Cashing in on the second screen
How broadcasters and advertisers are leveraging consumption of content on mobile phones, tablets, laptops, etc., to engage more with viewers

Fights over the TV remote are getting fewer and fewer in India these days. Though overall TV penetration in the country stands at 64% of the population and within that, over 95% of the households are single TV households, low-cost data, smartphones and OTT platforms have catered to the massive need for personalised entertainment, creating a huge opportunity for broadcasters as well as advertisers. Meanwhile, consumption of TV & Digital together has increased overall screen hours for content, with young Indians driving the OTT video content market. For advertisers, this age group is a big bulk.
TV-OTT JV: A dual deal for advertisers
According to an EY report, the number of people in India who consume pay TV and at least one paid OTT service is set to grow to 25 million by 2021. So how exactly have broadcasters and advertisers benefited from the second screen revolution?
Some advertisers have leveraged the second screen as a feedback and measurement mechanism. This means that they can not only measure the likeability of their TV campaigns, but also in some cases, assign a revenue number generated from the campaign through online transactions.
Nina Elavia Jaipuria, Head -Hindi Mass Entertainment & Kids TV Network, Viacom18, believes that interactivity enables the broadcasters to generate more advertising revenue with TV and Digital combined. “Second screen interactivity also gives a great insight into consumption patterns, generates viewer data and also significantly increases time spent on television by providing an immersive viewing experience. The digital audience benefits linear television viewing in a big way and also drives the ratings. It is a win-win scenario for broadcasters, platform operators, advertisers and viewers.”
News reports post the Indian Premier League (IPL) 2019 matches suggest that streaming platform Hotstar had garnered over 300 million unique users and also witnessed a 74% increase in watch-time as compared to last year. According to media sources, in the ICC World Cup, Hotstar has witnessed as many as eight million viewers in the matches held up to June 25, 2019. With such records being set in viewership, brands are obviously leveraging the second screen to their advantage. Hotstar has attracted sponsors like Amazon Pay, Paytm, Coca-Cola, Peter England, Yatra, Swiggy, Uber Eats, Acko, Ceat Tyres and ICICI Lombard offering various deals for winners while watching the matches.
No one knew about Dream11, a fantasy sports platform, before this year’s IPL season. Now, brand recall of Dream11 in the context of IPL and cricket is as high as, say, Paytm. This is attributed to its association with television, and presence on OTT platforms. According to a survey conducted on Unomer, a mobile in-app market research platform, during IPL, around the end of March 2019, 38% viewers were glued to TV and mobile both, whereas only 33% were watching IPL on TV only, and 22% were watching IPL on mobile only. This clearly shows the kind of traction both these mediums can generate for brands.
Akash Banerji, Business Head - Advertising Video Platform, VOOT, talks about the brand associations around some of the platform’s interactive shows. “There has been an increased interest of advertisers such as KFC, OYO, Acko, etc., to come on board as sponsors of various interactive initiatives to reach out to this highly engaged user base,” he says. “Brands like Swiggy -which is now singularly advertising and sponsoring our KBC Kannada interactivity- or for that matter the Helo app which is associated with Bigg Boss… A lot of these brands are now not necessarily only buying inventory and are not just happy taking logo presence. They want to be very clearly an integral part of the interactivity game format that’s happening on the OTT platform space.”
However, for the majority of advertisers, the second screen has added a layer of complexity that needs to be sorted. The main challenge they face is in balancing budgets between the two screens, given that measurement metrics across the screens is completely different. Since most of their communication is focused on creating mental availability for their brands, the focus in on cost-effective reach.
That is why, earlier this year, ZEE5 announced its intent to offer measurable results for advertisers through integration with MOAT analytics, a standard verification across the digital industry that measures the viewability of video and display ads, and Nielsen Digital Ad ratings (DAR), a standard for digital ad measurements. Manish Aggarwal, Business Head, ZEE5 India, says, “We now offer third-party measurable and result-oriented campaigns to our advertisers.”
