Yogitha Karve

Bollywood Needs Serum. The current ecosystem in Bollywood faces two significant problems. First, there is a lack of capital for "quality" films, whereas huge sums of money are consistently funnelled into star-led melodramas. Despite often losing money, these projects still manage to secure funding, raising concerns about the transparency of revenue numbers, which are reportedly fudged. The sources of such funding remain opaque, making it difficult to understand how these projects continue to thrive despite underperformance. Second, there is a severe bottleneck in distribution outlets. Chains like PVR are nearly inaccessible without massive marketing budgets, leaving smaller films, particularly those focused on quality, without a platform to reach audiences. OTT platforms like Netflix, Prime Video, Sony and Zee were initially seen as an alternative distribution channel for these films. However, even these platforms have now become dominated by big-budget, stereotypical thrillers, a trend fuelled by behind-the-scenes collaborations, which further push smaller productions to the margins. OTT platforms, once seen as the saviours of independent filmmakers, are now contributing to the problem due to their preference for formulaic, inflated-budget content.These OTT giants are also showing signs of financial stress, making them less willing to take risks on lower-budget films. Amid these challenges, the ‘Dharma-Adar deal’ provides a potential beacon of hope. Karan Johar's decision to sell half of his stake in Dharma Productions to Adar Poonawalla, CEO of Serum Institute of India, is an important development. Poonawalla's ₹1,000 crore investment aims to inject much-needed capital into large-scale, multilingual productions and the creation of franchises, while also elevating traditional entertainment formats. This is the first major external investment in Bollywood in recent memory, and it represents a significant step toward addressing the capital shortage in the industry. The injection of organized capital from a non-strategic investor like Poonawalla could pave the way for more professionalization in Bollywood, where financial transparency and scalability are still major concerns. The deal also highlights the growing need for consolidation within Bollywood. The fragmented nature of capital flow has stunted growth for many years. Bollywood lacks the backing of professional investment that major Hollywood studios like Disney or Fox enjoy, making it difficult for smaller or more artistic films to secure financing. Poonawalla’s investment could act as a catalyst for more private equity and venture capital investments, as it signals the beginning of a more financially structured and risk-managed ecosystem. #reelismfilms

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Alright, Bollywood. Can we talk about the new Bhool Bhulaiyaa and Singham trailers? Really? This is what we’re hyping up now? Overacting superstars, nonsensical plots that add zero new value, and dialogues so cringe they might as well come with a warning. It’s like they’re pouring all the money into making the movie look visually big but forgot about the basics—story, character development, originality, you know, the important stuff. It feels like Bollywood’s strategy now is: ‘Throw some slow-mo shots in, add a superstar, crank up the VFX budget, and boom, we have a blockbuster.’ But here’s the thing… Audiences aren’t idiots. We can tell when there’s no effort beyond the gloss. Can we please stop making movies that look expensive but feel cheap? 🙄 Let’s remember: you can’t rely on packaging alone to build loyalty—whether in business or Bollywood!

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After the hiring post for a job in Mumbai with "Marathi people don't apply" went viral, thanks to JANVI SARNA & Balkrushn Koladiya, it made me remember 2 incidents that took place with me 1) CEO of an ad agency asked me in the interview if I am a "Typical Pune based Marathi person?" And am I "inclined towards working 10-6 & would hardly want to stay past the working hours?" My answer to both was 'yes' and that didn't give me a job there. 2) While writing ads, especially in Hindi and English, I was once told by my boss that "your writing has smells of Marathi curry rice (varan bhat)" which according to that boss was very low standard/ not in-line with the client expectations. So basically they are okay with Punjabi, Bengali, Gujarathi and UP flavours in writing, but Marathi style is down market. Both these incidents are from Pune, now just wonder what's the situation of Marathi hatred in Mumbai! #Marathi #Mumbai #Pune #JanviSarna #HateAgainstMarathi #Racism

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This video is a must-watch for anyone looking to kickstart their journey as a video editor. Anchal Tiwari shares her experience, tips, and how she turned video editing into a successful career path & earning a Six-figure Income. For those who are looking for Plan B options or exploring new opportunities, this episode could be your guide to a thriving career in video editing. 🎯 Watch the full episode! #VideoEditing #PlanB #CareerAdvice #VideoEditor #ContentCreation #AnchalTiwari #SwatiDhamunia #Podcast

