Vivid: Print Newsweek’s closure raises questions

Journalists fear that Newsweek turning all-online may send wrong signals to profit-seeking publishers, says Annurag Batra of exchange4media

e4m by Annurag Batra
Published: Dec 17, 2012 7:16 PM  | 7 min read
Vivid: Print Newsweek’s closure raises questions

The resurrection of Newsweek has been announced. At least that’s what Tina Brown, the Editor-in-Chief of both Newsweek and The Daily Beast, the online news site that was combined with the magazine last year, have us believe.

On December 31, the Newsweek will see its last in physical form, post which the magazine, which is touted to have helped define post-World War II to itself and the rest of the world, will go completely online.

Newsweek was launched on February 17, 1933, mere weeks after the Pakistan Movement was born and a little before the original version of the film version of ‘King Kong’, starring Fay Wray, premiered in New York City. The inaugural cover was a statement to the future yet to come, comprising seven photographs, the dominant one being of Adolf Hitler’s Nazi flags. Soon, Newsweek was to become a carrier of the news from the ‘American Way of Life’, sparking debates and discussions, bringing news that set the trend for rest of the US media to follow up.

Newsweek will be yanked off the newsstands less than three weeks of its 80th birthday. The online avatar, insiders say, will be rechristened Newsweek Global. As the plan goes, and as Brown has revealed to her staff, Newsweek Global will be supported by paid subscriptions, with content available for e-readers, tablets and the web, with some content also available on The Daily Beast.

Call it a resurrection or demise, Newsweek is out – albeit in the physical form – the fact that the iconic magazine is giving in to the virtual pressure cannot be missed. Brown herself said, citing an American think tank Pew Research survey, that 39 per cent of Americans get their news from an online source. And the percentage is continuously increasing, she said, as it is projected that there will be 70 million tablet users by the end of 2012, up from 13 million just two years ago.

So, does this mean that Newsweek is trying to keep alive at a time when about 300 newspapers – including the Atlanta Times, NY-based The Sun, The New York Tribune, the Boston Post and the Boston Chronicle – have already shut down or are shifting to hybrid online/ print or online-only models? Does this signal, as Paul Gillin of the Newspaper Death Watch fame states: “the tectonic shifts that are taking place in the media world, changes that will ultimately destroy 95 per cent of American major metropolitan newspapers”? Has Newsweek fallen prey to the “broken economic foundation of media scions, management neglect during the heady days of the industry and damaging scandals at a few major publications, that’s given us a newspaper industry teetering on the brink of an abyss”? Does this mean that more journalists will find themselves jobless after December 31? What does it mean for India? Will we also go down the same abyss?

Newsweek’s physical demise was neither written in a day nor over weeks, years. In fact, it has nothing to do with the global downturn, perhaps the only link being that had the world not fallen on hard times, the death could have been postponed a little more.

Newsweek’s circulation has been declining since the turn of the Millennium – from 4 million, it has gone down to 1.5 million, as the US Audit Board of Circulations reveals. According to Publishers Information Bureau data, the magazine’s print advertising fell by over 70 per cent from 2007 to 2011. Its circulation is also under 50 per cent of what it was five years ago.

Bloomberg says Newsweek, which merged with parent company IAC’s Daily Beast website last year, will lose more than $40 million this year, and $23 million in 2013, despite the merger.

The Newsweek demise was announced on October 18-19. Six days later, Barry Dillar, Chairman and Senior Executive of IAC/ InterActiveCorp IAC, while saying that the move will “dramatically” cut costs, added, “There’s real enthusiasm for Newsweek Global on all digital platforms, but we have no stars in any of our eyes.”

That needs reading between the lines. For, no print edition means a loss of advertising revenue. At the same time, there’s only been a careful, slow rise in online circulation and advertising revenue. Good news, but not good enough to recover IAC’s losses, yet.

For Newsweek has to ensure a sustainable sales and marketing model, where its site not only attracts, but also has a lock-in with the audience. It must also be understood that picking up a magazine from the newsstand or having the magazine delivered at your doorstep is one thing, while taking the time off to log in to a site is another. It’s altogether a different experience to spend an X amount to be handed over a copy for you to leaf through, as against the effort of logging in, subscribing and browsing. Which one’s easier than the other is a matter of debate, but that you have to be really well-informed to be a Netizen reading the online Newsweek is not. And, with web content mostly coming free till now, a pay-model is likely to hurt the magazine’s sales further.

There’s a theory that Newsweek is going for volume play. That would mean that the magazine’s global online entity will have to address a wider readership. The result would mean that ‘serious journalism’ that Newsweek is known for will have to give way to the sexy, dumbed-down and sensational. That in itself may be a double-edged sword for those who swore by Newsweek will be reduced to swearing at it and vice versa.

