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Vodafone Idea, Zee Entertainment, Airtel and other top stocks to watch out for on September 23

<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.

ZEEL announces new a-la-carte channel and bouquet pricing in compliance with New Tariff Order

<ul><li>Subhash Chandra announced the resignation from his position at a company board meeting organised on November 25. He will continue as non-executive director of the company. </li><li>ZEE was launched back in 1992 by Chandra and he has continued playing a key role in its journey. </li><li>The Board committee also appointed three new independent directors Sunil Sharma, Niharika Vora and Subodh Kumar.</li></ul>Subhash Chandra, the Founder and Chairman of Zee Entertainment Limited, has resigned from his position. The resignation was announced during a company board meeting organised on November 25. The board accepted his resignation but insisted him to continue being the company's non-executive director. Chandra founded the company back in 1992. Chandra’s resignation comes after a few major global investors bought 16.5% stake in Essel Group’s ZEEL. The discussion was taken in order to repay loan obligations to certain lenders of the Group. Earlier this year, Essel Group had also sold 11% in Zee Entertainment to Invesco Oppenheimer Developing Markets Fund for ₹4,224 crore. Subhash Chandra’s son, Punit Goenka, will continue being the CEO and MD of ZEEL.

Subhash Chandra quits as Chairman of ZEEL

<ul><li>Zee Group shuts the Delhi edition of its newspaper DNA </li><li>Media mogul Subhash Chandra is under pressure from lenders </li><li>Zee Group is also reportedly in talks to sell stakes in other businesses </li></ul>Zee Media Group-owned English daily DNA bid goodbye to its Delhi edition with immediate effect. It will only retain a bureau in the Capital. An inside source told IANS that the Delhi DNA office was now being converted into a bureau and the "management wants to concentrate on the main Mumbai edition." DNA was a part of Diligent Media Corporation Ltd (DMCL) that was incorporated in 2005 as a joint venture entity of two media conglomerates -- Essel Group and Bhaskar Group. The first DNA edition was launched in Mumbai on July 30, 2005. Post exit of Bhaskar Group in 2012, the company is now part of the <keyword id="141413" type="COMPANY" weightage="20" keywordseo="Zee-Entertainment-Enterprises">Zee Entertainment Enterprises</keyword> Ltd (Zeel) promoter Essel Group which is currently embroiled in <keyword id="6355008" type="UNKNOWN" weightage="20" keywordseo="Money-laundering">money laundering</keyword> allegations in the aftermath of the November 2016 demonetization. Entertainment mogul Subhash Chandra's Essel Group, which is under pressure from creditors over Zee Entertainment Enterprises’ finances, is reportedly in talks to sell stakes in many of its businesses. Chairman Chandra admitted in January that some bad investments in infrastructure projects and the purchase of a rival satellite TV business led to its downfall. A news report alleged that Essel Group had links with another company that is being probed by Serious Fraud Investigation Office (SFIO) for deposits of over Rs 3,000 crore after demonetisation. Essel Group’s merger of its direct-to-home services with that of Videocon is the other contentious issue that has the two sides fighting a legal battle. The lenders have allowed time for the company to find buyers. (With IANS inputs) SEE ALSO: <a href="https://www.businessinsider.in/in-zee-tv-package-of-bank-loans-the-security-may-be-short-by-2000-crores/articleshow/67753326.cms">New facts emerge about bank loans to Zee Group-- and there is a Mauritius angle</a>