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राधे राधे 🪷 Looking for investors / producers for Nawazuddin Siddiqui Hindi Feature Film NOTE - It’s not approved from any OTT so kindly don’t ask about approval Those who are interested can mail me on - [email protected] or can DM me #investors #producers #hindi #featurefilm #film

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As an agency, what can set you apart? - Creative Ideas - Adhoc ideas that can turn into a major one - Right choice of artists/influencers - Cost (most important) - Transparency But what gets you work in India? - Your individual/agency PR #humour

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We all have heard of “all rounder” in Cricket we have seen some greatest of then…… More options for Captains.. Content generating ecosystem is shifting more towards becoming all rounder … Would you say AI is an all rounder ? Are the tools becoming more allrounder ? Some genre of content creation need more all rounder than other.

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Exposing the VMAS ASIA INDIA Scam: A Cautionary Tale for the Entertainment Industry In an alarming turn of events, a fraudulent operation masquerading as an OTT platform, VMAS ASIA INDIA, has been unmasked as a scam targeting dubbing vendors and production houses in India. What initially seemed like a promising venture in Hindi, Marathi, Gujarati, Bengali, and Punjabi content turned out to be a scheme devised by a small group of individuals—just four to five people—whose primary goal was to defraud industry professionals. The Illusion of VMAS ASIA INDIA VMAS ASIA INDIA presented itself as an upcoming OTT platform, luring unsuspecting vendors with promises of partnership and financial gain. Their tactics were created an elaborate facade, replete with a professional website and fabricated testimonials, to convince potential partners of their legitimacy. However, the core of their operation was far from genuine. Their main motto was straightforward: extract money from dubbing vendors and production houses under the pretense of launching an OTT platform. They sought upfront payments, often through contracts that appeared professional but were essentially empty promises. Legal Intimidation Tactics To maintain their ruse and dissuade potential whistleblowers, the perpetrators employed legal intimidation tactics. They sent fake legal notices, supposedly from lawyers, threatening anyone who might consider taking action against them. This ploy was designed to instill fear and silence dissent, convincing victims that speaking out could lead to dire consequences. However, our team at Absolute Films refused to be intimidated. After discovering the true nature of VMAS, we took a stand. When we exposed their fraudulent activities on LinkedIn, they retaliated with a legal notice, attempting to scare us into silence. But our resolve only strengthened. We consulted our own legal team and responded to their threats with full confidence. The Truth Revealed To further investigate, we sent the legal notice to VMAS's alleged head office in Delhi via registered speed post. To our shock, we discovered that there was no such office in existence. This revelation was the final confirmation of our suspicions; VMAS ASIA INDIA was merely a facade with no legitimate business infrastructure. Taking a Stand At Absolute Films, We urge our colleagues to be cautious and to conduct thorough research before entering into any business agreements. Trust your instincts—if something feels off, it probably is. Conclusion The VMAS ASIA INDIA scam serves as a stark reminder of the importance of vigilance in the entertainment industry. We must come together to expose and dismantle these fraudulent operations. By raising awareness and standing firm against intimidation tactics, we can protect not only ourselves but also our colleagues and the integrity of our industry. Let us work together to create a safer environment for all. #aabsolutefilms #vmasasiaindia Dubbing Company VMAS ASIA (INDIA)

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When a taboo topic is given the shape of an art, then it becomes acceptable: FCB India’s Anusheela Saha In a conversation with Storyboard18, Anusheela Saha, national creative director and head of design, FCB Group India, spoke about the putting together Durex's new campaign #ExplorersWanted, challenges during the making of the campaign and how ‘sex’ is still a taboo subject in India and abroad. Read more 👇🏻 https://lnkd.in/dp9mVkkA By Kashmeera Sambamurthy #digitalmarketing #marketing #socialmedia #business #entrepreneur #branding #socialmediamarketing #contentmarketing #growthhacking #marketingstrategy #growthmindset #leadgeneration #sales #engagement #communitybuilding #influencermarketing #results #impact