For Ali Hussein, Chief Operating Officer, Eros Digital, broadcasters in India are ahead of the curve from a global standpoint when it comes to direct engagement with their viewers. But, Hussein is not sure if the advertisers have adopted that engagement for a better advertising function. “I don’t think advertisers have picked up the right kind of engagement layer to their advantage,” he says.
Any broadcaster will need to look at making their content available either through a third-party platform or their own platform. Data costs may have bottomed out but viewers will take time to adapt to a new sort of viewing. “Broadcasters need to ensure that their revenues from OTT are in the same ratio as time spent on their content on Digital versus TV. This will ensure that they are able to keep track of the change in consumption patterns,” says Gautam Surath, Senior Vice-President, Starcom.
OTT and television leveraging each other
So how are OTT players and broadcasters leveraging each other’s presence? In case of SonyLIV, the second screen engagement has improved the targeting intelligence. With over 10-second screen initiatives, SonyLiv has a registered user base of over 20 million. Meanwhile, with around 210 million viewers tuning into ZEE channels, and a major share of that audience consuming more content on ZEE5 through the day, Prathyusha Agarwal, Chief Marketing Officer, Zee Entertainment Enterprises Ltd, reveals that there is a base of 26 million consumers who are interacting with them on their social handles and their engagement extends beyond the show chatter. Uday Sodhi, Business Head - Digital, Sony Pictures Networks India, believes this rich pool of ‘engaged’ viewers will allow brands to leverage content interlaced with context and viewer choice, thereby enhancing the effectiveness of their campaigns.
Karan Bedi, Chief Executive Officer, MX Player, links revenue generation opportunities for broadcasters and OTT players with quality content. “It would be difficult to put across numbers as far as revenue generation is a concern, but since we are an ad-driven platform, certainly revenue generated by broadcast content is quite compelling.” According to Bedi, MX Player has more than 70 million daily active users, 175 million monthly active users in India and 650 million downloads worldwide.
As an OTT player, Eros Digital advocates the idea of a slot-based advertisement on its OTT platform than merely based on the audience profiling.
Although, the cost of customer reach would become slightly expensive, eventually, the overall budget might come down due to consumer mapping. “Based on consumer psychographics, geo-location, data, etc., advertisers will be able to do hyperlocal marketing, because there will be a better understanding of subsets of consumers,” says Ali Hussein.
Hiren Gada, CEO, Shemaroo Entertainment, believes innovative ways for new-age advertising is all set to increase with different formats being introduced to reach out to the consumer base for these multiple screens. The Filmi Gaane YouTube page/channel by Shemaroo tells a success story. “The total subscribers as of May 31, 2019 has been 23.7 million, wherein 1.1 million were added only in May 2019. The monthly views are around 520 million from which 85 million are unique viewers,” he says.
According to Gautam Mehra, Chief Executive Officer, DAN Programmatic & Chief Data Officer at Dentsu Aegis Network, second screen interactivity will not only help broadcasters understand their viewers better through the additional data that could be collected but also help keep viewers more engaged in helping drive the ratings for shows. “We see broadcasters and other content owners partnering with tech/telco companies to create some ‘never seen before’ experience for the viewers. If used wisely, the second screen has the power to create its very own loyal viewers who can continue to engage even after the end of the show.”
Large media companies drive interactivity
In 2018, Star, Sony, Viacom and Jio experienced tremendous success in implementing second screen interactivity. Broadcasters witnessed an increased stickiness and increase in linear viewership. OTT platforms saw an increase in app downloads and subscription numbers. Advertisers examined innovative ways to engage with customers and increase sampling. Uday Sodhi says that the evolution of second-screen interactivity has opened opportunities to reach out to and engage with potential consumers for advertisers. Similarly, Nina Jaipuria affirms that second screen interactivity has helped Viacom18 channels to make a huge shift in terms of understanding viewers and catering to their needs in a more informed manner.
Second screen engagement has deepened viewer engagement with content rather than dividing their attention, she says.
