEE5, in India and overseas markets. o The C2H service will be offered at an attractive price point. o Consumers will be able to watch any new movie release along with their family with a single ticket. o Users will have multiple payment options to purchase their favourite movie.

Zee launches Zee Plex, its ‘Cinema2Home’ service

<ul><li>ZEEL has launched a new Music Channel called <keyword id="9936704" type="PERSON" weightage="20" keywordseo="zee-vajwa">Zee Vajwa</keyword>. </li><li>Zee Vajwa, Kshann Gaajwa is its tagline.</li></ul><keyword id="141413" type="DOMAIN" weightage="20" keywordseo="Zee-Entertainment-Enterprises">Zee Entertainment Enterprises</keyword> Limited (ZEEL) has announced its entry into the <keyword id="9936703" type="UNKNOWN" weightage="20" keywordseo="regional-music-space">regional music space</keyword> with the launch of its <keyword id="9936705" type="UNKNOWN" weightage="20" keywordseo="marathi-music-channel">Marathi music channel</keyword> – Zee Vajwa. The network has already captured 57% viewership share in Maharashtra with Zee Marathi, Zee Yuva and Zee Talkies. It will offer 3000+ playlists and a music++ experience for the viewer with many category firsts that amplify moments &amp; create various mahauls through the day. Speaking on the launch, Ashish Sehgal, Chief Growth Officer, ZEEL said, “As an organization, we have gained in both viewership &amp; revenue due to our diverse portfolio across markets. And, believe in constantly strengthening our product portfolio keeping the customer at the centre thereby adding value to all our stakeholders. Our dominant position across markets echoes our customer-centricity. Our growing viewership and revenue share in Maharashtra is a reflection of our successful journey so far. Our objective has always been to provide holistic surround to our consumer/customer &amp; in Maharashtra, with Zee Vajwa, we see an opportunity for us to not only strengthen our Music cluster but further gain viewership/revenue shares as well. We are excited to dial up the impact for advertisers this festive period.” Commenting on the much-awaited launch of its first regional music channel, <keyword id="3387826" type="COMPANY" weightage="20" keywordseo="Prathyusha-Agarwal">Prathyusha Agarwal</keyword>, Chief Consumer Officer, ZEEL said, “We win hearts across many Bharats by creating content brands that are deeply rooted in culture. All 4 regional channels that we launched last year broke into the top 3 in their respective categories within their launch month, with Zee Biskope rising to no. 1, and Zee Picchar &amp; Zee Punjabi in the top 2*. We are the undisputed leader in Maharashtra with our GEC and movie channels and the launch of Zee Vajwa will be a celebration of our intrinsic bond with every Maharashtrian family, through music. Music on TV is perceived to play a passive background role in the consumer’s life. But in a country like India, a song becomes a chartbuster when it becomes an integral part of a celebration – such as Ganpati Visarjan, sangeet ceremony, etc. Music becomes an active way to enjoy, express and celebrate, creating an amplified mahaul (ambience). This externalized and shared culture of music is at the core of Zee’s music channel positioning. With Zee Vajwa we promise to dial up every moment for our viewers with a music++ experience, so that they live life to the fullest.” Vishnu Shankar, Business Cluster Head, &amp;TV and Music cluster, ZEEL said, “We are extremely pleased to announce the launch of our first regional music channel, Zee Vajwa. Besides strengthening our regional portfolio, it is a great opportunity for us at ZEEL to offer content that connects so deeply with our consumers. Music has always been deeply ingrained in our Indian way of life and its traditions. To be able to offer a platform which allows our viewers to enjoy and connect over music that resonates with their specific culture and values, is deeply gratifying.” ZEE Vajwa promises an immersive visual experience never seen before in the regional music category with a design world inspired by the ‘volume dial’ that aptly brings alive our promise of ‘amplifying every moment’. Each element of the design – colors, characters, music symbols and our sonic identity have been created to ensure a deep-seeded connect with the youth while being culturally relevant. The channel will have a stellar programming line-up which will include 3000+ music playlists created with a strong library of songs. One of the key differentiators would be experiential music slots with several category firsts which will truly amplify the moment for the audiences. The Marathi viewer is extremely proud of their culture and the channel will celebrate it by giving the youth a platform to voice their opinions and be heard. A category first, Zee Vajwa will also have a non-fiction show in the comedy genre. The logo of Zee Vajwa was unveiled by Marathi film industry stalwarts -- <keyword id="1493322" type="PERSON" weightage="20" keywordseo="Swwapnil-Joshi">Swwapnil Joshi</keyword> &amp; Siddharth Jadhav during the prestigious Zee Chitra Gaurav Puraskar 2020. Zee Vajwa is set to launch this October.