Zee Group in crisis shuts DNA newspaper's Delhi edition

<ul><li>The 30-share BSE index Sensex was down 250 points, and the NSE Nifty was trading 0.67% lower at 9:55 am. </li><li>Here’s a list of the top losers and gainers in the Nifty pack. </li><li>These are the top stocks that are buzzing in trade today.</li><li><a href="https://www.businessinsider.in/">Check out the latest news and updates on Business Insider.</a> </li></ul>Indian stock market indices opened on a choppy note on Thursday, tracking weak cues from the global markets as negotiations continue to drag over the stimulus package in the US. The 30-share BSE index Sensex was down 250 points, and the NSE Nifty was trading 0.67% lower at 9:55 am. Here’s a list of the top losers and gainers in the Nifty pack. <table style="border-width: initial; border-style: none;"></colgroup><tbody><tr><td style="border-left:solid #000000 0.9907650000000001pt;border-right:solid #000000 0.9907650000000001pt;border-bottom:solid #000000 0.9907650000000001pt;border-top:solid #000000 0.9907650000000001pt;vertical-align:bottom;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Top Nifty Gainers </td><td style="border-left:solid #000000 0.9907650000000001pt;border-right:solid #000000 0.9907650000000001pt;border-bottom:solid #000000 0.9907650000000001pt;border-top:solid #000000 0.9907650000000001pt;vertical-align:bottom;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Top Nifty Losers </td></tr><tr><td style="border-left:solid #000000 0.9907650000000001pt;border-right:solid #000000 0.9907650000000001pt;border-bottom:solid #000000 0.9907650000000001pt;border-top:solid #000000 0.9907650000000001pt;vertical-align:bottom;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Bajaj Finserv </td><td style="border-left:solid #000000 0.9907650000000001pt;border-right:solid #000000 0.9907650000000001pt;border-bottom:solid #000000 0.9907650000000001pt;border-top:solid #000000 0.9907650000000001pt;vertical-align:bottom;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Dr Reddy </td></tr><tr><td style="border-left:solid #000000 0.9907650000000001pt;border-right:solid #000000 0.9907650000000001pt;border-bottom:solid #000000 0.9907650000000001pt;border-top:solid #000000 0.9907650000000001pt;vertical-align:bottom;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Britannia </td><td style="border-left:solid #000000 0.9907650000000001pt;border-right:solid #000000 0.9907650000000001pt;border-bottom:solid #000000 0.9907650000000001pt;border-top:solid #000000 0.9907650000000001pt;vertical-align:bottom;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Cipla </td></tr><tr><td style="border-left:solid #000000 0.9907650000000001pt;border-right:solid #000000 0.9907650000000001pt;border-bottom:solid #000000 0.9907650000000001pt;border-top:solid #000000 0.9907650000000001pt;vertical-align:bottom;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Bajaj Finance </td><td style="border-left:solid #000000 0.9907650000000001pt;border-right:solid #000000 0.9907650000000001pt;border-bottom:solid #000000 0.9907650000000001pt;border-top:solid #000000 0.9907650000000001pt;vertical-align:bottom;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">ICICI Bank </td></tr><tr><td style="border-left:solid #000000 0.9907650000000001pt;border-right:solid #000000 0.9907650000000001pt;border-bottom:solid #000000 0.9907650000000001pt;border-top:solid #000000 0.9907650000000001pt;vertical-align:bottom;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Wipro </td><td style="border-left:solid #000000 0.9907650000000001pt;border-right:solid #000000 0.9907650000000001pt;border-bottom:solid #000000 0.9907650000000001pt;border-top:solid #000000 0.9907650000000001pt;vertical-align:bottom;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Hindalco </td></tr><tr><td style="border-left:solid #000000 0.9907650000000001pt;border-right:solid #000000 0.9907650000000001pt;border-bottom:solid #000000 0.9907650000000001pt;border-top:solid #000000 0.9907650000000001pt;vertical-align:bottom;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">HCL Tech </td><td style="border-left:solid #000000 0.9907650000000001pt;border-right:solid #000000 0.9907650000000001pt;border-bottom:solid #000000 0.9907650000000001pt;border-top:solid #000000 0.9907650000000001pt;vertical-align:bottom;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Eicher Motors </td></tr></tbody></table>*as of October 22, 09:55 am These are the top stocks in news today. Zee Entertainment Enterprises (ZEEL) up over 2% The shares of Zee Entertainment Enterprises (ZEEL) gained over 2%, a day after the company unveiled a major strategic restructuring to focus on revenue maximisation and foray into newer territories. Vedanta shares gain 3% Vedanta shares trade 3% higher ahead of the board meeting, which is scheduled to meet on October 24 to consider and approve the first interim dividend for FY21. GMM Pfaudler trades 1% higher Even in the volatile market, the shares of GMM Pfaudler were trading one percent higher. The company has reported a 29.14% jump in its consolidated net profit to ₹26.85 crore for the second quarter ended September 30. KPIT Tech shed over 3% The software technology company KPIT Tech shed over 3% after the company reported a 2.5% fall in its net profit to ₹27.8 crore for the quarter ended September 30. JK Tyre shares gain 6% The shares of tyre major JK Tyre gained over 6% during the morning trade on Thursday after the company reported strong QoQ growth in Q2. The company reported a net profit at ₹109.68 crore against the loss ₹204.17 crore in the first quarter. Bajaj Finserv trades 2% higher The shares of private lender Bajaj Finserv rose over 2% after it reported a 5.8% jump in its total income to ₹15,051.59 crore during the second quarter ended September 30. However, its consolidated net profit fell 18% to ₹986.29 crore. SEE ALSO: <a href="https://www.businessinsider.in/business/startups/news/former-tesla-cio-raises-150-million-for-his-saas-automotive-retail-startup-enters-the-unicorn-club/articleshow/78800958.cms" data-type="tilCustomLink">Former Tesla CIO raises $150 million for his SaaS automotive retail startup, enters the unicorn club</a> <a href="https://www.businessinsider.in/business/corporates/news/kumar-mangalam-birla-says-cement-industry-is-recovering-and-analysts-find-evidence-of-it-outside-ultratech-too/articleshow/78791281.cms">Kumar Mangalam Birla says cement industry is recovering and analysts find evidence of it outside UltraTech too</a> <a href="https://www.businessinsider.in/business/startups/news/uber-bus-pradeep-parameswaran-says-india-and-apac-will-follow-egypt-success/articleshow/78788982.cms">Uber Bus in India soon? Head of Mobility in APAC says he is ready to import the Egypt experiment</a> <a href="https://www.businessinsider.in/india/news/sadhguru-advice-government-should-give-tax-relief-for-sustainable-businesses/articleshow/78790522.cms">Sadhguru’s advice: Government should give tax relief for sustainable businesses</a>

