Category: Broadcast

Chinese digital giant Tencent has expanded its tennis portfolio after securing exclusive broadcast rights to the Wimbledon Championship grand slam in mainland China for the next three years.

The deal, struck by Tencent and the tournament organizer – the All England Lawn Tennis Club – will see Tencent’s digital platform show coverage of the grand slam from 2025 to 2027.

The rights package includes live broadcasts of games, as well as additional content such as match replays, on-demand viewing, and highlights across Tencent’s media and social platforms, including Tencent Video, Tencent Sports, WeChat, Tencent News, qq.com, and QQ.

Paul Davies, associate director of broadcast, production, and media rights at the All England Club, has said: “We are delighted to be working with Tencent to showcase all the thrilling action from Wimbledon to tennis fans in China.

“Whether it is live broadcast, match replays, highlights or features, Tencent’s multimedia platforms will ensure fans won’t miss a moment of their favorite players at Wimbledon.”

Tencent previously held exclusive digital media rights for the 2017 Wimbledon edition and earlier this week also announced it had struck a live broadcast deal with women’s tennis’ WTA Tour to show all WTA 250, 500, and 1000 tournaments through to the season-ending WTA Finals in November for the 2025 season.

IMG, the international sports marketing agency, distributes Wimbledon’s international broadcast rights and manages its sponsorship portfolio as part of a long-standing partnership with the AELTC that was last renewed in December 2022.

The Wimbledon Grand Slam was previously shown by Chinese streaming platform Shinai Sports, which held exclusive digital rights in mainland China for the 2019 to 2024 editions, which it showed across its platforms including the iQIYI sports channel, app, website, and Qiyigou TV.

Tennis is enjoying increased popularity in China, due to a new generation of Chinese tennis players showcasing their talents, headlined by women’s world number eight Zheng Qinwen, who won two WTA titles in 2024 and reached the WTA Finals that year.

Other up-and-coming players the country is keen to showcase include Shang Juncheng, Zhang Zhizhen, and Wang Xinyu.

Jeff Han, vice-president of Tencent Online Video, said: “An increasing number of people in China are paying attention to and participating in tennis.

“The cooperation between the All England Club and Tencent will help drive a new wave of tennis enthusiasm. We hope that through the broadcast of Wimbledon and high-quality content, more users will be able to experience the charm of this century-old tournament up close.”

This year’s edition runs from June 30 to July.

Meanwhile, the women’s WTA Tour has announced bumper global audience numbers for 2024, reaching a record 1.1 billion on broadcast and streaming platforms worldwide.

The number represents a 10% increase on the previous season, largely helped by the season-ending WTA Finals in Saudi Arabia attracting the biggest of any previous finals tournament, with a global audience of 78 million – up 160% against the audience for the previous year’s event.

The tour attributed the jump in numbers to Chinese engagement in the tour, with five Chinese singles players in the top 100 of the WTA Rankings, and a large Chinese audience watching Zheng Qinwen make her debut at the WTA Finals.

The 2024 WTA Finals was shown on Chinese state broadcaster CCTV, marking the first time the tournament had received linear TV coverage in the country since Peng Shuai, a prominent Chinese tennis player throughout the 2010s, disappeared in November 2021 following allegations of rape she made against a senior Chinese government member.

In the aftermath of her disappearance, the WTA suspended all its events in China and online streaming service iQiyi ended its 10-year rights deal with the WTA, which first began in 2017.

However, the WTA’s boycott ended in April 2023, with chief executive Steve Simon admitting a “different approach” was needed. Sportcal

India’s leading storytelling platform, KUKU FM, has entered the video streaming market with KUKU TV, pioneering vertical, serialized microdramas-a first in the country’s OTT landscape.

With the ambition to become India’s largest vertical microdrama distribution platform within a year, KUKU TV brings a fresh format tailored for today’s mobile-first audience. Microdramas—short, episodic vertical videos with fast-paced storytelling and cliffhanger endings—are designed for quick, on-the-go entertainment. Each episode lasts up to 2 minutes, spanning over 50+ episodes per series, making them ideal for modern viewing habits.

KUKU TV is available in Hindi, Telugu, Kannada, and Bangla, ensuring regional inclusivity while also curating content from around India. The library currently boasts over 300 hours of premium stories across genres like Action, Bollywood, Sci-Fi, and Mythology, and will be frequently updated with fresh microdramas and vertical movies. Starting next month, one Indian regional microdrama will be released every day.

Why Vertical Microdramas? The Data Speaks
As per an Ericsson study, 57% of global video plays come from mobile devices, with 94% of users holding their phones vertically. Social media platforms have already proven that vertical video drives engagement, yet no dedicated OTT platform existed to serve this demand—until now.

Vinod Kumar Meena, Co-Founder & COO of KUKU, explains: “Traditional OTTs aren’t built for India’s mobile-first audience, whose attention spans are rapidly shrinking. 90% of Indians consume vertical videos on social media, yet there is no dedicated premium OTT platform for this format. With KUKU TV, we are bringing the next wave of entertainment—high-quality, serialized vertical storytelling, available across Indian languages. Our success with KUKU FM, which boasts 4.5 million active paying subscribers, has given us deep insights into what works for personalized content consumption. We are applying those learnings to revolutionize the video streaming experience.”