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In the heart of India's bustling cities, a revolution unfolds—Out of Home (OOH) Media is not just adapting but setting the pace for a cookieless future. As digital privacy becomes paramount, OOH Media, the stalwart of non-digital tracking, is reinventing itself with Digital OOH (DOOH) and Programmatic DOOH (pDOOH), capturing the essence of India's dynamic market. India's OOH landscape is on a meteoric rise, with billboards dotting the skyline. The digital wave has transformed these static canvases into interactive DOOH experiences, making them the fastest-growing segment in our media ecosystem. Modern infrastructures like airports and malls are now vibrant hubs for DOOH, offering diverse and flexible advertising opportunities. The game-changer? Programmatic advertising. It's reshaping India's OOH narrative, integrating DOOH into comprehensive media strategies that deliver targeted, engaging content through smart, audience-aware networks. The promise of programmatic lies in its precision—enabling advertisers to craft campaigns that resonate, based on real-time data and audience insights. Amidst this transformative era, Signpost India stands as a beacon of innovation. As the country's premier DOOH enterprise, Signpost India is redefining the connection between brands and urban audiences through data-driven strategies and digital prowess. Boasting over 29,246 panels that impact 54.6 million lives, Signpost India is at the forefront of DOOH communication, offering designs that captivate and convert. Signpost India's philosophy—W.E.S.T. (Work, Entertainment, Shopping, and Transit)—ensures that brands reach their audience where it matters most. Our CAPTURA system is a testament to our commitment, providing advertisers with actionable insights and hyperlocal targeting through cutting-edge video analytics. As we look ahead, India's OOH sector, especially DOOH and pDOOH, is poised for unprecedented growth. It's a thrilling era for advertisers who seek to make a meaningful impact with respectful, privacy-conscious, and result-driven advertising. Join me in exploring the frontiers of India's advertising renaissance, where tradition meets innovation, and privacy meets performance. #OOHMedia #DOOH #pDOOH #Advertising #CookielessFuture #DataPrivacy #MarketingStrategy #SignpostIndia #Innovation #SignsofTomorrow #India

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The Curse of Creativity. The story of Rahi Anil Bharve's struggle to make the cult horror film, 'Tumbbad' as described in this article, is the answer to anyone who poses the question, "Why don't we make original movies in India?" To put it bluntly, in India there's no value for originality and creativity in art, film, writing and reporting. Mind you, you can be successful and rich in commercial art, which is graphic design, content writing, copywriting, art design and direction. These have no pretensions of being unique or masterpieces. They're done with a singular objective to make money. A Bollywood masala movie will get a plethora of takers. But original art, movie, storytelling and writing, is a long , painful and largely unrewarding journey. A college dropout with a copy cat business model of an international startup will get billions in funding. Star kids with zero talent will get break after break after break. Talentless rich kids will buy themselves university seats and business awards. But a unique story based on local folklore, helmed by a self-taught graphic artist, has to take 15 years to see the light of day! Such a shame. The real horror stories are not of ghosts and ghouls, but the ones we're told as children, of artists and writers who died in penury. Even a life of crime is considered better than one spent in creative poverty. Because the criminal is feared, while the creative is pitied. Such is Indian society's fear of creativity, that we're happy to convert our children into mediocre engineers, lawyers and accountants, but not nurture and support creative originality. That fear is alas, well grounded, as this article shows. Hats off to this guy for believing in his vision and suffering through the journey. Which is not one, for the faint-hearted. Most of us, suppress or reject that spark, till we've attained a life that can support it. Also, salutations to the brave parents who support their children in picking up such careers. You are the unsung heroes and heroines of society. We need more like you. There's one thing though, we all can do. That is, to watch this movie. Or rewatch it, in the theaters, if possible. One sincere request; if you don't understand someone's artistic expression on paper, words or celluloid, please don't say, "I can do it better." It's ok to say, "I didn't get it." or even, "I don't agree with it." Or best, say nothing. #weekendmusings #creativity #talent #society https://lnkd.in/g3Fj_4dt

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Viraj Sheth, Co-Founder & CEO of Monk Entertainment shares how Gen Z can turn their doom-scrolling into productive habits. He also shares that instead of mindlessly scrolling, everyone can use it to research what brands are missing and pitch their insights to agencies!🚀 Hosted by Karan Shah, Founder & CEO at IIDE, this Supersession was a great learning experience for all our PG students. Check out the full supersession video on our YouTube channel! - - - #digitalmarketing #influencermarketing #business #marketing

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While the entertainment industry often appears glamorous, the underlying financials can tell a different story. Dharma Productions owned by Karan Johar, for instance, generated a mere Rs. 0.59 Crores in profit on a revenue of Rs. 520.2 Crores for FY 2023-24. This emphasizes the critical role of financial management. If businesses neglect their numbers, they risk significant challenges and potential closure. Aadar Poonawala's recent investment of Rs. 1000 Crores in a 50% stake in Dharma Productions underscores the importance of sound financial strategies in the industry. #business #finance #entertainmentindustry #Bollywood #investment #financialmanagement

