MxMIndia

Category: MEDIA

  • As the company focuses on its strategy of creative innovation and AI expertise

    Media.Monks names Robert Godinho as MD, Content

    S4 Capital’s operating brand Media.Monks has promotes Robert Godinho as Managing Director of Content India, to focus on best-in-class creative innovation, fuelled by AI and its talent hub.

    Godinho has been elevated from his role heading the Media.Monks India production hub and will now oversee all operations as Managing Director, Content in India, to reflect an expanded scope. Media.Monks India director Poran Malani, who was core in setting up the Media.Monks team in India, is set to leave the company.

    Said Bruno Lambertini, Co-CEO, of the Content practice: “As one of the fastest growing markets in APAC, and indeed the world, we view India as an important strategic part of our own growth. The Media.Monks India business is also a hub for creative innovation, so it is well placed to help businesses harness the huge potential of AI, now. The new era for the India business, under the stewardship of Robert Godinho, is rooted in putting these capabilities into the hands of brands, be that hyper-personalisation, workflow automation or virtual production.”

  • And are they able to truly do is create desire by assigning a value to the objects they promote, asks Kunal Sinha

    Introducing Data Stories by Kunal Sinha: So how Effective are Influencers?

     

     

    By Kunal Sinha

     

    Kunal SinhaWith Orhan Awatramani aka Orry taking over IG feeds during the past few weeks, announcing ‘I’m a liver’ and snagging a Black Friday endorsement deal from CRED (who else?), the question of influencer effectiveness begs to be answered.

     

    When Hubspot posed the question, 80% of marketers said that influencer marketing is effective; in fact, 89% say it works as well as, if not better than other marketing channels. They believe that it yields the highest ROI, along with blogging and social commerce.

     

    In its early days, the detractors against influencer marketing were many. With brands having little control over influencers’ output, some marketers believed that partnering with creators could result in damage to the relationship they have with their consumers if their endorsements are inappropriate or less than transparent.

     

    Recent experience with influencers suggests that sentiment to have changed. In a study by Kantar, some 59% of marketers said they invested in influencer content in 2022, and close to 60% of marketers globally said they are going to increase spend on influencers in 2023. Already, 23% of marketers globally are spending over 40% of their marketing budgets on influencers; and this year, they would end up spending $16.4 billion dollars on influencer marketing.

     

    Here in Indonesia, Dr Richard Lee, a doctor who promotes and sells skincare, is followed by 5.1 million folks on TikTok, 1.7 million on Instagram, and has 4.69 million subscribers to his YouTube channel, all reasonably large followings. He made $800,000 in less than three hours selling his skincare products in a live shopping stream on Shopee in August. A follow-up livestream shopping event in September raked in $500,000 in just one-and-a-half hours. Dr Lee’s conversion of his followers into shoppers suggests that the lines between influencer marketing and social commerce are getting blurred.

     

    Research published in Harvard Business Review analysed more than 5,800 influencer marketing posts on the popular Chinese social media platform Weibo.

     

    Posts in that dataset were written by 2,412 influencers for 861 brands across 29 product categories, at costs ranging from $200 to almost $100,000 per post. The study found that on average, a 1% increase in influencer marketing spend led to an increase in engagement of 0.46%, suggesting that the strategy can in fact yield positive ROI.

     

    The jury seems to be out when it comes to the impact of influencers on novelty. Kantar’s analysis of 30 different influencer campaigns in beauty, fintech, sports and retail revealed that compared to market averages in their database of almost 9,000 global ads, influencer creative executions are in the top third for delivering new information and being credible.

     

    Conversely, the study published in HBR found that ROI for influencer posts announcing new products was 30.5% lower than for equivalent posts that were not about new product launches.

     

    Having said that, there are some clear directions towards which factors and variables make an influencer campaign perform better.

     

    Number of followers: Influencers who have a large following not only deliver greater reach, but are also seen as more credible. They are able to generate higher engagement rates than brands would achieve by spending the same budget on partnering with a less-popular influencer. Posts from influencers whose follower bases are larger than average achieved 9.2% greater ROI.

     

    Posting frequency: Influencers who do not post often are not seen as up-to-date sources of information. They are also unable to establish presence on followers’ feeds to build trust and intimacy. On average, marketers can increase the ROI of their influencer marketing efforts by 53.8% simply by selecting influencers who engage in an optimal level of posting activity – five posts per week.