Top stock movers — Vedanta, JK Tyre, GMM Pfaudler, Bajaj Finserv, Wipro, HCL Tech, Dr Reddy and others

<div class="KonaFilter image-container display-table float_right"><div><div class="image on-image">DeepMind</div></div></div>Good morning! This is the tech news you need to know this Thursday.<ol><li><a href="https://www.businessinsider.com/deepmind-cofounder-mustafa-suleyman-taking-leave-2019-8?r=US&amp;IR=T">The co-founder of DeepMind, the artificial intelligence research company acquired by Google in 2014, has quietly gone on leave and it isn't clear why</a>. DeepMind said Mustafa Suleyman was on leave by mutual agreement, and that he was expected back by the end of the year.</li><li><a href="https://www.vice.com/en_us/article/43kv4q/microsoft-human-contractors-listened-to-xbox-owners-homes-kinect-cortana">Contractors working for Microsoft Xbox listened to audio of players speaking at home to improve the console's voice command features, Motherboard reports</a>. The contractors said most of the voices they heard were children's.</li><li><a href="https://www.businessinsider.com/apple-ceo-tim-cook-calls-donald-trump-china-tariffs-2019-8?r=US&amp;IR=T">President Trump has said he talks with Apple CEO Tim Cook directly because he calls him personally rather than hiring consultants, unlike other major business figures</a>. Trump told Fox News: "Others go out and hire very expensive consultants, and Tim Cook calls Donald Trump directly. Pretty good." </li><li> <a href="https://www.businessinsider.com/amazon-campus-hyderabad-india-photo-tour-2019-8?r=US&amp;IR=T">Amazon opened its biggest campus to date on Wednesday, in the financial district of Hyderabad, India</a>. Amazon India Country Head Amit Agarwal calls the campus "a tangible commitment to that long-term thinking and our plans for India."</li><li><a href="https://www.businessinsider.com/palantir-renews-ice-government-contract-gotham-amid-protests-2019-8?r=US&amp;IR=T">Big data company Palantir has renewed its controversial contract with ICE, according to government filings</a>. The contract has been renewed for the next three years and is worth nearly $50 million, according to redacted text.</li><li><a href="https://www.businessinsider.com/student-luka-ivezic-in-twitter-chinese-propaganda-purge-2019-8?r=US&amp;IR=T">A 24-year-old student in London was left baffled after being caught up in Twitter's purge of Chinese propaganda accounts</a>. Luka Ivezic is a Croatian-born student studying disinformation at a London university, and said he's never visited China.</li><li><a href="https://www.businessinsider.com/zeel-customers-harassment-report-response-2019-8?r=US&amp;IR=T">On-demand massage startup Zeel reportedly ignored therapists' complaints about sexual harassment and misconduct from its customers</a>. A Gizmodo report suggests that Zeel ignored multiple complaints, with therapists complaining of clients requesting abdomen and upper thigh massages, and even groin massages.</li><li> <a href="https://www.businessinsider.com/giovanni-buttarelli-death-mourned-by-apple-ceo-tim-cook-2019-8?r=US&amp;IR=T">Giovanni Buttarelli, the European Data Protection Supervisor who was instrumental in introducing Europe's strict new privacy laws in 2018, has died at the age of 62</a>. Apple CEO Tim Cook was among those who paid tribute to Buttarelli.</li><li><a href="https://www.businessinsider.com/youtube-robot-fighting-videos-removed-for-violating-animal-cruelty-policy-2019-8?r=US&amp;IR=T">YouTube reportedly removed multiple videos from its platform of robots fighting, claiming they showed "the deliberate infliction of animal suffering."</a> Multiple YouTube creators, including many who have been contestants on the TV competition BattleBots, said they received emails from YouTube notifying them that some of their robot-fighting videos have been taken down from the platform. </li><li><a href="https://www.businessinsider.com/megan-rapinoe-usher-rick-perry-duped-instagram-chain-hoax-2019-8?r=US&amp;IR=T">US Energy Secretary Rick Perry, who is in charge of securing the country's nuclear arsenal, fell for an Instagram chain hoax on Tuesday</a>. He and other celebrities reposted the same clumsily worded "legal" message about Instagram making all of its users' photos and messages public - a rehash of a hoax that dates back to at least 2012.</li></ol>Have an Amazon Alexa device? Now you can hear 10 Things in Tech each morning. Just search for "Business Insider" in your Alexa's flash briefing settings.You can also <a href="https://newsletter.businessinsider.com/join/free">subscribe to this newsletter</a> here - just tick "10 Things in Tech You Need to Know." <div class="margin-top"> <h3>NOW WATCH: <a href="https://www.businessinsider.com/mexico-buy-legal-gun-store-2015-8">Mexico has just one store where you can legally buy a gun and it's located on a heavily-guarded military base</a></h3> <div> </div> </div>