As for job cuts, Newsweek has been categorical that the all-online shift will bring in the inevitable. Internationally. Brown has said so as much, and corporates do during hard times; hear about a lot of ‘right sizing’ and ‘streamlining’ in the coming days, if you have not already heard them.

Journalists can take heart from the fact that they’ve been there and undergone the pain of suddenly finding themselves unemployed back in 2008-09, so it may not come as a shocker. Also, there’s still some hope left in sister industries such as online journalism, content writing and communication, although how much, that is yet to be ascertained. But the sense of unpredictability adds on, particularly for the Newsweek staff in the US about to lose their jobs; as it is, the nation is under tremendous pressure of unemployment.

As for the Indian media, the Newsweek news does not affect it really, as print here has shown no signs of dying down. But fear of a backlash remains.

Journalists fear that the Newsweek turning all-online is likely to send a wrong signal to print media publishers here looking for more profits. “Back in 2008-09 when the effects of the downturn had not even hit home, hundreds of journalists were made to leave in the name of the ghosts. It did not matter whether you were good at your job or not. It was downsizing time; you didn’t have to be good or bad, you were just made unemployed. It’s not about the move’s merit; it's about the lack of transparency. “In 2009, when Jet Airways wanted to cut 2,000 jobs, the media made sure Naresh Goyal (owner of Jet) was not able to do that, even as it quietly retrenched journalists. Not one of them was told the real reason, they were asked to go on some pretext or another. Not even a handful of journalists wrote about it and there was no fraternal sympathy or remorse as was seen in the media job cuts in the West,” says a senior journalist.

Now, what if the Newsweek’s shift makes the publishers divert their complete attention online, what if Newsweek becomes just another ruse for job cuts in the name of the newfound online calibrations, the journalist wonders.

All one can say for the Indian journalists, don’t expect any sympathy from within, if it happens.

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HT Media posts Consolidated Total Revenue of Rs 580 crore in Q2

Chairperson and Editorial Director Shobhana Bhartia says due to lower commodity prices and control on costs there has been an improvement in operating profit

e4m by exchange4media Staff
Published: Nov 5, 2019 7:28 AM  | 1 min read
HT Media

HT Media has posted a Consolidated Total Revenue for Q2, 2020 at Rs 580 crore.

As per a statement released by the company, EBITDA for Q2’20 increased by 139%, and margins at 14% vis-à-vis 6% in previous year. This has been driven by softening of newsprint prices and continued focus on cost.

The Net Cash position at a consolidated level continues to be strong.

The Print ad revenue has declined due to sluggish volumes, even as yields have improved. National advertising continues to be soft, although local advertising witnessed growth.

Savings in raw material costs have driven improvement in EBITDA margins.

Chairperson and Editorial Director Shobhana Bhartia said, “Slowing economic growth has hit advertising spends in key categories, putting pressure on revenues across the media industry. As a result, our Print and Radio (on like to like basis) businesses saw revenues dip as compared to a year-ago. However, thanks to lower commodity prices and a tight control on costs, we saw an improvement in our operating profit. On the digital front, Shine, our online recruitment portal has shown good progress and continues to grow. Our outlook for the coming quarter remains cautious, given overall economic sentiment and macroeconomic trends. Cost-control and falling commodity prices should help protect our margins.”

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ABP Group posts Rs 15.70 crore as net profit in Q1 FY20

The group’s total operating income stands at Rs 365.55 crore

e4m by exchange4media Staff
Published: Nov 4, 2019 5:41 PM  | 1 min read
ABP

ABP Group has posted a net profit of Rs 15.70 crore in the first quarter of FY20, as per media reports.

The group’s total operating income stands at Rs 365.55 crore.

It’s net profit for the fiscal ended March 31, 2019, was down 68% to Rs 31.90 crore compared to the previous fiscal.

The Profit Before Interest Lease Depreciation and Tax (PBILDT) has also dropped 53.52% to Rs 107.12 crore.

The group has six news channels - ABP News (Hindi), ABP Ananda (Bengali) ABP Majha (Marathi) and ABP Asmita (Gujarati), ABP Sanjha (Punjabi) and ABP Ganga (Hindi).

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Zee Media posts consolidated revenue of Rs 137.03 crore for Q2 FY20

ZMCL has recorded 4.4% growth in operating revenue for first half of FY20

e4m by exchange4media Staff
Published: Oct 24, 2019 9:19 AM  | 1 min read
ZMCL

Zee Media Corporation Ltd (ZMCL) has posted a 4.4 per cent growth in operating revenue to Rs 337.6 crore in the first half of FY20, as per media reports.