Zee Entertainment Enterprises Limited launches Marathi Music Channel Zee Vajwa

<ul><li>The streaming giant <keyword id="128682" type="General" weightage="100" keywordseo="netflix" source="Orion">Netflix</keyword> announced last week that it will start charging extra for users outside their households as a way to prevent password sharing.</li><li>Netflix CEO Reed Hastings had recently said the company was “frustrated” that it couldn’t get subscriber growth momentum going in India.</li><li>So if Netflix were to crack down on password sharing in a price-sensitive market such as India, it could lose its subscriber base to other platforms, experts say.</li></ul>In India, your Netflix account isn’t just yours. Well, mostly. It is a collective account of your friends, their friends and even their ex-partners who are not in touch with them anymore. One person pays for the subscription and three to five other freeloaders mooch off of it; a new-age bond that transcends across religion, age and geography. So, when streaming giant Netflix made an announcement that it wants its users to stop sharing passwords with their friends and family — an update that is currently live across Chile, Costa Rica, and Peru — it riled up many internet users. Shortly after, a meme fest sparked up. <div type="twitter" handle="Shweta_baranwal" handlename="Shweta Baranwal" image="http://pbs.twimg.com/profile_images/1458726529173577729/rtylniVq_normal.jpg" favoritecount="1" retweetcount="0" status="Looks like it's time to giveup few friendships #netflixpassword" createdat="1647604581000" id="1504788798051614727"></div> <div type="twitter" handle="fine_as_wine1" handlename="Mekia ♊" image="http://pbs.twimg.com/profile_images/1501471608233414657/P8aqqFwF_normal.jpg" favoritecount="1" retweetcount="0" status="Went up on the price now trying to dictate people sharing their passwords all without even adding new content 🙄 Car… https://t.co/fBrlc3woIP" createdat="1647723017000" id="1505285553297760265"></div> Should freeloaders be worried in India? In a <a href="https://about.netflix.com/en/news/paying-to-share-netflix-outside-your-household">blog </a>post that went live on Wednesday, Chengyi Long, director of product innovation said, “They [multiple streams] have also created some confusion about when and how Netflix can be shared. As a result, accounts are being shared between households – impacting our ability to invest in great new TV and films for our members.” So, Netflix will now start charging extra for users outside their households as a way to prevent password sharing in these markets, to begin with, and later evaluate whether to bring it to other markets. It is adding two features to curb sharing – ‘Add Extra Member’ and ‘Transfer Profile to New Account.’ While Netflix hasn’t given any indication as to whether it plans to expand this new feature beyond initial test markets, if it does, it could have a negative impact on its rather <a href="https://www.businessinsider.in/tech/news/netflix-added-8-3-million-paid-subscribers-in-last-quarter-its-slowest-growth-since-2015/articleshow/89033252.cms">slow growth</a> trajectory in India. As per data and analytics platform <a href="https://www.data.ai/en/insights/market-data/state-of-mobile-2022-bouyant-economy/">App Annie</a>, Netflix currently has the largest global footprint among video streaming services and is set to surpass 1 million downloads in over 60 countries in 2022. However, the story is different in India. The California-based global streaming platform Netflix is losing its users to homegrown platforms. As per App Annie’s State of Mobile 2022 report -- sorted by total downloads as of 2021, Disney+Hotstar is the most downloaded app, followed by MX Player and ZEE5. <keyword id="3194526" type="General" weightage="20" keywordseo="netflix-india" source="Orion">Netflix India</keyword> didn’t make it to its top 10 list. While Netflix doesn’t reveal its user base for the Indian market, <a href="https://economictimes.indiatimes.com/tech/technology/netflixs-lack-of-success-in-india-frustrating-cofounder-reed-hastings-says/articleshow/89044470.cms">media </a>reports indicate that it is between 4.3 million-4.5 million, which is a small fraction of its competitor Disney+Hotstar (close to 36 million) and Amazon Prime Video (over 17 million). Even Netflix’s co-chief executive (CEO) and cofounder Reed Hastings admitted that the team has been stumped by the lack of success in India. In the company’s post-results webcast for the October-December quarter of 2021, Hastings said, “The thing that frustrates us is why haven’t we been as successful in India. But we are definitely leaning in there.” Business Insider India has reached out to Netflix India for comments on the story, but the company has not responded till the time of filing this report. Before Hastings voiced his frustration publicly, Netflix India had <a href="https://economictimes.indiatimes.com/industry/media/entertainment/netflix-india-cuts-prices-across-its-streaming-plans/articleshow/88267582.cms">slashed </a>its pricing for the mobile-only plan from ₹199/month to ₹149/month in December 2021 to expand its user base and cut through intense rivalry from Disney+Hotstar, Amazon Prime Video and other 60 over-the-top (OTT) platforms. With its choppy growth numbers and slow subscription rate, if Netflix were to restrict password sharing in a price-sensitive market like India, it could slide even further downhill. The streaming platform was launched in India in January 2016 and it is in the initial days of the launch, brand guru and founder of Harish Bijoor Consults Inc., Harish Bijoor, says that a brand or business must set the right practice, and changing it all of a sudden has aspects of ‘negative-peril biting into it.’ “Netflix is watched in India by more people who pay for it. And that is a reality that has its positives and negatives. Password-sharing is today the norm and accepted practice. Something Netflix did not curtail as a practice in its early days. India is a jugaad market. Password-sharing is today a practice that upset the apple cart of many a viewer and many a subscriber. It is going to have quite the effect that a Whatsapp could experience if it became a fee-paid service. Netflix's frustration is really of its own making,” explains Bijoor. As per consulting firm Ormax Media’s OTT sizing <a href="https://www.businessinsider.in/advertising/media/article/india-has-353-million-ott-users-and-96-million-active-paid-subscriptions-which-translates-into-a-penetration-of-25-3-ormax-media-report/articleshow/85791184.cms">report </a>2021, India had a total of 353.2 million OTT users, out of which only 40.7 million i.e., 11.5 % were subscription video-on-demand (SVOD) users and a huge chunk of this market relies on password sharing. Gautam Jain, partner, Ormax Media says, “A large set of OTT users are SVOD Non-paying -- around 19.8 % (69.8 million), i.e., those who watch SVOD content but through password sharing or downloads. While the SVOD subscribers would have shown growth, this non-paying segment would have also grown given the price sensitivity amongst Indian audiences.” In Chile, Peru and Costa Rica, Netflix is charging an extra fee to users who share their accounts outside their household. Subscribers will be charged about $2.98 a month in Chile, $2.99 in Costa Rica and about $2.12 in Peru. As per research firm Trust Research Advisory’s (TRA) CEO, N Chandramouli, the Indian market is so price sensitive that fast moving consumer goods (FMCG) giants are scared to make even a 2 rupee change in their packets of biscuits, shampoo or noodles. Similarly, he says that Netflix’s price-slashing strategy from ₹199 to ₹149 has not attracted new customers. It has allowed its current subscribers to move to an even cheaper plan. And in India, Chandramouli says, pirates are always a step ahead than creators. So, if Netflix were to revise its pricing strategy for the third time in India, it could confuse users, leading to a rise in pirated content. To buy pirated content in Mumbai without having to download an app, all you have to do is walk down the Fort area and you would find 4-5 vendors chasing you — offering the latest releases on a CD or a pen drive, he adds. “There is a huge amount of piracy, which has now climbed onto the OTT bandwagon. Whether it is Telegram or Chinese torrent apps, pirated OTT content is shared there indiscriminately. From the very beginning, from softwares to movies, Indians don't find too much of [sic] qualms about piracy. On top of that, there are about 40 OTT platforms in India. So, the options in entertainment is proliferated [sic] and in this market, a slight price increase could have an impact. Netflix is attempting different strategies in order to attract new subscribers, but nothing has happened. People have downgraded their plans. So, Netflix will suffer a big backlash from existing users if at all it was to renew prices and stop password sharing,” he says. According to a <a href="https://www.thehindubusinessline.com/info-tech/as-digital-piracy-rises-amid-pandemic-original-content-creators-losing-money-ey/article34743362.ece">report </a>by Digital TV Research, the loss of revenue for OTT players on account of piracy in India is expected to hit $3.08 billion by 2022. OTT players are trying to woo consumers with exclusive Bollywood movies and regional content. Chandramouli pointed out that Netflix or Amazon Prime haven’t been able to get their acquisition strategy right in India yet. Citing a recent example, he said that both these streaming services rushed to get Amitabh Bachchan’s movie Sooryavanshi onto their platform for ₹100 crore, which is at least shown once a week on Set Max and other television channels. On television, a viewer can get a minimum of 900 channels in ₹300-350 per month bouquet. It is the only entertainment medium that drives close to <a href="https://www.businessinsider.in/advertising/media/article/how-india-is-cutting-the-cord-to-drive-an-ott-revolution/articleshow/90347924.cms">60%</a> of its revenue from a subscription-based model as compared to other forms of traditional media that are heavily dependent on advertisements. So, if Netflix charges a 10-15% extra for sharing passwords within an Indian household, which is ₹25 to 30, research firm Elara Capital’s senior vice president Karan Taurani also believes that it could have a negative impact. “Indian consumers are very value-centric and they don’t pay for one platform but a bundle of platforms. Netflix has done well in India after reducing its prices and offering a quantity of content. This two-fold strategy has led to the scaling of their subscriber base. If they ask for substituent fee from separate family members, it could work in a negative way because we haven’t been used to it. We pay for one TV set-up box and there are three-four watchers in every household,” says Taurani. When Netflix came to India, it priced its maiden premium plan at ₹500, which Tarurani says was 7X-8X higher than TV bundle plans and other OTT platforms. It was competing with OTT platforms and a huge TV-watching audience in India back then. This challenge led to Netflix’s slow growth and the streaming company has changed pricing as well as introduced a mobile-only plan in the country since then, slashing its price by 60%. “Netflix India revenue has grown 65% YoY in FY21 and it has a market share of almost 35% in India’s SVOD market; we believe Netflix has the first-mover advantage in India, as it was one of the first pay based OTT offerings in the country; it has been able to create a strong brand recall within Indian audience for premium content offerings behind a paywall and this will help it gain more market share as it penetrates deeper in India,” says Taurani. After the October-December quarterly results, Taurani says that Netflix is headed in the right direction. If Netflix now revises its password-sharing policy and price point, it could send the company back to square one.