     

    Content originality: Influencers posting more original content tend to stand out. Their content attracts more attention, and they appear more knowledgeable and authentic. Brands that leverage such influencers typically achieved higher engagement rates for a given marketing spend. Specifically, influencer posts that were original content achieved 15.5% greater ROI than those that were not (such as re-shares).

     

    Links to the brand: Consistent with prior research on content marketing, the HBR study finds that posts that include links to a brand’s social media account or external webpages perform significantly better. Including links to a brand’s website or social media in an influencer post achieves 11.4% higher ROI.

     

    Putting these principles into practice for TikTok Indonesia

    In its quest for growth in Indonesia, TikTok was hampered by the perception that its content was mostly about dance and music.

     

    Increasing the user base by 50% required out-of-the-box thinking. Our strategy at M&C Saatchi was to make folks realize that there’s more to TikTok than met the eye. We would show them diverse content they weren’t aware of.

     

    How did we do that? By deploying Najwa Shihab, an extremely popular, intellectual persona to introduce the high quality of TikTok’s content. While she was extremely popular on Instagram, nobody expected her on TikTok. We were convinced that her positive, inspiring imagery that would galvanize users. And it did.

     

    Najwa’s first-ever TikTok video post achieved 51.2 million views in 5 days. She gathered 1 million followers within a week.

     

    The #serunyaditiktok campaign reached an astounding 8 billion views on TikTok; motivating 3960 creators to come on-board. The content racked up 1.8 billion views in a week. An online media event featuring Najwa was covered by 128 outlets, generating 5 billion impressions.

     

    As against the target of 33 million new users, TikTok gained almost 55 million users, who spent 67% more time on the platform. TikTok moved from #9 to #3 in the top social media app rankings in Indonesia.

     

    Why is influencer marketing effective?

    In its essence, what influencers do is create desire by assigning a value to the objects they promote. That value of those objects isn’t objective, it is subjective. That subjective value is based on our relationship with others: it is mimetic. We assign value to things, and thus desire them, based on what other people want. Mimetic desire means that our own choices are usually according to the desire of others.

    Influencers serve as models of desire. They are people who we look towards for guidance about what to want, usually unconsciously, as they transfigure objects before our eyes.

    Now, go figure, which of your hidden desires Orry has been able to transfix!

     

    References:

    Hubspot: What Will Influencer Marketing Look Like in 2024? https://blog.hubspot.com/marketing/how-to-work-with-influencers

    Leung, Zhang, et al, Does Influencer Marketing Really Pay Off, Harvard Business Review, November 2022

    Bubani, Gonca, Under the influence? How influencer marketing grew up, World Advertising Research Centre, 2022

    https://www.statista.com/statistics/268641/share-of-marketing-budgets-spent-on-digital-worldwide/

     

    Kunal Sinha is Group Chief Strategy Officer at M&C Saatchi Indonesia, and author of several books including The Future of India’s Rural Markets and Raw – Pervasive Creativity in Asia. He will write for MxMIndia every other Monday. His views here are personal.

     

  • NBDA submitted that there is excessive reliance on delegated legislation under the Draft BSR Bill

    NBDA submissions on the Draft Broadcasting Services (Regulation) Bill, 2023

    News Broadcasters & Digital Association (NBDA), the association of news, current affairs and digital broadcasters in India, has submitted its comments expressing strong reservations and concerns regarding the Draft Broadcasting Services (Regulation) Bill, 2023 (Draft BSR Bill) which was circulated in November 2023 by the Ministry of Information & Broadcasting (MIB).

    In its submissions to the MIB, NBDA highlighted the main areas of concern, which are as follows:

    1. Excessive Delegation
    2. Inclusion of OTT and Digital News Content
    3. Vague Definitions and Ambiguous Provisions
    4. Three-Tier Regulatory Structure
    5. Self-certification by Content Evaluation Committee (“CEC”)
    6. Stringent Penalties
    7. Power of the Central Government to prohibit transmission of programme or operation of broadcaster or broadcasting network.

    NBDA submitted that there is excessive reliance on delegated legislation under the Draft BSR Bill, which creates ambiguity with respect to the Central Government’s expectations regarding the eventual implementation of the relevant provisions of the Draft BSR Bill. It can also lead to further contradictions and ambiguity, leading to potential arbitrary use of regulatory powers.