It has reported a consolidated revenue of Rs 137.03 crore for Q2 FY20.

In a statement, ZMCL has said: “During the quarter, the network expanded its footprint s into Southern India through the launch of Zee Hindustan in Tamil and Telugu languages. This is intended to make the network's content accessible to wider audience.”

The operating expenditure in Q2FY20 has dropped by 21.7 per cent.

The statement further said: “EBITDA for HlFY20 improved by 34.1 per cent to Rs 1,029 million from Rs 767.5 million EBITDA for H1FY19, while the same declined by 9.4 per cent to Rs 370.2 million from Rs 408.7 million for the corresponding period last financial year. EBITDA Margin grew from 23.7 per cent in H1FY19 to 30.5 per cent in HlFY20, while growing from 24.2 per cent in Q2FY19 to 27 per cent in Q2FY20.”

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No slowdown here: In-cinema ad rates up by at least 50% for 3 big Diwali releases

Housefull 4, Made In China and Saand Ki Aankh ready to hit the silver screen this week, with the hopes of giving brands the eyeballs they look for in theatres

e4m by Moumita Bhattacharjee
Published: Oct 24, 2019 8:41 AM  | 4 min read
DiwaliFilms

It’s that time of the year again when theatres gear up to pocket maximum gains. Diwali is here and there are three films ready to hit the silver screen this week--Housefull 4, Made In China and Saand Ki Aankh. The festive period brings much joy to exhibitors, distributors and theatre owners because it ensures footfalls, giving brands the eyeballs they look for. In fact, industry experts don’t feel that economic slowdown this year has impacted in-cinema advertising. While they are concerned about three movies clashing during Diwali, they predict 50-100 per cent rise in ad rates during this period. 

Advertising moolah

Mohan Umrotkar, CEO, Carnival Cinemas, is expecting 60-70 per cent surge in advertisement topline compared to last year. “Going by the buzz and advance booking for these three releases, market is bullish. Advertisers have blocked most of the advt-slots during the festival period. Housefull 4, Made In China and Saand Ki Aankh all combined together should generate around Rs 350 crore topline at the box office during the festival week. We are expecting 60-70 per cent surge in the advertisement topline from last year. Also, this year we have added around 14 per cent new advertisers, and 4 per cent of them are first-time cinema advertisers,” he says.

But according to Siddharth Bhardwaj, Chief Marketing Officer - Head of Enterprise Sales, UFO Moviez, things have changed a lot in the last couple of years. “Since some films have not really lived up to their expectation, advertisers are spreading the spends all through the year. They are picking up far more number of titles in the year rather than focusing only on Diwali or Eid.”

“It is good for the industry because you can monetise the inventories beyond just big weeks. A lot of content- driven films have come up which has given us the opportunity to monetise more markets. It has put lesser pressure on Diwali. Most of the cinemas are sold out for Diwali. It becomes difficult to accommodate everything,” Bharadwaj opines. He also reveals that for this week, the inventories are already full.

Diwali ad rates

Experts reveal that ad rates differ from property to property and depends on location as well. But Diwali surely sees a massive hike in rates. This year, theatre owners are expecting 100 per cent rise in ad rates. While Umrotkar revealed that for Diwali, they are charging 100 per cent higher than the regular card rates, Girish Johar, trade analyst and film producer, shared that even the rates for putting up kiosks of brands go up during festivals like Diwali.

“It’s based on property. On a ballpark, ad rates double up. So if you are putting up a kiosk, they charge say Rs 50,000-25,000 for a month. During Diwali, they charge almost double because of the kind of footfalls theatres witness,” Johar revealed.

Economic slowdown? Not for Cinema!

This year, brands have been pulling back their spends on other mediums due to economic slowdown, but cinema seems unaffected. Calling entertainment business recession-proof, Johar explains, “If you see the other side, box office is up by 15-20 per cent. Yes, it is a bit subdued because the brands are in a wait-and- watch scenario. They are increasing their focus around consumption rather than awareness.”

Bharadwaj too seconded it by saying, “These are challenging times but our medium is very efficient. If you see economy has slowed down, but the cinema has grown instead.”

Clash cover

Three movies are clashing this Diwali which means shared screens and box office gains.

“It’s never good for us when two or more big-ticket films release together. If they would have come on different dates, there are chances that more advertisers will take advt. inventory in those weeks separately instead of that one particular week,” shares Umrotkar.

 

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INOX Leisure Ltd sees 42% growth in total revenue

Profit After Tax up 327% to Rs 51 crore

e4m by exchange4media Staff
Published: Oct 23, 2019 6:06 PM  | 1 min read
INOX

INOX Leisure Ltd (INOX) has reported financials for the second quarter ending September 2019.