10 things in tech you need to know today

<ul><li>At 7:45 am, the SGX Nifty was down 0.18%, indicating a tepid start for Nifty50.</li><li>Here’s a list of stocks to watch for in trade today. </li><li><a href="https://www.businessinsider.in/">Check out the latest news and updates on Business Insider.</a> </li></ul>Indian stock-market indices are likely to start subdued on Friday, led by mixed cues from the global markets. At 7:45 am, the SGX Nifty was down 0.18%, indicating a tepid start for Nifty50. However, the <a href="https://www.businessinsider.in/stock-market/news/us-stocks-climb-as-900-billion-stimulus-deal-appears-imminent/articleshow/79782556.cms">US stocks gained on Thursday</a> and marched toward record highs as a $900 billion fiscal stimulus bill to hasten the economic recovery from the COVID-19 pandemic appeared imminent. The Dow Jones Industrial Average closed 0.49% higher, and the S&amp;P 500 was up 0.58%. These are the stocks to watch out for during the trading session today: RIL The Supreme Court has asked Reliance Industries (RIL) to deposit ₹250 crore, which is 50% of the disgorged amount of ₹447.27 crore, as per the orders of the Securities Appellate Tribunal in a case related to the sale of Reliance Petroleum (RPL) shares. Bharat Dynamics, Hindustan Aeronautics, Bharat Forge and other defence stocks Bharat Dynamics, Hindustan Aeronautics, Bharat Forge and other defence stocks will be in focus during the trade today. The defence acquisition council headed by Union Minister Rajnath Singh approved the capital acquisition of various weapons/platforms/equipment/systems required by the Army, the Navy and the Air Force at an approximate overall cost of ₹28,000 crore. HCL Tech, Infosys, TCS and other IT stocks HCL Tech, Infosys, TCS and other IT stocks will be in focus during the trade. The consulting and outsourcing services provider Accenture has raised its full-year sales forecast and beat quarterly revenue estimates on December 17. Tata Consultancy Services’ (TCS) The ₹16,000 crore share buyback programme of Information technology (IT) major Tata Consultancy Services’ (TCS) will open today (December 18). And, the offer will remain open till January 1. Zee Entertainment The board of Zee Entertainment Entertainment (ZEEL) has approved the acquisition of film production and distribution business from Zee Studios, a wholly-owned subsidiary of the former for a cash consideration of ₹275 crore. BPCL Privatisation-bound Bharat Petroleum Corporation (BPCL) board has approved buying out Oman Oil Company’s stake in the Bina refinery project in Madhya Pradesh on mutually agreeable terms. The BPCL board at its meeting on Thursday also approved merging Bharat Gas Resources (BGRL) with itself, the company said in a filing to the stock exchanges. Godrej Agrovet The Government of Telangana has allotted an area measuring up to 28,164 hectares in the Mahabubabad District of Telangana to Godrej Agrovet, for the purpose of oil palm cultivation. Canara Bank The Life Insurance Corporation of India has acquired 6.28 crore shares of Canara Bank through the qualified institutional placement, taking its total shareholding in the bank to 8.35% from 4.53%. Dishman Carbogen Dishman Carbogen promoter will sell a 4.4% stake in the company via offer for sale on December 18 and 21 at a set floor price of ₹145.70 per share. SpiceJet SpiceJet would start 30 new domestic flights in a phased manner from next week. Among the 30 flights from Sunday, six will connect Darbhanga in Bihar with Ahmedabad, Pune and Hyderabad, the airline said. PVR The board of cinema hall giant PVR will meet today to discuss its fundraising plans. SEE ALSO: <a href="https://www.businessinsider.in/stock-market/news/burger-king-ipo-investors-tripled-their-money-in-three-days/articleshow/79761366.cms" data-type="tilCustomLink">Burger King's IPO investors tripled their money in three days</a> <a href="https://www.businessinsider.in/business/news/india-has-a-hot-new-debate-on-its-plate-should-the-likes-of-burger-king-kfc-and-mcdonalds-menus-mention-calories/articleshow/79771040.cms" data-type="tilCustomLink">India has a hot new debate on its plate: Should the likes of Burger King, KFC and McDonald’s menus mention calories?</a>