In 2018, Jio along with Sony Entertainment Television, developed a play-along game for the ninth season of KBC. According to an EY White Paper on Second Screen Interactivity, viewership went up by 73% when compared to the previous season. As the show garnered 9.2 million impressions per episode, the play along engaged 3.5 million players on an average daily with a peak of 4+ million players. Last year, KBC Season 10 play-along experience, hosted on SonyLIV app, was developed by Sony itself. With Hotstar Watch’N Play, Star decided to simulcast IPL on TV and Hotstar and introduced an interactive play-along app on Hotstar. As per the white paper, it witnessed 10.3 million simultaneous viewers, taking the interactivity to a new level with 2.1 billion trivia and predictive questions answered and 2.4 billion Hotstar emojis shared.
Prathyusha Agarwal says, “Interactivity helps drive brand saliency and engage in conversations with the consumers. With 28% of search queries in India being on voice and Hindi voice search queries growing at a rate of 400% y-o-y, we in fact recently integrated with the Google Voice Assistant for voting on Zee Rishtey Awards.”
Looking beyond spots
Interactivity is now driving action down the funnel to create business impact. Interactivity is just not limited to a specific genre such as gaming or sport. It is now becoming more prevalent across all the genres such as music, films, fiction and devotional, benefiting viewers.
For instance, Colors Rising Star is completely based on the interactivity model wherein the audience can watch the performance live and at the same time vote for it on the VOOT app. It is an engaging experience for viewers as they can see the results of their votes on a real-time basis. According to the EY White Paper, the show in 2018 witnessed 6.95 million overall participants, 21.87 million interactions and 3.35 million check-ins. Similarly, the interactivity for Bigg Boss is also high on VOOT with engaging digital extensions like Unseen Undekha, Cutless, and Bigg Buzz—which have received a staggering response, says Akash Banerji from VOOT. “We have got close to 200 million votes on Bigg Boss Hindi and Bigg Boss Kannada. On Bigg Boss Marathi, we have curated Marathi Jatra, which is a one-stop shop for six different interactivities on the show including Chugli Booth, Aaropi Kaun, etc. This has seen 10 million+ interactions so far,” Banerji adds.
Apart from KBC, which has a natural slant towards interactivity, Sony has created a slew of innovative second screen experiences across their programming line-up - Augmented Reality with The Kapil Sharma Show, sing-along with Indian Idol and Voting, Virtual Opinion wall with Crossroads, co-creating content for Dus Ka Dum, to name a few. In fact, for sing-along, says Sodhi, the channel has taken fan engagement to the next level. As per the white paper, SET has enabled millions of users to not only vote for their favourite Indian Idol contestants, but also to sing along with them, in partnership with Smule. The result: It witnessed 1.33 million unique players playing the game, around 36.5 million votes received and 6,203 hours of songs uploaded by fans on sing-along.
Meanwhile, devotional content-based apps and shows are also attracting millions of viewers. Shemaroo’s live telecast of Lalbaugcha Raja enabled viewers to enjoy Live Darshan on their TV by subscribing to the devotion service from their DTH operators and simultaneously, the live telecast was made available on Shemaroo Bhakti app.
Hiren Gada says, “Our endeavour for the past few years has been to create services and properties that reflect the passion of the emerging digital audience. The good news is that technology is helping to bridge the gap between content owners and the audience, thus benefitting everyone including advertisers.”
That said, for MX Player’s Karan Bedi, if a broadcaster has the ability to engage its viewers with branded content, then it’s a ‘good deal’ for advertisers and OTT players. “These days, independent Indian OTT players are exploring interactivity content that can directly connect with the viewers, for example, Netflix’s interactive shows, on the adventure, animation, horror and thriller,” says Bedi.
Today, viewers can have their cake and eat it too. They share their dining tables and living rooms with the content on television, satisfying the craving for a new story and the first bite and savour the emotion and relationship with characters every day. They then stretch it across multiple screens and interactions, bingeing on it, dipping in, dipping out and gorging on it through time and space. Long live content across screens!
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Scrolling up or down: Where is India's digital news business headed?
As advertisers tightened their purse strings, media players faced a muted growth on their digital platforms in Q1 FY24. Veterans from the industry share the cause & effect of the situation
As the first two quarters for the fiscal year 2023-24 come to a wrap, news publishers are not only experiencing tectonic shifts in their print and broadcast media business, but their digital arm too is facing dynamic consumer shifts.