Its total revenue has risen to Rs 524 crore with a 42% growth from Rs 369 crore in the corresponding quarter in FY19. Its EBITDA has more than doubled to Rs 107 crore with a 121% growth, while the PAT stood at an impressive Rs 51 crore, up 327% from previous year’s second quarter.

Siddharth Jain, Director, INOX Group, said: “At INOX, setting new benchmarks is now a routine, thanks to our consistently sharp focus on luxury, service and technology and our uncompromised desire to offer our patrons, nothing but the latest and the best! We are delighted with our remarkable consistency on all parameters, and we are sure about maintaining the momentum and focus on innovativeness. Content once again proved that why we term it as the ‘hero’. Thanks to the creators of such spellbinding movies, which keep inviting our guests to our properties, and allowing us to pamper them with our signature hospitality. With the launch of Megaplex, we are delighted to further our endeavor of developing experience-driven cinema destinations of global standards, and we will continue to do so. On behalf of Team INOX, I assure all our stakeholders that we will continue to break barriers and exceed all expectations.”

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Hathway Cable & Datacom reports 100% subscription collection efficiency in Q2

The broadband subscriber base has increased from the previous quarter’s 840,000 to 860,000

e4m by exchange4media Staff
Published: Oct 18, 2019 11:17 AM  | 1 min read
Hathway

Hathway Cable and Datacom has reported subscription collection efficiency at 100%, and the broadband subscriber base has increased from previous quarter’s 840,000 to 860,000 in quarter ending September, as per media reports.

It has narrowed its consolidated net loss by 74% and the operating EBITDA has been reported 15% up to Rs 107.5 crore compared to Rs 93.1 crore a quarter ago.

The total income has dropped 2%, while the expenditure is down 6%.

In the financial results, the company has said the FTTH markets are leading growth in customer acquisition.

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ZEEL posts 7.4% YoY growth in total revenue for Q2 FY20

ZEEL's domestic advertising revenue has grown 1.4% YoY in Q2FY20

e4m by exchange4media Staff
Published: Oct 18, 2019 7:51 AM  | 2 min read
ZEEL

Zee Entertainment Enterprises Limited (ZEEL) has reported a consolidated revenue of Rs 2,122 crore for the second quarter of FY20, recording a growth of 7.4% on YoY basis.

The Earnings Before Interest, Tax, Depreciation and Amortization (EBITDA) was recorded as Rs 692.9 crore with an EBITDA margin of 32.7%. PAT for the quarter was Rs 413.2 crore. The Profit After Tax (PAT) for the quarter was Rs 413.2 million, with a growth of 6.9% YoY.

During the second quarter, ZEEL’s consolidated advertising revenue grew by 1.2% YoY to Rs 1,224.7 crore. The domestic advertising revenues grew by 1.4% YoY to Rs 1169 crore.

ZEEL has posted 26.8% YoY growth in Q2FY20 domestic subscription revenue. ZEEL’s consolidated subscription revenue grew by 19.0% to Rs 723.5 crore during the quarter.

ZEEL’s total expenditure in Q2FY20 stood at Rs 1429.1 crore, higher by 9.9% YoY compared to Q2FY19.

While ZEE5 recorded a peak DAU (Daily Active User) base of 8.9 million in September 2019, ZEE5 users watched an average of 120 minutes of content on the platform in the same month.
During Q2 FY20, the television network had an all-India viewership share of 18.4%.

During the quarter, ZEEL’s international business revenue was Rs 208.2 crore. The advertising and subscription revenues for international business declined by 4.0% YoY and 21.5% YoY, respectively.

Zee Music Company has registered 7.1 billion views on YouTube in Q2.

Punit Goenka, Managing Director and CEO, ZEEL, said, “I am pleased with the performance we have exhibited during the quarter. Our entertainment portfolio continues to grow from strength to strength across all formats and maintained its leading position. Our television network has emerged stronger post the implementation of tariff order on the back of a strong customer connect and brand pull of its channels. ZEE5 continued to gain traction across audience segments and markets, driven by its compelling content library and expanding list of partnerships across the digital eco-system. This strong operating performance allowed us to deliver industry leading growth in both advertising and subscription despite the tough macro-economic environment. Domestic subscription growth of 27% has reaffirmed the value proposition our television network has built over the years. The impact of tariff order has now largely settled down and has brought increased transparency along with improved monetization. Our domestic advertising revenue growth, though significantly lower than historical trend, is higher than the industry growth. We have witnessed an improvement in ad spends through the quarter and we believe that the onset of festive season along with measures taken by the government will help revive the consumption growth.”

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