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Time of India
01-07-2025
- Entertainment
- Time of India
Pirates of Bollywood have producers running for cover
Hindi film producers are increasingly seeking insurance against piracy-related losses, especially for big-budget films, due to significant financial setbacks. Insurers are hesitant to underwrite this risk because quantifying piracy losses is challenging. While some advocate for stricter anti-piracy laws, others believe insurance could make producers complacent, adding to existing funding challenges within the industry. Tired of too many ads? Remove Ads Tired of too many ads? Remove Ads Hindi film producers are increasingly seeking insurance protection against piracy-related losses, particularly for big-budget films, amid reports of significant piracy losses. However, insurers are hesitant to underwrite the risk, industry insiders issue of piracy has come into focus following reports that producer Sajid Nadiadwala suffered estimated losses of ₹91 crore due to a leak of Salman Khan-starrer Sikandar, which was released in film is insured for standard production and liability risks with New India Assurance , people aware of the matter said. However, losses due to unauthorised copying and distribution are not standard inclusions, they noted."Studios working on high-budget releases have approached us for piracy cover, particularly during the final edit and digital transfer stages," said Sumant Salian, business head of media and entertainment at Alliance Insurance Brokers. "The fear of content leaks before release is growing."According to a recent Media Partners Asia report, if piracy remains unchecked, revenue losses of the digital video industry in India are likely to double to $2.4 billion, or about ₹20,565.5 crore, by 2029 from $1.2 billion in 2024."Piracy continues to impact revenues. It is crucial that producers put in an explicit clause covering anti-piracy losses and enforcement costs while opting for film distribution insurance ," said Suniel Wadhwa, a veteran film distributor. "There are discussions going on between producers and insurance companies to obtain cover for film piracy," he while the demand for piracy cover is both legitimate and increasingly urgent, insurers face significant hurdles in addressing it. For one, it is difficult to quantify losses due to piracy, they said."There is demand for piracy cover, especially after the piracy of Hindi films such as Double Dhamaal (2011) and Udta Punjab (2016). But insurers are reluctant to underwrite first-party piracy risk, as it is difficult to quantify and prove losses," a senior executive at an insurance broker said, requesting anonymity. "Unless a policy is explicitly structured to protect a producer from film piracy and associated losses, an insurance company would not respond," the executive producers believe that they should combat piracy through systemic changes rather than relying on piracy insurance coverage."I think we need to fight piracy by bringing in stringent laws instead of recovering losses from piracy cover. Piracy is deeply entrenched... I think a piracy cover will make producers complacent," producer Rajesh R Nair said. "Also, a piracy cover is an additional cost to producers at a time when there are funding challenges. Granting the industry 'industry' status can eradicate these problems," he added."Pirates typically target big films," Nair India, the film industry typically relies on two main types of insurance - for production and distribution. Film production insurance typically covers delays, cast or crew illness, equipment damage, and liability under errors and omissions (E&O) policies. Film distribution insurance, on the other hand, protects against damage or loss of film prints or digital masters, delays in theatrical releases, business interruptions, and losses arising from leaks or piracy before release or during the early stages of digital roll-out.