Top stocks to watch — RIL, TCS, HCL Tech, Zee Entertainment, BPCL, Bharat Dynamics, HAL, Bharat Forge, and others

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

Trends that will shape the broadcast industry in 2022

<ul><li>In our latest interview series, we talk to organizations to understand how they are coping with the new normal and their strategies towards navigating these difficult times.</li><li>With people confined at home, television viewership has seen a massive surge, pushing <keyword id="4934995" type="PERSON" weightage="20" keywordseo="broadcasters">broadcasters</keyword> to think out of the box</li><li><keyword id="3387826" type="COMPANY" 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> tells us how things have panned out at the organization in these past few weeks, and all that it has been doing to ensure their viewers get the best content.</li></ul> The ongoing Covid-19 crisis has led to unprecedented changes in our lives. We are all confined at home and that is leading to a huge change in the way we consumer content, media or even everyday things in our lives. While a lot of industries have suffered, coming to almost a complete standstill, there are some sectors that have seen a spike, due to our changed routines. Television and <keyword id="8983502" type="UNKNOWN" weightage="20" keywordseo="ott-viewership">OTT viewership</keyword> is at an all time high as people are trying to find engaging content. News channels are also observing a huge spike in viewership as people are constantly trying to stay abreast of all that is happening around them. However, while TV viewership has seen a spike, the challenge has been to offer viewers fresh content that will keep them hooked to a particular channel. GECs that are heavily reliant on daily soaps, however, have had to innovate, considering production has been stopped completely since the <keyword id="91743" type="PERSON" weightage="20" keywordseo="lockdown">lockdown</keyword>. We thought it would be interesting to understand how things have been for one of the biggest broadcasters in India, Zee Entertainment Enterprises Ltd (ZEEL), and understand how they’ve been tackling the crisis, and prepare for the future. We got some interesting insights from Prathyusha Agarwal, Chief Consumer Officer, ZEEL who told us how the organization quickly adapted to the evolving situation while also ensuring production of content remotely over mobile and professional cameras by using video and audio production technologies to support broadcast, digital &amp; social platforms to make sure they can offer something fresh to their viewers. Edited excerpts: Q) While the lockdown has come as a blessing in disguise for the broadcast industry, how have things been for ZEE as an organization, in terms of working remotely and business continuity? The current COVID-19 situation has triggered an unprecedented shift in consumer sentiment and behaviour, which has impacted the way businesses are functioning across the world. Confinement at home has families turning to their trusted TV set and dependence on television as a source of entertainment has seen a surge, reflecting in the viewership data. Our channel teams geared upto this surge in viewership since the lockdown came into effect and have been customising content to cater to this changing consumption need of the viewers which ensured that ZEE strengthened its leadership further in a growing category. As an organization, we were always agile and as teams, strongly connected, so the transition to WFH operations was both swift and smooth ensuring minimal disruption to our viewers and complete business continuity. ZEE ensured business as usual for its in-house operations and transmission functions by leveraging technology and implementing various solutions across its key functions. Our Broadcast Operations team developed remote clients through which systems could be operated remotely, including from home, which is a first in the industry. Initially, continuing studio activities such as editing, graphics, audio, and online applications was a challenge. But within two weeks, we implemented a WFH edit capability using proxy-based workflows with edit-over-cloud solutions. Moreover, to ensure a continuous flow of entertainment to our viewers, the teams have also enabled remote production of content over mobile and professional cameras by using video and audio production technologies to support broadcast, digital &amp; social platforms. For the Silver Jubilee celebrations of ZEE’s singing reality show SaReGaMaPa, we have taken an industry-first initiative - ‘Ek Desh, Ek Raag’ summoning our network strength with a 25-hour Fund Raiser Music Concert with over 350 performances across the network’s social assets, culminating in a pan India music concert on TV featuring the most notable talent from SaReGaMaPa across 19 ZEE channels. This mammoth initiative will be completely executed using remote WFH solutions by teams and artists. Q) There are different sets of challenges for GECs and news channels right now. While GECs are trying to come up with innovative ways to keep audiences engaged, news channels cannot really work remotely. How did ZEE as an organization react to these challenges? The lockdown has led to more people consuming content on TV. The habit of TV viewing has never been stronger, with 46% of the viewers watching TV all 7 days a week, an increase of nearly 50% from the pre-COVID period. Rather than challenges, we viewed these as opportunities. To