Could the days of mooching off Netflix accounts come to an end in India? Here’s what experts say

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

Where the Indian OTT industry is headed in 2022

<ul><li>Rahul Johri has been appointed as President – Business, South Asia and will be responsible for leading the integrated Revenue and Monetization team.</li><li>Rahul was associated with the Board of Control for Cricket in India (BCCI) as its first CEO for over four years.</li><li>This restructuring process, implemented in line with ‘ZEE 4.0 Strategy’, will setup the Company for the emerging opportunities. </li></ul><keyword id="381258" type="COMPANY" weightage="20" keywordseo="Zee-Entertainment-Enterprises-Ltd-">Zee Entertainment Enterprises Ltd.</keyword> (ZEE), a leading global content company, announced a strategic restructuring of the organization in line with its ‘ZEE 4.0 Strategy’. In order to capture the emerging opportunities resulting from the explosive growth in content consumption across genres in India and South Asia, and to generate enhanced value in an ecosystem which is witnessing a paradigm shift towards content personalization, integrated advertising solutions and convergence of platforms, the Company has announced the following strategic steps: <ul><li>Aggregating Content Creation: Creating extraordinary entertainment content has always been the key area of focus for the Company. In order to build viewer stickiness, the Company has been sharply focusing on enhancing viewer intimacy, capturing &amp; embedding socio- cultural insights and the finer nuances of the local languages &amp; customs in its content creation process. Customer centricity has been the key to the Company’s success in delivering rich, meaningful and engaging content. A ‘Content First, Cluster Centric’ framework, is enabling ZEE to take the content creation process, closer to its viewers. This approach aims at leveraging the Company’s strengths in regional clusters, improving content production efficiencies, enhancing consumer insights and most above, delivering better and more cost-effective content across platforms. Hence the Company has formed an integrated content team, responsible of creating and serving content to its viewers across linear &amp; digital platforms.</li><li>Streamlining International Business: The Company has been entertaining viewers in over 190 countries across five clusters viz. APAC; MENA; Africa; Europe and North America. With its rich experience garnered across the globe, the Company has developed a deep level of understanding of each market. The Linear (Advt./Distribution) and Digital (AVOD/SVOD) teams in the international markets will be integrated into a single team, led by the market revenue leader who will be responsible for maximizing the revenues across all formats (Linear/Digital) and revenue streams. The integration will also enable each international cluster leader to craft a local-market aligned approach. With this integrated approach, the Company aims to maximize revenue and drive content monetization, by optimally capitalizing the opportunities presented in the international markets.</li><li>Integrating Digital Assets: The Company has been substantively investing in building its digital ecosystem, given its strategic importance for future growth. While TV continues to grow in the country, digital viewership is growing at a frenetic pace, with large number of viewers adding digital to their existing formats of content consumption. In order to drive greater synergies across technology, data and talent, which are the three critical determinants of success in the digital ecosystem, the Company will be bringing together all of its digital assets under a single umbrella, which includes ZEE5 (Domestic AVOD+SVOD), ZEE5 Global, SugarBox and Digital Publishing.</li><li>Movies Business: The Company will be combining the different parts of its movies business which are currently embedded in multiple domains, into a single integrated platform. This team will be responsible for both aspects of the value chain - movie purchase/production as well as monetization, across all markets (Domestic &amp; International). Driving better line of sight through an integrated approach, this revised framework will substantially enhance the effectiveness of the Company’s movies business.