Time of India
27-06-2025
- Entertainment
- Time of India
'Bold, Culturally Rooted, and Scalable Storytelling for a Young, Diverse India'
Asia Pacific Video Operators Summit At the Asia Pacific Video Operators Summit (APOS) 2025, hosted by Media Partners Asia (MPA), JioStar Entertainment leaders Alok Jain and Krishnan Kutty laid out a compelling blueprint for the future of Indian storytelling — one that's bold, emotionally resonant, culturally rooted, and built for scale. In a fireside session titled 'Inside the Next Wave of Indian Storytelling', moderated by Vivek Couto, Executive Director and Co-Founder of MPA, Jain and Kutty outlined JioStar's ambitions to champion local voices, innovate across formats, and program for India's young, diverse, and multilingual audiences. Redefining the Role of the Platform 'In a country as creatively diverse as India, it's no longer about scaling content — it's about resetting the creative ecosystem,' said Alok Jain, Chief of Content at JioStar. 'At JioStar, we're committed to ensuring creators are not boxed in by platforms, formats, or legacy structures. Today's storytellers move seamlessly — from short-form to long-form, social to television, digital to streaming. Our role is not to act as gatekeepers, but as collaborators.' He added that JioStar is building infrastructure that allows storytellers to move fluidly across mediums, giving them room to evolve while staying authentic. 'That's how we grow the ecosystem — by empowering creators, not restricting them. That's also how we expand its impact.' Boldness, Redefined: From Spectacle to Substance 'What was considered bold five or six years ago is not what's considered bold now,' said Krishnan Kutty, CEO of JioStar. 'Back then, it was about scale and visual spectacle. Today, boldness is about pushing societal norms, asking deeper questions, and doing it within the Indian context. We're not in California; we're in India. Our job is to push boundaries, but also to carry our audience with us.' This ethos is reflected in JioStar's programming — where boldness is not a matter of provocation, but of emotional depth, authenticity, and local resonance. Programming for a Young, Demanding India Jain emphasized that Indian consumers are evolving rapidly, and with them, so must formats and strategies. 'It's a young country. People are exposed to new things and they're demanding and unforgiving. If the story isn't great, they won't watch — regardless of who stars in it.' He cited Thukra Ke Mera Pyaar, a 19-episode show with 50-minute episodes, a debut director, and a debut cast, which turned into a hit from day one. 'That's proof the audience will embrace newness if the content speaks to them.' JioStar is also experimenting with non-fiction, micro-dramas, and hybrid formats. 'Innovation isn't a tactic for us — it's the baseline,' Jain said. The Untapped Youth Opportunity — Especially in the South While platforms like MTV have made inroads with younger audiences, Kutty pointed out that broadcasters and streamers have largely under-programmed for Gen Z. That's about to change. 'For the South, we are committed to increasing our programming volume for that audience by 7 to 10 times.' Jain echoed that youth-focused storytelling is both a creative and business imperative. 'If the industry is to run in a sustainable manner, we must drive content profitably — and focusing on youth is a big one for us.' Embracing the Multilingual, Multi-India Landscape Krishnan Kutty highlighted India's unique advantage: a multilingual, culturally rich ecosystem that fosters endless creative possibilities. 'The diversity of India is a gift from a content creator perspective — every state, every region is a source of different perspectives. What's remarkable is how audiences embrace content beyond their own language or state.' He gave the example of Kerala,"A small state like Kerala creates stories that travel nationwide. 80% of the consumption on JioHotstar for Malayalam content is outside the state. Great stories truly transcend borders.' India's digital video ecosystem is also vast — with 500–600 million users consuming 4–5 hours of content daily. 'The real challenge isn't what to do — but what not to do. There's significant headroom for both subscription and ad growth. And between premium long-form dramas and social storytelling lies a massive untapped space.' Resetting the Economics of Storytelling Kutty was candid about the systemic challenges facing the streaming industry: 'In streaming, we've escalated prices to a point where producers have become B2B entities, creating primarily for the platform, not the end consumer. That has led to a disconnect. Unless the model is reset, I believe it's deeply broken.' Reflecting on the state of theatrical entertainment in India, Alok Jain observed -'We've been in a difficult period where people aren't coming to theatres unless the movie is really, really good. Watching a film now is a three-hour commitment — and that's a big ask.' He argued that both storytellers and exhibitors must reinvent. 'Creators need to tell more authentic stories. Theatre owners must rethink pricing, experience, and value delivery. Theatrical viewing must feel like an experience - not just a screening.' The Great Reset — and the Great Opportunity Jain believes Indian content is poised for a reset — but one filled with possibility. 'Consumers are adapting to multiple formats, and I believe the space will settle. The industry is very cognizant of that. This reset is happening across content types — theatrical films, television, digital-first. And with that comes the opportunity to rethink, reformat, and rebuild.' With 320,000 hours of content across JioStar's network, the common thread, he said, is human emotion and shared experience. 'Our focus is to tell authentic stories from every corner of the country — stories that resonate universally. That emotional truth is what allows Indian content to scale and even travel globally.' India: A Strategic, Youth-Driven Market India remains one of the most strategic markets globally, said Jain. 'With a billion young people, 22 languages, and a thriving economy, India is unmatched in scale and diversity. What makes it exciting is not just its size — it's the scale, youth, and openness to change.'