cater to this demand surge, we have customised the best of content across our channels taking into consideration specific shifts in consumption behaviour. The viewership trends over the weeks have indicated the surge in daytime viewership. To address that, we’ve brought back some of the all-time favourite shows that enjoy a strong consumer connect across channels. For instance, Zee TV extended its on-demand nostalgia band in the afternoon featuring popular shows. We have also seen higher viewership among males and kids with the entire family now at home and as a strategy, we’ve enhanced our weekend offering which sees high affinity amongst these audience segments. The viewership growth is also being driven by nearly 60-70% growth in the Movies genre through the lockdown period and as people look to keep themselves entertained, our movie portfolio endeavors to maximize the experience for every movie aficionado. Our agility has helped us emerge as the leading entertainment network during the challenging and dynamic lockdown period, with a 15.1% share (sports &amp; news not included), widening the gap between itself and its next competitor to nearly 1%. Q) What is your objective when you communicate with your consumers in adverse times like today? How are you ensuring consumer stickiness when the competition is fierce and you are not able to produce fresh content? As a medium, people place a lot of faith and trust in television and as a brand, we need to meet and further that expectation. Therefore, even in our communication, we need to build and maintain our consumer’s trust with unambiguous authenticity. While our communication is deeply seeded in customer-centricity, during times of crisis, historically, brands that have connected with the consumer are those that communicate with empathy and relevance to the need of the hour. ZEE being a responsible media &amp; entertainment organization came to the forefront by employing its network strength and outreach, to launch several pioneering campaigns to promote social distancing and generate awareness for maintaining adequate hygiene. From providing a behavioural trigger to its audience to wash hands for 20 seconds through our #BreakTheCoronaOutbreak initiative; uniting the country to pause and applaud the essential services’ workers during the Janta Curfew to deploying the strength of our network to encourage every viewer to not venture out and stay at home with their families through #HumAndarCoronaBahar initiative, we have stayed focussed on our role as a media platform and not just an entertainer. The need of the hour is constant innovation and adaptation to the rapidly changing consumption patterns driven by a shift in content preference of different consumer cohorts throughout the day. During the lockdown, we are seeing a higher affinity for light-hearted, comedy shows, stories that reflect hope, positivity and patriotism and can entertain the entire family together. We have curated our content offerings across different genres of channels whether it’s through one hour comedy specials on &amp;TV, or inspirational movie premieres like Saand ki Aankh on Zee Cinema, to serve these evolving needs and content preferences. Q) What have your key learnings from the past few weeks been? Do you think you are better prepared now to face unforeseen challenges in the future? Agility, Adaptability and Empathy have been our biggest learnings during this period. Being nimble about understanding the changing viewer behaviour and adapting our content offering to the same helped us to continue to lead as a network through this period. There will be a lasting impact of this extended period of behavioural change in the consumer's mind and we are gearing up to service this changed mindset. As broadcasters, this uncertain situation has taught us the need to innovate the way we create content and maximise its potential, pushed us to leverage technology solutions quickly and collaborate as teams. It has changed the way we communicate to our consumers, even leading to innovations through our first of its kind filmed from home campaigns. I would certainly say we are better prepared to deal with any type of situation in the future. Q) As a marketer, what are a few things that one must keep in mind while communicating with consumers? First and foremost, brands should think of consumers as fellow humans as we all come together to fight this pandemic. Empathy and compassion will go a long way. This is not a time for ‘buy me’ but a period for ‘I’m there for you, irrespective, and this is how I can make your life better/ easier to deal with what’s happening’. It is essential to be meaningfully salient through this time and say something only if you have something useful to say to the consumer. Especially for non-essential and currently out of consumption categories, connecting is critical as those who are present for the consumer now will be in their consideration sets during the revival phase when consumption opens up. Additionally, the definition of value for people is changing and it will be critical in the short term for brands to identify what is valuable for their consumers right now and then find ways of fulfilling that value and communicating that proposition effectively. In the long term, marketers must anticipate the big shifts in consumer attitudes and plan their role in consumer’s life accordingly as this is a once in a lifetime experience for everyone and people are likely to completely rethink their mental models.