In an increasingly converged world, besides making sense on ROI matrices, digital offers extended reach at a very low cost, an ability to engage with the viewers in a two-way conversation, co-opt them into the content creation process, empower them by giving them a voice and retain them. The cost and business efficiencies clearly operate at many levels, says Sanjay Trehan, a digital and new media advisor.
According to a study by Reuters Institute, India is a strongly mobile-focused market where 72 percent readers access news through smartphones and just 35 percent via computers. However, despite the glittery user penetration numbers, advertisers, it seems, are not finding it worth investing their money in digital news publisher platforms.
For NDTV, the revenue was down by 35 percent in Q1 of 2023-24 due to lower advertising spends both on broadcasting and digital. Nevertheless, despite low advertisement spends, digital business remained profitable. For Network18 as well, revenue was flattish during the quarter as a weak advertising environment had an impact on the digital segment.
Jagran Prakashan Media’s Q1 FY24 digital revenue stood at Rs 14.43 crores as against Rs 16.78 crores in Q1-23. Mahendra Mohan Gupta, Chairman and Managing Director, Jagran Prakashan Limited, stated in the financial results that “Digital business had nearly the same revenue as in Q1 of the previous year partly because of unfavourable market conditions and partly because of inability to monetise the consumer base to the expected level.”
The Indian Express experienced a slowdown in ad revenue in the last two quarters but subscribers and events business performed well, according CEO Sanjay Sindhwani.
Focussing on sector-wise advertisers, Sindhwani underlined that the IT sector, which spends majorly on digital, has been severely impacted in the economic slowdown. The auto sector has supply chain issues where their order books are full but delivery is an issue. Now, because they are overbooked, advertising is not required for them, he said. Edtech is somewhat tumbling now, which has also resulted in layoffs and cost-cuts. In fact, the whole startup sector has been cost cutting heavily. Gaming was still big but has not seen much growth in the recent past due to regulatory issues and their restrictions on advertising.
For Republic, over the past year or so, there has been a significant shift in direct advertising towards digital publishers along with the always-growing network demand, shared Tapan Sharma, Head of Digital, Republic. The network’s revenue has also grown alongside the continuous growth of revenue in the industry.
Sharma believes the drop in advertisers is happening because advertisers and agencies have now become more aware, vigilant, and methodical with digital ad spending and campaign management. They are looking for better Return on Ad Spend (ROAS) and improving campaign efficiency.
“As a result, publishers who have not prepared themselves well to address the ever-evolving media planning and buying environment may be facing the challenges of monetising via advertising,” added Sharma.
Digital business sustains on two factors - Advertisers and subscribers. On one hand, where the advertisers are declining, publishers are generating quality content to increase their subscriber base who are ready to pay for paywalled content.
Trehan added, “For content behind paywalls to work, it has to be exclusive, differentiated, value-added and premium in nature viz. data and research. The more one has this kind of content, the better will be their subscription traction. Based on this Karmic principle, NYT today has about ten million subscribers, perhaps the most of any publisher in the world.”
The advertising revenue is further split into two - direct and programmatic. Publishers who have been heavily dependent on the latter have faced declining revenues because they have lost the traffic due to certain changes in Google and Facebook’s policies.
Pradeep Gairola, Business Head- Digital, The Hindu, has seen a positive growth in subscription revenue but not a large one. Fifty percent of their revenue comes via subscriptions and paywall content. The direct to programmatic advertising ratio for Hindu currently is at 70:30 split.
But there are obstacles for publishers who are more dependent on subscribers than advertisers too. Major one being, the subscriber revenue is not about acquisition but retention. And, Indian publishers have retention rates much lower than international publishers.
Gairola highlighted, “When we approached the business ages ago, we lacked the wisdom that this is not an acquisition business but a retention business. Retention depends a lot on what kind of audience you have been able to acquire. Secondly, what have you done to ensure that the audience builds a relationship with you and builds a habit around you.”
It is a pertinent industry problem because Indians are accustomed to free content. Unlike other countries, news in India has always been fragmented as an industry and has never charged a penny to its readers. This is also why The New York Times, The Guardian, and other international publishers have higher retention rates.