Time of India
25-06-2025
- Business
- Time of India
Digital tops TV in IPL 2025 viewership: JioStar-MPA report
Digital platforms outpaced television in viewership during the 2025 edition of the Indian Premier League (IPL), according to JioStar 's report 'TATA IPL 2025: A Year of Firsts', released in partnership with Media Partners Asia (MPA) at the APOS conference in Bali. The report highlights a key shift in audience behaviour, with digital reach recorded at 652 million—higher than the 537 million viewers on television. The final match alone attracted 426 million viewers across platforms, with 237 million tuning in via digital and 189 million on TV. In total, the tournament reached 1.19 billion people, driven by strong digital adoption, enhanced features, and wider regional access. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like If You Eat Ginger Everyday for 1 Month This is What Happens Tips and Tricks Undo 'This IPL, not only have we reached a billion viewers across platforms, we have also managed to make this IPL the most monetised edition of the event and also the most monetised sporting event ever in India across advertising and subscription revenue,' said Sanjog Gupta, CEO – Sports & Live Experiences, JioStar. JioHotstar, the digital platform carrying IPL matches, reported growth to 300 million subscribers and over 1.04 billion Android app downloads. Peak concurrency reached 55.2 million, with a total of 514 billion minutes of viewing time across the tournament. Live Events You Might Also Like: Jiohotstar closes in on Netflix, subscribers touch 300 million Explaining JioStar's approach to digital viewing, Gupta said, 'Our premise around sport is don't look to serve many fans as one but look to serve almost each fan as many, and what that means is every fan at different points of time and on different devices and in different modes of consumption will consume your content differently. So can you create infinite hyper-personalised journeys for each and every fan instead of serving one streaming experience to all—and that's the core tenet of the platform.' Women made up 47% of the TV audience on Star Sports, and regional language viewership saw significant growth. Telugu feed consumption rose by 87%, Tamil by 52%, Kannada by 65%, Hindi by 31%, Bengali by 34%, and Haryanvi by 47%. The report also noted strong engagement on social platforms, with 3.83 billion interactions recorded. On mobile, 44% of viewers took part in the interactive play-along game 'Jeeto Dhan Dhana Dhan', while many accessed features such as MaxView 3.0, multi-angle cameras, and voice-assisted search on Connected TVs. Accessibility and technological innovation were also part of JioStar's offering. Viewers had access to AI-generated match highlights, real-time commentary translations, Indian Sign Language interpretation, and audio descriptive commentary for the visually impaired. You Might Also Like: IPL 2025 attracted 1 billion viewers across TV, digital: JioStar Gupta added: 'Our mission wasn't to incrementally change the landscape—it was to completely shift the way consumers perceive paying for content and also over a period of time, attribute value to the entertainment needs they have.' He described JioStar's goal as building 'a platform with infinite consumer journeys by creating a user experience which is inclusive, intuitive, interactive, and immersive.' Commercially, IPL 2025 attracted over 425 advertisers, including 270 new entrants across 40 categories. Thirty-two brands used third-party tools such as Nielsen to track campaign performance. Gupta noted, 'India's growing influence in sport is nothing but a reflection of India's growing significance on the global stage, driven by a strong consumption-oriented economy.' You Might Also Like: IPL 2025 ad blitz intensifies as JioStar chases its 'Super Bowl moment
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Business Standard
09-06-2025
- Entertainment
- Business Standard
How language streaming services Hoichoi, Aha shake up entertainment market