This is not a time for ‘Buy me’ but a period for ‘I’m there for you’: Prathyusha Agarwal

<ul><li><keyword id="144995" type="COMPANY" weightage="20" keywordseo="Elara-Capital">Elara Capital</keyword>’s latest analysis predicts that GEC's performance will improve in the near term due to fresh content on channels. </li><li>It further shares a few trends that the industry can predict in the coming months as the Maharashtra Government permits shootings of TV shows, films and digital content in the <keyword id="9080220" type="UNKNOWN" weightage="20" keywordseo="non-containment-zones">non-containment zones</keyword>. </li></ul>As per an update by the Maharashtra Government on Sunday May 31, the shootings of films, TV shows and OTT shows can be resumed in the non-containment zones. In its latest analysis, Elara Capital predicts that the shoots for films will probably begin at a later time, except the ones which have a closed set ready or the ones which require some minimal shoot needs for its completion. It further said that this move is a big relief for TV broadcasters like ZEEL, SUN TV and TV18 as GEC genre had seen a sharp down tick in viewership share from 52% pre-COVID to 43% in the last weeks. Ad volumes too had declined by almost 35% since pre-COVID given no new shows were being showcased. The decline would have been sharper, not including mythological series by DD which attracted big eyeballs during initial phase of lockdown TV consumption had grown by 40% in the second week of April, led by 31% increase in time spent. However, the consumption growth still remains healthy at 26% until last week led by 19% growth in time spent; Elara Capital expect this to remain strong until the end of year. In terms of advertising performance, TV ad revenue had declined by 80% in the second week of May primarily due to IPL. Post June, Elara Capital expects sharp convergence in this decline as IPL base will move away. Once fresh content starts from July and August, we may see the decline factor converging towards 15-20% with some more respite in H2 and festive. TV will see the second best performance, after digital, in terms of advertising and expect the quantum of decline to converge sharply in the coming months. On the other hand, print may continue to report sharp decline in the coming months as circulation gets negatively impacted. Elara Capital estimates a higher growth in subs revenue (12-15% YoY) for FY21 given the increase in number of active TV households. News and movies have been the largest beneficiary during lockdown and it expects GEC to improve in the near term due to the fresh content on channels. The analysis further said that even after lockdown is lifted gradually across the nation, TV consumption will remain strong throughout the year due to the following reasons: <ul><li>People avoiding socialising. </li><li>More people opting to work from home.</li><li>More people staying indoors until the fear factor moves away.</li></ul>While the production process is similar for OTT and TV, the only difference is that TV is continuous and OTT is time bound and has limited episodes. Here are few things we can expect: <ul><li>TV-based content to start before web series as the latter involves more complex sets comparatively</li><li>Movie shoot to start with a bigger delay even after OTT as the larger movie stars/actors will take time to come back on sets.</li><li>A lot of movie and web series shoots would have got disrupted as monsoon will begin June onwards in Mumbai. </li><li>Many large non fiction shows like Comedy Nights with Kapil Sharma and KBC are also exploring an option to shoot from home or online in order to avoid use of large sets which involves multiple people. </li><li>Since it is not possible to test people on sets on a daily basis, broadcasters are also exploring an option of shooting with the entire cast and crew in a particular location for 15-20 days based on schedule, until then all will have to quarantine and work together.</li></ul>Broadcasters to cut costs on production budget given the tepid ad environment Pressure on Broadcasters &amp; OTT players to cut down on costs due to revenue impact from ad revenues etc. There will be an increase in costs due to sanitisation facilities for actors, cast &amp; crew, etc. Shooting in Bombay is a big challenge where majority shoots happen and if the production house plans to shift out of Bombay, it would further add to the costs. Cost of TV shows and web series will go up by almost 4-5% due to precautionary measures. Vanity Van sharing would change to separate for each actor which too would increase costs. Budgets for large non-fiction shows, which is in the range of Rs 60-70 crore, would be cut by almost 30%. Temporary gains by some broadcasters to get impacted after shooting begins GRPs of SUN TV have moved up from 1,100 towards 1,800 only on the back of large movie catalogue but once shoot resumes for Star and Zee Tamil for new shows, Elara Capital expects GRP of SUN TV to come down. ZEE5 has been the most aggressive in terms of content production even though the budgets are being cut at various levels, SUN TV remains to be a laggard when it comes to new web series/new non fiction shows.

Shoots to resume with immediate effect in Maharashtra, Elara Capital shares what the broadcast industry can expect in the coming months

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

Broadcast industry: Trends to watch out for in 2021

In India cricket is like a religion, and World Cup is the biggest festival. Historically, the event has got large audiences glued to their television sets and radio boxes but in the last 2-3 years, with the penetration of smartphones and Internet, the game is beginning to be consumed on the online platform as well. 
 
For the records, online (web and mobile) viewership of IPL 2014, that was shown on starsports.com and Times Internet's Gocricket.com, reached a base of over 10 million for first 15 matches, data by GroupM-owned media buying firm Mindshare said. 
 
And, the video streaming of ICC World T20 2014 on Starsports.com attracted more than 80.9 lakh users during the fortnight-long tournament delivering more than 2.24 crore visits culminating to a total of 101 million live minutes of video consumed. Now, these are huge numbers and digital publishers are leaving no stones unturned to get better stats this year. 
 
Stakeholders Gear Up 
 Star <keyword id="6356028" type="COMPANY" weightage="20" keywordseo="Sports">Sports</keyword> is the official broadcaster for the 2015 World Cup that will be held in Australia. Starsports.com will offer live streaming and 24x7 video-on-demand accessible through the Web, WAP and Apps on 200+ devices. 
 Apart from Star, other online portals that attract cricket consuming traffic have also prepared for the day. ESPNCricinfo launched a 100 day multimedia campaign as a run up to the event to engage with its readers by providing them all the relevant content related to the event. Their focus is on videos, images, quick score updates, along with crisp analysis from the former Indian <keyword id="1520" type="POSITION" weightage="20" keywordseo="Cricketer">cricketer</keyword>, Rahul Dravid. 
 