According to Sharma, the newspaper industry has not really made any significant increment in the subscription fee for the past many years. Whereas a digital news consumer was never asked to pay anything to read or watch news by Indian digital news publishers at large.
“Additionally, the sheer amount of content we are generating, we are not able to communicate or showcase the same to the reader. We haven't been able to establish to the reader how we add value,” shared The Hindu executive.
Further Sindhwani added, as a news publication, if one has to do credible content then it costs money. Customers need to appreciate and value good content in order to be able to pay money for it. The sooner the audience will understand that, the sooner they will be able to differentiate between free content and paid quality content.
Trehan also observed a trend of upward revision of subscription rates for digital when bundled with other value offerings. As more and more products are being bundled along with the main offering, rates are being hiked. Games, puzzles, premium content, exclusive videos are now becoming a part of the 'All Access' subscription.
Sharma believes news subscriptions in India will see significant growth over the next two to four years and publishers will certainly need to focus on offering discrete quality content consistently for paid users.
“The Indian digital news readers are now much more evolved and so is the industry. Within the next few years, the industry will experience habit creation amongst the users of paying for a digital news subscription. This has already started happening in the metros and will further grow in the rest of the markets,” he added.
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Twitter suffers massive outage for 2 hours
The problem reportedly started around 6.30 am on Thursday
Thousands of Twitter users were not able to login to their accounts on Thursday morning as the social media site experienced a massive outage for nearly two hours. The problem, which started around 6.30 am, lasted till round 8.30 am.
Users were unable to log in on Twitter website. However, the microblogging site was working fine on mobile phones.
According to outage tracking website Downdetector.com., User reports indicate Twitter is having problems since 7:13 EST" . Some users also reportedly complained that their Twitter notifications were not working.
In India, Twitter users are getting this message while trying to access the website: “Something went wrong, but don’t fret — it’s not your fault. Let’s try again," with options to refresh or log out.
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How 5G is set to draw more advertisers to emerging tech & gaming
The gaming industry, the fastest-growing space in digital advertising, has the most to gain from introduction of 5G, given that India is a mobile-first country in every segment, say industry players
The 5G spectrum auctions, set to begin on July 26, will see a total of 72,097.85 MHz of spectrum worth at least Rs 4.3 lakh crore put under the hammer. With Adani Data Networks now also staking its claim, in what was already a heated contest between Bharti Airtel, Reliance Jio, and VI (formerly Vodafone Idea), the amount is expected to exceed Rs 1 trillion, according to various industry experts.
The impact on the telecom industry aside, India’s subsequent adoption of 5G is expected to have huge implications on India’s growing digital economy, as well as its booming advertising and entertainment industry, which is expected to reach Rs 4,30,401 crore by 2026 at 8.8% CAGR, as recently reported by PwC's Global Entertainment & Media Outlook 2022-2026.
Mitesh Kothari, Co-founder and CCO, White Rivers Media, believes that consumers now understand internet technologies better than ever before. People who were cost-driven are becoming experience-driven and are actually willing to pay more for a better experience.
“5G is set to bring an immersive AR/VR, 4K video and mobile gaming experience to entice consumers. Plans clubbed with digital services are more likely to penetrate as people are more willing to pay for an ‘all-included’ experience. And, of course, 4G is going to be around anyway, so the ones who cannot afford 5G will always have an option,” he says.
On the impact of raised prices on the Indians who are about to come online, Ashwarya Garg, Co-founder, HYPD Marketing Technologies, said, “We have grown from 250M internet users to 900M internet users today. While the country today has 4G, there are still areas and localities where only 3G prevails. And in a few places, there is only 2G. It is roti, kapda, makaan and the internet today. So, there is no question about a dip in internet adoption,” he says.
Garg further says, “With the release of any new technology, there is a race for faster and quicker adoption. We will surely see a lot of ATL/BTL and influencer-led activities, campaigns specifically designed to educate and adopt on the 5G networks. We should expect a lot of activation via gaming creators, YouTubers, and artists popular on OTT platforms, all of whom would educate them about the end use case.”