The numbers seem small. In 2024, streaming video generated ₹35,600 crore in advertising and pay revenues from 125 million subscribers, according to Media Partners Asia premium Listen to This Article Eken Babu is an unlikely detective. The rotund, balding character was created in 1991 by the late author Sujan Dasgupta for Bengali magazine Anandamela. Eken Babu became a web series on Hoichoi, a Bengali streaming service, in 2018. The show is now in its eighth season. Eken Babu's popularity prompted Hoichoi's parent, SVF Entertainment, a major studio and distributor based in Kolkata, to produce a film featuring the character in 2022. This May saw the release of the third film in the franchise, Eken: Benaras e Bibhishika. Hoichoi, a subscription-based service, which launched in 2017, now makes a small profit Disclaimer: These are personal views of the writer. They do not necessarily reflect the opinion of or the Business Standard newspaper
India.com
21-05-2025
- India.com
Rs 22,400 crore scandal revealed, how film piracy scam is devastating the Indian entertainment industry
Piracy has been a global issue faced by almost every film industry across the globe. Surprisingly, India is the world leader for online video piracy with approximately 90.3 million users. Second on the list is Indonesia with 47.5 million and the Philippines with 31.1 million users. A report by Media Partners Asia, studied by Economic Times and EY, backed the study. The Indian film industry has been the victim of online video piracy. Days before a film gets a theatrical release, the film has already been available on multiple pirated sites. Films like Raid 2, Sikandar, Jaat, and many such films fell prey to piracy and were reportedly released a day before the release date. A senior Maharashtra police officer, during a conversation with ET, highlighted the growing concerns of Indian films being leaked on multiple sites ahead of it's premiere. 'There is a growing trend of movies, especially Hindi and Tamil films, being leaked on the day before the release. In such cases, the role of an insider is suspected,' said the police officer. Trade analyst Girish Wankhede emphasised the key points where leaking films is likely to be an insider's job. 'Piracy before the day of release of a film implies that it is an insider job… post-production studios, content delivery agencies, and nefarious elements in exhibition companies,' highlighted Girish. A report by EY-IAMAI Internet and Mobile Association of India (IAMAI) found that a majority of 51 per cent of Indian users consume pirated content. The source was likely to be illegal streaming platforms, mobile apps, social media, torrents, and many more. Most importantly, application like Telegram allows users to download large files, contributing to many pirating of content. Adding further, Subhash Chandra, chairman Emeritus of Zee and Essel Group, highlighted that 'Pirated content has been one of the quietest sources.' 'Terror networks don't survive on ideology alone. They survive on money, and pirated contents is one of their quietest sources,' said Zee In a shocking turn of events, a report of 2023 revealed that pirated content alone caused a huge loss of Rs 13,700 crore for theatres and Rs 8,700 crore for OTT platforms running in India. The report further revealed that pirated content has severely affected mid to small budget films. On the other hand, big-budget films manage to cut a deal with multiple streaming platforms despite the content leak. Many producers assert that their films become a target when there's a buzz during the pre-release of a film. Looking forward to the likelihood of becoming the next target, many turn to online piracy. Although online piracy inflicts a financial drain, it increases public viewership. To tackle online piracy, industry experts are pushing forward for a 'multi-layered' technology, pushing piracy to the far end. Trade expert Girish highlighted that companies are building and practicing dividing films into three encrypted parts, which can only be accessed by a password verification. However, this technology is currently under development, but it is likely to prove effective against online piracy. A company, BLOCK X Technologies, is collaborating with production houses to filter out pirated content with the advancement of Artificial Intelligence. This is likely to help eliminate pirated content with the help of AI bots. This technology is proposed for long-term use in the industry.