</li><li>Music Business: The Company’s music business has gained substantial traction and it will continue to invest and grow this business to achieve market leadership.</li><li>Integrated Revenue &amp; Monetization team: The Company will be creating an Integrated Revenue &amp; Monetization team, combining all the existing B2B revenue generating teams (Linear Advt. Sales, Digital Advt. Sales, Distribution and B2B SVOD Partnerships) into a unified ecosystem. With this revised framework, the Company aims to drive a more synergized monetization engine that will deliver enhanced solutions to its clients, improve wallet monetization, extend coverage to small and medium enterprises (SMEs) and increase subscriber penetration across linear and digital formats.</li></ul>Subsequent to this restructuring the Company will realign its leaders as detailed below: <ul><li>Punit Misra will take over as President - Content &amp; International Markets</li><li>Amit Goenka will take over as the President - Digital Businesses &amp; Platforms</li><li>Tarun Katial who is leading ZEE5 India business will continue to report into Mr. Amit Goenka</li><li>Shariq Patel will be responsible for the integrated Movies business and Mr. Anurag Bedi will continue to drive the Music business.</li><li>Rahul Johri has been appointed as President – Business, South Asia and will be responsible for leading the integrated Revenue and Monetization team.</li></ul>Rahul was associated with the Board of Control for Cricket in India (BCCI) as its first CEO for over four years, being the driving force in powering the improvement in monetization of assets including the IPL and the BCCI Media rights. Prior to BCCI, Rahul was associated with Discovery Networks Asia Pacific for 15 years where he successfully led the turnaround of the Company, working across all aspects of the value chain, launching multiple new networks, revenue generation, affiliate partnerships, viewership growth, programming, productions, operations, government relations and managing the Sony Affiliate Joint Venture - The One Alliance. Punit Misra, Amit Goenka, Shariq Patel, Anurag Bedi and Rahul Johri will report to the Managing Director &amp; Chief Executive Officer of the Company. The new structure is effective immediately. Speaking on these strategic restructuring announcements, Punit Goenka, MD &amp; CEO, ZEE Entertainment Enterprises Ltd. said, “ZEE 4.0 will be an integrated and synergized organization, with a sharp focus on delivering world class entertainment content to our consumers across the world and enhanced value to our partners across the ecosystem. As I had expressed in my Open Letter, our endeavor will be to build a process-oriented structure for the future and our integrated approach is a strong step in this direction. ‘Gusto’ is an extremely important pillar of the new version of the Company and as an ‘Academy of Talent’, ZEE will continue to nurture and build leaders for the Company and the Industry at large. I am delighted to have Rahul Johri join us to lead the Revenue &amp; Monetization team and I am equally glad to have a strong business leadership team comprising of Amit Goenka, Punit Misra, Shariq Patel and Anurag Bedi, leading their respective functions. I am most certain that the collective experience and expertise of the leadership team, will help us immensely in achieving our set goals for the future. I wish the teams all the very best and I look forward to working with them very closely, to realize the vision chalked out for the all new version of ZEE.” This restructuring process, implemented in line with ‘ZEE 4.0 Strategy’, will setup the Company for the emerging opportunities. In this new version of the Company, its focus will be on reinventing the existing business models, maximizing its core, expanding into adjacent spaces and exploring new areas of business. In its version 4.0, ZEE is taking all the required steps in order to transform into the largest &amp; most profitable media &amp; entertainment company in South Asia.

ZEE Entertainment restructures organisation; ropes in Rahul Johari as President - Business, South Asia

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

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