    It noted: “Regulating OTT services akin to traditional broadcasting services would amount to treating dissimilar/unequal services in a similar manner/equally, which would not only be arbitrary and discriminatory but would also be violative of Article 14 of the Constitution. The Draft BSR Bill overlooks several fundamental distinctions between these services based on the very nature of the applicable regulatory and technology framework, business practices, and nature of relationship with consumers. Further, no prior study or impact analysis was conducted to ascertain the feasibility of treating OTT services as Broadcasting services and whether the same would potentially result in censorship or overregulation and be detrimental to the ease of doing business. Since the content disseminated by OTT services is already regulated by and under the Information Technology [Intermediary Guidelines and Digital Media Ethics Code) Rules, 2021 (“IT Rules”), the MIB should avoid regulatory overlaps under the Draft BSR Bill, which will only lead to duplication (and increase) of compliance liability for stakeholders.”

    NDBA criticised the usage of several broad and vague terms in the Draft BSR Bill. It stated that vague or overly broad terminology carries with it the distinct possibility of misuse and/or arbitrary application by authorities since vagueness itself serves to delegate matters of public policy to regulatory authorities, law enforcement and the Executive and can lead to unconstitutional fetters on the freedom of speech and expression. For instance, the broad definition of “news and current affairs programmes” under the Draft BSR Bill, apart from the inclusion of the terms “noteworthy”, “cultural”, and “analysis”, may also result in the regulation of any content created by individual bloggers and journalists who may not be considered broadcasters in the traditional sense, which would in turn lead to violation of Article 19(1)(a).

    According to the NBDA, the imposition of the Programme Code and the Advertisement Code as they exist today would “discourage journalists and individual broadcasters from expressing their views and providing diverse perspectives on various matters, as the terms used under the Programme Code and Advertisement Code are vague and can be subjectively interpreted”.

    NBDA submitted that the Draft BSR Bill vests uncanalised powers with the Executive to determine the contours and standards of content regulation. Since the Programme Code and Advertisement Code would impact content and thereby the freedom of speech and expression and the broadcaster’s right to carry on business under Articles 19(1)(a) and(g), respectively, any restriction sought to be imposed must be within the four corners of Article 19(2) and should be prescribed by way of legislations and not by way of rules which would be notified subsequently.

    NBDA submitted that using the contravention of the Programme Code or the Advertisement Code as a touchstone for undertaking action against broadcasters goes beyond the reasonable restrictions laid down in Article 19(2) and is likely to have a “chilling effect” on the freedom of speech and expression.

    NBDA opposed the proposal for creating a Regulatory Structure under the Draft BSR Bill, similar to the Three Tier Complaint Redressal Structure established under the Cable Television Networks (Amendment) Rules 2021 and the IT Rules 2021.

    Given that the challenge to the Three Tier Complaint Redressal Structure is pending before the Hon’ble Supreme Court and the High Courts, NBDA, while expressing its deference for industry-led self-regulatory bodies such as News Broadcasting & Digital Standards Authority (NBDSA), suggested that the provisions concerning the Regulatory Structure should be kept in abeyance. Upon perusal of the provisions of the Draft BSR Bill, NBDA stated that the Bill suffers from the vice of excessive executive interference.

    The Draft BSR Bill also results in pre-censorship as the broadcasters are permitted to air only those programmes which are certified by the CEC. “News and current affairs programmes” have not been exempted from the aforesaid requirements. NBDA submitted that implementing pre-broadcast certification in news and current affairs content is not feasible, and the creation of CEC is a prime example of regulatory overreach.

    NBDA conveyed its apprehensions regarding the disproportionate and stringent penalties prescribed under the Draft BSR Bill, including under the First Schedule for violating the Programme and Advertisement Code. It stated that the penalties prescribed must be reduced as they were not industry-friendly and would impede the ease of doing business.

    To ensure the objective of transparent policy formulation in relation to a critical legislative exercise which will have a far-reaching and long-term impact on multiple industry sectors, NBDA submitted that the MIB upload stakeholders comments and make these publicly available on its website so that all stakeholders can understand the various perspectives put forth in relation to the Draft BSR Bill and subsequently comment on the same.

    NBDA stated that it believes that the Draft BSR Bill is an opportunity to revisit the extant policy and regulations and suggested that an effective light touch regulation approach should inform the formulation of the Draft BSR Bill.