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Dear Freelancers, It’s time for a reality check! ✅ It’s heartening to see the influx of fresh faces in the event industry, and why not? The industry is projected to grow at a 20% CAGR in India over the next 5 years. However, while the demand for in-person events is high, agencies are still struggling to fill the gap with experienced personnel to meet client needs. Enter Freelancers 🚶‍♂️ – fresh graduates diving into the world of event production and management. It’s a lucrative option indeed. Who doesn’t want the flexibility to choose projects and work on their own terms? Here’s my take, based on experience and some hard facts. Though it may be brutal, it stems from a genuine concern for all the aspiring event professionals and the future leaders of our industry. While freelancing might seem lucrative initially, with high wages for someone just starting out, the reality is quite different down the line. Here’s why: 🎓 Foundational Learning: Freshers who jump straight into freelancing often miss out on the foundational knowledge they would gain from working in an agency. They are generally hired last minute or to fill small gaps, limiting their learning and growth. Instead, starting your career with a traditional agency role can provide structured training and mentorship, offering a comprehensive understanding of the industry, from project management to client handling, which is crucial for long-term success. 📉 Short-Term Gains, Long-Term Losses: While freelancing might be financially attractive at first, as demand fluctuates, you’ll struggle to compete with seasoned professionals who have extensive industry experience. 👩‍💼 Professional Network: Being part of an agency helps freshers build a professional network, essential for career growth. As a freelancer, you may find it challenging to establish such connections early in your career. Does this mean freelancing is not a viable option in our industry? Of course not! Many of my colleagues are successful freelance event professionals. But they have years of experience, a wealth of knowledge, and a proven track record. They have found their niche, mastered their craft, and can now command higher fees that agencies are willing to pay for their expertise. To sum up, while the rise of freelancers brings both opportunities and challenges, freshers must weigh the long-term impact. As agencies, mentors, and seasoned professionals, we need to guide these young talents to build a solid foundation first before diving into the freelance world. Let’s ensure the well-being and growth of our future event managers! #EventManagement #Freelancers #EventProfs #CareerGrowth

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BREAKING: Greenikk shut down this week. (How fake PMF killed Greenikk) 🇮🇳🍌 Founded by Fariq Naushad and Previn Jacob Varghese in 2020, Greenikk wanted to revolutionise the banana industry in India by creating a full-stack banana system that would digitise the entire banana value chain. Greenikk wasn't just another agritech startup. It was a lifeline for banana farmers. At its peak, Greenikk raised ~$643k from notable investors like 100Unicorns:  - generated sales of ₹1.58 crore (~$200k) - provided jobs to 30+ employees and 150+ women artisans - helped 5000+ agriculture stakeholders go digital (moved ₹120+ crore from cash to digital) - converted 500 tons of banana waste into fibre and traded 10,000+ tons of bananas (giving farmers better prices) However, something was off. Everything collapsed when the company: - struggled with low-service revenue with limited scalability - faced high loan defaults + business losses - couldn't raise Series A from investors - failed to hit PMF Want to know why and read the full failed story of Greenikk? The newsletter will be sent to my subscribers at 8pm today. Join 5,000+ operators here: https://lnkd.in/gdDrhgtq P.S. I guarantee this is the best 5 mins you'll ever spend to learn from failed startup stories and become a better operator 🤝🏻 #startup

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I’m sure many of you have caught the Zomato vs Bitm ad issue. And I’m also sure many of you have seen Tamanna's ad for Indian. Well, some of you have been gleefully digging your elbows into my ribs, making all sorts of accusations. Allow me to do a little exercise with you. It will help you decide whether you should continue with your elbows or withdraw them. If you’re hinting at plagiarism, consider these angles: First off, I ought to have had an opportunity to see the original ad in question. For that to happen, the original would need to be visible to me and the general public. Because if something is kept inside your mind, book, folio, folder, drawer, computer, etc., there’s no way I could have seen the original. Agree? So here are a few questions you should ask: Was the supposed original ad known to people? As in, even on LinkedIn, have people seen the ad? If some of you have seen it, did you tell me or send me secret snapshots from 2005? Was it ever shared on this platform or any other platform that I’m part of? Was the ad real and legitimate, or was it just a layout? Was it ever released as an advertisement in the same size, shape, format, and medium? Is there a newspaper print copy available? Was it only part of someone’s physical portfolio? Did it just get discovered as part of the copywriter’s and art director’s portfolio? Was the portfolio ever uploaded to the net? Was it ever entered for any awards? Was it awarded? Did the award committee publish its thumbnails online? And was it available and visible on the net before this week? If the answer is No, then I should be in the clear. Take your elbows away. But if the answer is Yes, then I’m certainly guilty. Get me more elbows. Now, as far as the ad I did, here are some details: It was first released as a full-page newspaper ad on the 15th of August, 2023. I have also shared it here. It was complimented by many, reposted, and perhaps even downloaded. Plus, it won several awards across the year. And now, if you still want to keep yipping and nipping at my heels, then go ahead. #marketing #advertising #friday #copy #creative #bitm #banginthemiddle