Juhi Hajela, VP of Global Marketing at now.gg, points out that despite its massive growth and future potential, with only 47 per cent internet penetration, India is still growing its connected base. “Over the years, we observed that mobile internet connections emerged as a driving force for internet access in India. As a mobile-first country, improved mobile data connectivity will bring a new wave of consumers to utilize the high-speed internet.”
New Ball Game
And the gaming industry, which is the fastest growing space in digital advertising, has the most to gain, given that India is a mobile-first country, across every segment. Experts like Rohit Agarwal, Founder and Director of marketing agency Alpha Zegus, point out that in a country where mobile gaming dominates over 80 per cent of the online gaming and esports segment, there is no doubt that data speeds and data charges hold tremendous value in the growth of this industry.
“The industry has already seen a CAGR of about 37% in the past couple of years, and telecom operators like Jio, VI, Airtel, etc. have accelerated the growth with the introduction of 4G at a highly competitive price point. In the next five years, the CAGR is expected to hit close to 40%, and in my opinion, over 20% of this would be driven by the introduction of 5G, as 5G will allow gamers from remote parts of India to play high-quality games with ease,” says Agarwal.
This would allow tournament organizers to organize more localized events with higher participation and will be able to reach a wider viewing audience. This, in turn, will give brands more sponsorship opportunities, not only to reach out to a bigger audience base but also to experiment with more complex advertising formats which would otherwise be very data dependent.
Gaming creators and streamers will benefit from this improved speed. That would also mean 3G, 4G connectivity will become highly affordable, allowing more consumers to access it.
“India is heading toward becoming the top gaming country in the world. We expect that with 5G auctions, the existing internet service that is already affordable will become faster, allowing Indians to follow their gaming passion. However, limiting device specifications is a real challenge for some players,” says Halja, concluding, “We believe that mobile cloud gaming solution is an excellent fit for the industry, allowing gamers to pursue their passion without being limited by low-end devices.”
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Razorpay row: Cause for concern for other digital payment brands?
Industry experts say while online payment firms have to be sensitive about user data, the controversy is unlikely to have a lasting impact on brand image
The recent controversy surrounding Razorpay sharing AltNews donor data with the police has once again raised concerns around user privacy in digital domains. The internet has been standing divided for the past few days discussing the legalities and the impact of Razorpay’s move but could it have a lasting impact on the brand image or digital payments at large in the country? Marketing experts disagree.
Speaking to e4m, an industry expert mentioned that the agitation was not certainly only against Razorpay as a brand but about privacy laws or the lack of it. “The brand image might not get impacted in the longer run. Social media controversies die out as soon as they blow up. But yes, they must be making an effort to ensure their existing users and partners that their personal data is safe,” they added.
Rashid Ahmed, Head of Digital, Infectious Advertising had a similar response. “If there's a legally valid request by relevant authorities in India, it would be required of a business or service systems provider to provide requested user information, in accordance with the law. Most large digital enablement service providers have fairly thought through and detailed usage and privacy policies, and a request for data would likely have required a sign-off in consultation with their legal teams. Since the payment gateway provides services to a large number of businesses, it is unlikely that a volume of users who chose not to use the gateway will make any significant impact on the overall base.”
Privacy concerns to grow
However, the concerns around user privacy will only mount with increased user awareness. In fact, it’s not the first time that Razorpay or digital payment gateways have gotten into such a situation. Just a few weeks ago, Razorpay had complained that the company was unable to reconcile receipt of Rs 7.38 crore against 831 transactions as hackers and fraudulent customers stole the amount. And in May 2018, Paytm had come under fire for a similar situation after Cobrapost reported that it had shared personal data of users in Jammu & Kashmir with the Indian government. Albeit, the platform had denied any such claims.
Samsika Marketing Consultants MD Jagdeep Kapoor pointed out, “Privacy is going to be a concern but the platforms, which will keep working ethically and protecting the user data will see no harm in the long run. Brands really have to be sensitive about user data.”