  • Will spearhead content identification and curation

    Planet Marathi gets Abhijit Panse as Director of Content

    Planet Marathi OTT has appointed filmmaker Abhijit Panse as Director of Content.

    In his new role, Panse will spearhead content identification, curation, and acquisition for the platform, while also overseeing a dedicated team tasked with pitching, producing, researching, and developing creative content. With a focus on establishing strategic direction and advancing long-term content objectives, Panse brings his extensive experience and creative vision to Planet Marathi OTT.

    Said Akshay Bardapurkar, Founder, Planet Marathi OTT: “We have had a fabulous working relationship with Abhijit Panse. He has a keen creative eye and the right aptitude to lead Planet Marathi OTT’s content journey. We are thrilled to have in on board and welcome him officially as a part of our family.”

  • Lame & Lazy: News Media’s Poonam Pandey Coverage

    Lame & Lazy: News Media’s Poonam Pandey Coverage

    Shailesh KapoorLast Friday saw the bizarre publicity stunt, whereby Poonam Pandey, along with a media portal (Hauterrfly) and a digital agency (Schbang) staged the news of her death, with cervical cancer being the stated cause. The stunt ended the next day, when Pandey posted a video message on social media.

    Rather than creating any significant awareness for cervical cancer, the incident has served as a comment on the state of our news media today. Every single news platform carried the news of her ‘death’, made tribute videos (often like showreels of her  pictures from her social media handle), spoke to ‘fans’, and generally behaved very concerned about the whole thing. These videos and articles, still available on social media, are a testimony to the sorry state of affairs in our news business.

    Even if one grants the benefit of the doubt to news platforms, that the incident was so bizarre that one wouldn’t expect any ‘foul play’ in it, that benefit of doubt would last an hour or two at best. Principles of sound journalism would suggest follow-up coverage that’s more investigative in nature. Here, a celebrity death was being reported for an entire day, but with no trace of the body or the place of death.

    Social media users came up with conspiracy theories that should have been no rocket science for a seasoned investigative journalist, such as Pandey posting very normal pictures on her Instagram just a couple of days earlier. Digital news platforms could have (somewhat) valid budget constraints. But for our leading news channels to report on the story from the desk, taking a text-based Instagram post, from a celebrity known for courting controversy, on face value, is a sign of how low the standards have fallen.

    If one were to think of staging a stunt like this, they will simply be deterred by the audacity of the idea. After all, you would expect it to be called out within a few hours, if not minutes. That a celebrity and two companies had the confidence of being able to pull this off is itself a telling statement. It’s like a live social experiment, in which our journalists were the social groups being tested.

    Disappointing it may be, but not surprising. If editors who get paid handsome salaries sit in the studios night after night and do armchair politics, staging debates with foregone conclusion, laziness is bound to seep into the culture of popular journalism, especially on the television side. Chasing a story seems to be now the job of the minions, and a desk job can be seen as a promotion!

    In any case, the art of interviewing has been long forgotten, and only a few veteran journalists from the 90s (or earlier) are keeping it alive. Political reporting has lacked nuance, and reporting on the economy has lacked domain literacy. And now, celebrity reporting, which one would imagine to be the easiest of them all, also seems sub-standard.

    The Poonam Pandey story would be forgotten soon. But the lazy media that reported it is here to stay. And we have little choice but to suffer.

  • In collaboration with Penske Media Corporation

    RPSG Lifestyle Media to bring Hollywood Reporter

    RPSG Lifestyle Media and Penske Media Corporation have announce the launch of The Hollywood Reporter, an entertainment publication with a focus on film, television, and entertainment.

    Currently, The Hollywood Reporter has editions in the US, Italy and Japan. The appointment process of the Editor-in-Chief and other senior positions are currently underway. The date of launch will be announced shortly, notes a communique.

    Said Avarna Jain, Chairperson of RPSG Lifestyle Media: “Hollywood is home to one of the world’s oldest film industries and is the genesis for the multitude of local names that filmmaking communities enjoy all over the world,” she said. “The Hollywood Reporter India will be the first Indian publication that will look at the Indian entertainment industry as a whole. It will celebrate cinematic creativity across languages, regions and platforms, including OTT, digital and theatre. Hollywood may be the oldest, but India is the world’s biggest filmmaking industry and THR India will celebrate that.”