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₹22,400 Crore ($2.7 Billion) Lost to Piracy in India’s Entertainment Industry 1. Rising Piracy: A Growing Concern for Content Creators 51% of Indian consumers access content through pirated sources, posing a significant challenge to the entertainment industry’s revenue streams. 2. Streaming Dominates Piracy Landscape 63% of pirated content comes from streaming platforms, with mobile apps following closely behind as a major channel for illicit content distribution. 3. Massive GST Revenue Losses Up to INR 43 billion in GST revenues may have been lost due to piracy in India, underscoring the financial impact of unauthorised content consumption on the economy. 4. Post-Pandemic Surge in Subscription Revenue Subscription revenue has surged by 150% since the pandemic, signalling a strong rebound for OTT services, but piracy continues to hinder further growth. 5. Filmed Entertainment Industry Poised for Growth. India’s filmed entertainment sector is projected to reach INR 146 billion by 2026, signalling significant opportunity—but piracy remains a critical hurdle. 6. Pirates Don’t Want Paid Subscriptions 70% of pirated content consumers report no interest in purchasing OTT subscriptions, highlighting a major gap in monetisation strategies for streaming services. 7. Young Demographics Driving Piracy A significant 6% of pirated content users are aged between 19-34 years, suggesting that younger audiences are more likely to engage with unauthorized content. 8. Language Preferences in Pirated Content 40% of pirated content is consumed in Hindi, with 31% opting for English content, reflecting language preferences and potential areas for localisation. 9. Consumer Willingness to Switch to Legal Platforms 64% of pirated content users would prefer accessing content via authorized channels, even with ads, if offered for free—indicating potential for ad-supported business models. 10. Resistance to Paying for Movie Tickets A strong 84% of pirated content consumers report that they have no intention of purchasing movie tickets, pointing to the need for more affordable or flexible viewing options.

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Interesting... yet not surprising.

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Does the latest lull in advertising spends at IPL matches spell the death of advertising? This question is natural given how digital marketing and ad blocks have become the norm in the manner we consume content. Every website and OTT platform today is filled with advertisements for products irrespective of whether it serves any purpose for the consumer, pushing them to spend money to choose ad-free content. But, if that happens, how will brands showcase their products?   Consider this. It has been reported that the percentage of money being spent on advertising during the IPL matches has gone down in 2024. This muted contribution to ad spends is attributed to the “global slowdown in VC funding and a cautionary approach adopted by global tech companies who have decided to exercise caution.” Now, in the light of consumers getting weary and advertisers adopting a cautionary tale, I am reminded of the ad breaks on radio when we kept match scores while listening to the commentary in the olden times. During these breaks, we listened to ads like “Buland Bharat Ki Buland Tasveer” and it almost always brought a smile to the face. As someone who lives, breathes, and works in advertising, I am quite hopeful about the future of advertising. Just last week, McDonald's came up with a campaign in Netherlands, where blank billboards were set up in the open. What was interesting was that once you reached near the billboard, you could feel a whiff of the McDonald’s fries, sparking a desire to go buy it for yourself. This idea, albeit brilliant, is not a novel concept and we have seen perfume brands and soap companies play upon the olfactory senses of customers. It shows that we must keep coming up with new ways to showcase our stuff. The IPL lull, meanwhile, is a momentary pause, and will pick up in the latter half when more engaging matches are planned. It is expected that India’s television and digital video revenues will skyrocket to a staggering $17 billion by 2028. But with the rise of new platforms, good broadband connection and internet-enabled TVs, marketers must rethink their strategy on how these platforms can be used to reach the right audience. #advertising #IPL #marketing https://lnkd.in/gy9AcVre

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