Subscription-based news platforms safe
Asked if the whole controversy could bar people from subscribing to news outlets as data sharing with payment partners would be inevitable, the experts said that the decision would solely rely on the content that such publishers produce, and not on payment gateways.
Kapoor highlighted, “Any industry these days: be it the payment gateways or publishers, or hotels, are taking a lot of user data. You cannot avoid sharing your data and therefore the onus to safeguard it lies on these companies. If a publisher is not tampering with your personal data or sharing it outside, I don’t think users will not subscribe.”
However, Khan felt that the subscription-based model might take a hit. “Many transacting users also have their financial details such as cards, tokenized and set up with their preferred gateways. So, this may also propel businesses to opt for multiple payment gateway service providers.”
Additionally, publishers and any such service providers might look for multiple payment gateways to give users the choice of preference. “Businesses requiring digital payment gateway services will likely opt for multiple service providers, to mitigate against service unavailability, or user preference where gateways is concerned. Many transacting users also have their financial details such as cards, tokenized and set up with their preferred gateways. So, this may also propel businesses to opt for multiple payment gateway service providers,” Khan said.
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1 year of Google News Showcase in India: 130 publications part of the programme
Google News Showcase now supports 8 Indian languages.
Tech giant Google has signed deals with 80 media partners representing more than 130 publications for Google News Showcase, an online news experience programme. Launched last year in India with 30 publisher partners, Google News Showcase has completed one year in the country.
The tech giant's partners include Times Group, The Hindu Group, HT Digital Streams Ltd, Indian Express Group, ABP LIVE, India TV, NDTV, Zee News, Amar Ujala, Deccan Herald, Punjab Kesari, The Telegraph India, IANS, and ANI.
"This time last year, we announced a package of investments to support India’s news ecosystem, including launching Google News Showcase - our new product experience for readers and licensing program for news publishers," Google's Kate Beddoe, Director, News Partnerships, APAC, and Durga Raghunath, Head of India News Partnerships, said in an official blog.
"Since Google News Showcase launched in India last year, we’ve signed deals with more than 80 partners representing more than 130 publications, including national, regional, and local news organizations like Times Group, The Hindu Group, HT Digital Streams Ltd, Indian Express Group, ABP LIVE, India TV, NDTV, Zee News, Amar Ujala, Deccan Herald, Punjab Kesari, The Telegraph India, IANS and ANI. We continue to work towards adding more partners."
Google News Showcase has also expanded to more languages over the past year and now supports a total of 8 languages, including Kannada, Marathi, Tamil, Telugu, Malayalam, and Bengali - along with English and Hindi. "We’ve also continued our work providing training and resources for news businesses and journalists, for example, GNI Startups Lab, GNI Newsroom Leadership Program, and GNI Advertising Lab," the blog reads. Update
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Amazon miniTV to premiere short film 'Sorry Bhaisaab' on December 16.
Directed and written by Suman Adhikary and Sumit Ghildiyal, the film has Gauahar Khan and Sharib Hashmi in lead roles
Amazon miniTV announces a short film – Sorry Bhaisaab, produced by Arré Studio featuring popular actors Gauahar Khan and Sharib Hashmi in lead roles. Directed and written by Suman Adhikary and Sumit Ghildiyal, Sorry Bhaisaab will premiere on 16th December for free, exclusively on Amazon miniTV on Amazon’s shopping app. The film is a relatable humorous take on the desires, motivations and aspirations of the middle class and their eternal quest for things to make their lives better.
“At Amazon miniTV, we always try to bring fresh, engaging and relatable content for viewers. We are delighted to partner with Arré Studio once again to bring yet another heartwarming and entertaining short film. This is a great addition to our library of award-winning short films”, said Harsh Goyal, Head of Amazon Advertising.
“Sorry Bhaisaab showcases the desires and aspirations of a common middle-class family with a relatable plot. This short film is a very special project for us, as at Arré, we endeavour to narrate different and unique stories that touch audiences’ hearts and entertain them thoroughly. We are delighted to collaborate with Amazon miniTV on this since it will give the film a wide reach across see millions of Indians from all parts of the country.” said Niyati Merchant, Co-Founder and COO, Arré................
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