On the editorial front, it has created a separate page called World Cup 2015, which is giving the latest news, polls, team updates, fixtures, along with highlights of previous World Cups such as best innings, bowling spells, catches, and other stuff. It has also launched a special guide for the World Cup priced at around $12. 
 
Ramesh Kumar, head, ESPN Digital Media India and ESPNCricinfo, says, “World is expanding to digital and the growth of the medium vis–a-vis traditional is going very strong. We are walking on the same path, but side by side keep a strong focus on the traditional medium too.” 
 Cricket Country, owned by ZEEL, has created a separated page for the live updates of the event, where in constant editorials on pre-world cup analysis have been updated. It has sent reporters to <keyword id="124742" type="PERSON" weightage="20" keywordseo="Ground-Zero">ground zero</keyword> and working towards generating viral videos around the World Cup, showcasing people’s passion. 
 
Sandeep Amar, COO, India.com, said, “We have launched a new design UI/UX for users for a new enhanced look. We have also improved our score card to make it easier for our visitors to analyse the match quickly.” 
 Another popular portal <keyword id="2727667" type="UNKNOWN" weightage="20" keywordseo="Sportskeeda-com">Sportskeeda.com</keyword>, has also created a micro site for the event, which is populated with current news, opinions, and other flashes from the previous world cups. 
 
Musab Abid, managing editor, Sportskeeda, said, “We want to do things that are different and attract niche audiences. Our writers will develop content around humour, tweets which will come in, create features based on statistic and develop exciting and different forms of contents for the consumers.” 
 
The Game of Scorecards 
 
Publishers believe that while live streaming will be with Star, a large amount of traction will come from score card updates and then the questions arises who can do it the right and the fastest? 
 
Anupam Mukherji, better known as Fake IPL player and co-founder, Pitch Invasion says, “What matters most to the cricket fans is the score. Those who are able to provide the score faster will get the ball. Mobile streaming will not be as big as mobile score updates in texts. Hence, apps supporting mobile updates will be much more in demand. Providing users with a live updates experience along with social interactivity would be interesting.” 
 Mukherji has distributed his Hindi Scoryboard product to near 55 million <keyword id="6355645" type="COMPANY" weightage="20" keywordseo="android">Android</keyword> users and also doing social media integration; offering brands the options of integrating their social media campaign with the live scores. 
 
Since all the matches are in daytime (Indian Standard Time), online will play a big role as people will follow it on the move and mostly on the handheld devices. “This time, I expect a very high number of people to be following cricket in Hindi,” said Mukherji. It is important to note here that according to an IAMAI report there were over 173 million mobile Internet users in India in December, 2014 and this will reach to 213 million in June, 2015. This figure was 46 million in 2011. 
 
Advertiser Response: Time To Make Money 
 
According to media planners, the expected ad spends on the ICC World Cup 2015 will be to the tune of Rs 1, 200 crore while the overall cricket spends could be around Rs 2,500 crore including the IPL. Cricket is an assured bet for advertisers in India. World Cup drives huge audiences and publishers are keen on charging premium rates for it. A major opportunity this time will be sponsoring the scorecards since most publishers will compete with it. 
 Cricketcountry.com has got six advertisers so far and the slot is open for one or two more advertisers. “We have advertising partners from sectors like automobiles, <keyword id="34523" type="CITY" weightage="20" keywordseo="fmcg">FMCG</keyword> groups, Financial Groups and Banks,” said Amar. ESPNCricinfo tells that it has Gionee, <keyword id="6355629" type="CITY" weightage="20" keywordseo="Google">Google</keyword> and several other partners for it. While Sportskeeda also claimed to have quite a few advertisers who will be using its microsite for their campaigns. 
 
Publishers point that the sentiment is high among the advertisers and their inventories are selling like hotcakes, but they mention that only those advertisers who have a certain association with cricket will join the brand wagon especially for online. 
 
While Mukherji feels that the excitement among the advertiser is low this time. “Everyone is complaining that the World Cup inventory is yet not sold. It’s been softer than most IPL seasons over the past few years, possibly because the Indian team’s performance in Australia tri-series was low,” he adds. 
 
Ad spends is divided into search, social, affiliations, performance and display. “We have 50 % of the ad spends in search, 15-20% in social, 10-15% in affiliation and performance, 15-22% in display,” said Amar. 
 
Though from the last World Cup in 2011 to 2015, world has changed and especially digital consumption, publishers still hope that despite eventful year for cricket (off ground action), because India is the defending champions, the traction will be good. That said, advertisers are sceptical of India’s performance in the World Cup, and hence, are not showing much interest. 
(Image: The Economic Times) 
(About the author: This article has been contributed by Priyanka Verma.)

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