    Added Elisabeth Rabishaw, Executive Vice President and Co-Publisher of The Hollywood Reporter: “This partnership signifies our continued commitment to fostering global connections and celebrating the culture, vibrancy, and robust entertainment business in India.”

    Said Nekesa Mumbi Moody, Co-Editor-in-Chief of The Hollywood Reporter: “We’re excited to embark on this journey with the THR India team and bring our editorial voice to the process as we showcase and amplify India’s rich and compelling entertainment industry on an international stage.’

  • Includes provisions for static media, digital media

    Laqshya Media bags 10-yr ad rights for Kochi airport

    Laqshya Media Group has announced the acquisition of advertising rights for Kochi’s Cochin International Airport. The 10-year contract includes provisions for static media, digital media, experiential spaces, and other advertising innovations.

    Said Atul Shrivastava, CEO of Laqshya Media Group: “At Laqshya Media Group, we understand the power of airport advertising in today’s marketing landscape. Securing advertising rights at Cochin International Airport strengthens our presence in South India, offering brands innovative opportunities to boost visibility and engagement. We’re excited about the potential at Cochin International Airport and committed to delivering creative excellence to leave lasting impressions and drive success for our clients. Furthermore, we are not limited to media assets but also pioneering DOOH and experiential zones at Cochin Airport. These zones will revolutionise advertising by offering immersive experiences that create stronger connections with consumers, enhancing brand loyalty and recognition.”

  • To 'elevate' brand, engagement and consumer connect

    Akasa Air teams up with Content Lab

    Digital marketing agency and production house The Content Lab has signed a partnership with  Akasa Air. This collaboration aims to “enrich” Akasa Air’s brand presence and “amplify” its marketing endeavours on the digital front.

    Said Belson Coutinho, Co-Founder, Chief Marketing Officer and Chief Experience Officer of Akasa Air: “I am super-excited to partner with The Content Lab as we strengthen our brand and enhance the digital footprint. As we leverage digital technology, our collaboration will help us deliver innovative, quality and engaging content thus positioning Akasa among  the most loved brands globally.”

    Added Vaibhav Mehta, CEO of The Content Lab: “We are privileged to collaborate with Akasa Air, a brand synonymous with warm, reliable and efficient service. Our team is eager to harness our expertise to enhance Akasa’s marketing efforts and support their continued growth. We look forward to infusing fresh perspectives, creativity, and innovation into the brand, fostering an authentic connection with their consumers.”

  • To unite gamers and industry leaders

    India Gaming Show 2024 to he held in Pune

    The 6th edition of the India Gaming Show 2024, jointly organised by the Confederation of Indian Industry and Indian Digital Gaming Society (IDGS) supported by Ministry of Electronics and Information Technology, Invest India, MeitY Startup Hub and Media Entertainment Skill Council is all set to take centrestage from March 14 to 16, 2024, at the Messe Global Laxmi Lawns in Pune.

    The India Gaming Show 2024’s main attractions are the gaming exhibits by JetSynthesys, Krafton India, Samsung, Philips, Western Digital, OnePlus, and Sony PlayStation to name a few. Leading gaming firms will have a wide variety of booths at the event, showing the newest gaming accessories, software, and hardware.

    Said Rajan Navani, President, Indian Digital Gaming Society (IDGS): “The India Gaming Show 2024 is not just a showcase of the latest gaming trends but a celebration of the thriving gaming community in India. We are thrilled to bring together gaming enthusiasts, industry leaders, and innovators to Pune for an unforgettable experience.”

  • In conjunction with Amazon Ads

    Publicis unveils first edition of Digital Growth Marketing Playbook

    Publicis Commerce India announced the launch of the inaugural Digital Growth Marketing Playbook. The playbook – in conjunction with Amazon Ads – outlines how “advertisers can adopt a growth marketing approach, shifting from focus on isolated campaigns to looking at how marketing can contribute towards delivering overall business growth”.

    Said Anshul Garg, Managing Partner & Head at Publicis Commerce India: “Growth marketing goes beyond a mere collection of brand awareness and general promotional marketing strategies. It signifies a shift in the approach to marketing and placing comprehensive growth at its core. Armed with Digital Growth Marketing Playbook’s strategic insights, marketers can fully harness the potential of growth marketing to elevate their businesses to unprecedented levels of success.”

    Added Kapil Sharma, Director, Growth Customer Sales at Amazon Ads: “Growth marketing can help brands across all categories and price points to unlock additional opportunities with strategic and long-term focus towards marketing. The inaugural edition of the Digital Growth Marketing Playbook offers directional steps to brands in the marketing world, providing insights, strategies and practical guidance to help businesses of all sizes achieve their goals.”

  • Promises to be a star-studded event

    Sony Sports secures rights for CCL Season 10

    Sony Sports Network has secured television broadcast rights for the 10th season of Celebrity Cricket League (CCL).

    It will feature some of the biggest names from India’s film industry, including Salman Khan, Kichcha Sudeepa, Sohail Khan, Akhil Akkineni, Indrajith Sukumaran, Sonu Sood, Manoj Tiwari, Aarya, Jisshu Sengupta, Riteish Deshmukh, and more. The tournament will be held at various venues, including Sharjah (UAE), as well as multiple cities in India, such as Hyderabad, Chandigarh, Trivandrum and Vizag, which will also host the playoffs and finals.

    Said Rajesh Kaul, Chief Revenue Officer – Distribution & International Business and Head – Sports Business, Sony Pictures Networks India: “Celebrity Cricket League has carved its niche in the hearts of cricket and cinema enthusiasts alike and showcases great entertainment value. Sony Sports Network is pleased to partner with Celebrity Cricket League to bring star-studded moments straight from the pitch to the viewers.”

    Added Vishnu Induri, Founder of CCL: “We are pleased to announce our partnership with Sony Sports Network for the telecast of the Celebrity Cricket League on Indian television. Sony Sports Network is known for airing some of the best sports events throughout the year, and we are proud to have joined forces with a broadcaster that caters to millions of sports enthusiasts every day. Since its inception, the league has established itself as a prominent source of entertainment by offering high-quality cricketing action and has gained immense popularity. The previous season garnered an impressive cumulative TV and digital reach, exceeding 250 million viewers nationwide.”

  • With 580+ million viewers globally

    Zee5 celebrates 6th anniversary

    Zee5, the homegrown video streaming platform, and the OTT arm of Zee Entertainment Enterprises Ltd. (ZEEL), has completed six years of existence.

    Speaking on the occasion, Amit Goenka, President – Digital Businesses & Platforms, Zee Entertainment Enterprises Ltd. said: “Over the last six years, Zee5 has played a pivotal role in delivering accessibility and affordability to its consumers across the globe. As we cross yet another milestone in our journey, our aim is to further fortify the synergies between content and technology to build a robust consumer experience across connected devices. While we remain committed to offering immersive entertainment experiences to our consumers across our digital platforms, the parallel growth trajectory of the linear and digital ecosystem will enable us to further strengthen our capabilities. As the digital landscape matures steadily, and improved infrastructure further proliferates the ability for transactions on digital platforms, the opportunities remain endless. As pioneers in the industry, we will continue to maintain a strong focus on growth and innovation, simultaneously enabling a conducive environment for the industry at large.”

    Added Manish Kalra, Chief Business Officer, Zee5 India: “At Zee5, we envision to be the platform of choice for billions of viewers with real, relatable, and relevant stories in languages that resonate with them. Over the last few years, we have focused on improving user experience and launching multiple blockbuster movies and originals while using technological innovations to improve our platform experience significantly. 2023 has been eventful with many firsts and multiple successful projects strengthening our presence across markets with significant penetration in the tier III and IV cities. Tech adoptions across business touchpoints for increasing efficiency and enhancing in-app experience have been a priority. 2024 has already started on a strong note with the release of ‘Sam Bahadur’ and “The Kerala Story”. As the industry scales newer heights, Zee5’s unwavering commitment will remain centered around delighting our users with more focus on delivering quality content seamlessly.”

    Said Archana Anand, Chief Business Officer, Zee5 Global said: “From the initial idea of taking our South Asian content global, to growing out the business to become the No.1 South Asian streaming platform internationally, it has been a remarkable journey. Today, Zee5 Global stands as the premier destination for South Asian content, connecting the diaspora across the world with their language content. And as we continue to grow out our massive leadership in the US., our recent pivot to becoming an Aggregator of South Asian streaming platforms with the launch of Zee5 Add-ons, only further cements our position in the market as the singular largest hub for South Asian content. South Asian stories are finally claiming their well-deserved spotlight on the global arena, and we look to be at the forefront of this conversation, setting the stage for even more disruptive growth.”