A New Frontier for Filmmakers & Creative Industry
The platform isn’t just about streaming—it’s about democratizing storytelling. 95% of Indian films and creative talent remain undiscovered because traditional distribution models don’t work for them. KUKU TV aims to change that, offering filmmakers and content creators a mobile-first, direct-to-consumer platform to distribute and monetize their work. The company is actively collaborating with directors, writers, and producers to develop and distribute micro dramas, while also acquiring rights to underrepresented films and shows.

Monetization & Market Opportunity
Unlike traditional OTTs that rely on Hybrid Video on Demand (HVOD), KUKU TV follows a pure subscription model—no ads, just premium content.

• Annual Subscription
• Quarterly Subscription

The opportunity is vast. India already has 500M+ OTT users and 100M+ active paid subscriptions (Ormax Report). With KUKU TV, there is a chance to tap into the next major wave of digital entertainment—a platform built for the new-age mobile viewer. Today India has over 900 million Internet users of which around 150mn pay for content. Once this population crosses the threshold of 1 billion and more the number of users paying for content will be around 500 million users of which Kuku TV estimates that the market size for paying users for vertical drama will be around 300 million users.

KUKU TV—Pioneering the Micro drama Revolution
KUKU TV isn’t just another OTT—it’s the future of entertainment. By merging the popularity of short-form content with the depth of storytelling, KUKU is creating an entirely new category in India’s media landscape.

For content creators,investors and filmmakers, the message is clear: Now is the time to be part of India’s vertical storytelling revolution with Kuku TV. Kuku TV is opening up applications for aspiring filmmakers and artists for collaboration. Business News Week

JioStar, the joint venture owned by Mukesh Ambani’s Reliance Industries Ltd and the Walt Disney Company, has set ambitious goals for its video streaming business as it sets to merge the two OTT apps — JioCinema and Disney+ Hotstar—into a new single OTT platform, JioHotstar today (14 February).

With the merged platform, the company wants to disrupt conventional subscription models. It will offer free viewing of all content, except Hollywood films, for a limited number of hours every month to boost reach and let users sample a diverse range of programming.

“The idea is to allow every consumer to sample our content extensively,” said Kiran Mani, chief executive officer-digital, JioStar. “JioHotstar invites everyone to come and watch their favourite content without the need for a subscription. We want users to experience a full journey, whether it’s a cricket match or a popular TV series.”

Kevin Vaz, CEO-entertainment, JioStar, clarified that for current Disney+ Hotstar paid subscriber, nothing changes when they open the new app. But for JioCinema subscribers, subscription will be auto-upgraded to the premium service.

“Our pricing remains familiar—for example, ₹149 for mobile subscriptions for a quarter and ₹499 a quarter for the ad-free experience,” said Vaz. “This consistency is crucial because it ensures that loyal users do not face any disruption.”

The merger isn’t merely about combining two content libraries, according to Mani. “Instead, it’s about integrating diverse technologies—analog, network digital, and the app ecosystem—into one micro app that adapts seamlessly to any device, whether it’s a two-inch smartphone screen or a 200-inch display,” he said.

“It’s about creating moments that matter. We want the app to be so intuitive that it feels like it was built just for you.”

The company is setting sights on reaching a billion screens. “With our combined content and technology, we’re confident that we can activate a billion screens and offer every consumer a taste of our world-class content,” Mani said.

The strategy also includes deep investments in regional and family-centric content. “We are not just focusing on high-budget blockbusters. We’re committed to offering a wide range of content—from big originals to TV serials that have run for hundreds of episodes. The idea is to ensure that there is something for every segment of the audience, no matter where they are in the country,” said Vaz.

The company plans to double South Indian content on the platform—from 500 hours to 1100 hours—and there will be significant investments in original programming. “This move will not only enrich our content library but also deliver deeper, more engaging stories that resonate with local audiences,” said Vaz. LiveMint

Gilat Satellite Networks Ltd.  reported its unaudited results for the fourth quarter and full year ended December 31, 2024.

Fourth Quarter 2024 Financial Highlights

• Revenue of $78.1 million, up 3% compared with $75.6 million in Q4 2023;
• GAAP operating income of $12.8 million, compared with $2.9 million in Q4 2023;
• Non-GAAP operating income of $9.7 million, compared with $6.1 million in Q4 2023;
• GAAP net income of $11.8 million, or $0.21 per diluted share, compared with $3.4 million, or $0.06 per diluted share, in Q4 2023;
• Non-GAAP net income of $8.5 million, or $0.15 per diluted share, compared with $6.5 million, or $0.11 per diluted share, in Q4 2023;
  Adjusted EBITDA of $12.1 million, up 30% compared with $9.4 million in Q4 2023.

Full year 2024 Financial Highlights

• Revenue of $305.4 million, up 15% compared with $266.1 million in 2023;
• GAAP operating income of $27.7 million, compared with $28.1 million in 2023;
• Non-GAAP operating income of $31.9 million, up 35% compared with $23.5 million in 2023;
• GAAP net income of $24.8 million, or $0.44 per diluted share, compared with $23.5 million, or $0.41 per diluted share in 2023;
• Non-GAAP net income of $28.2 million, or $0.49 per diluted share, compared with $19.9 million, or $0.35 per diluted share 2023;
• Adjusted EBITDA was $42.2 million, up 16% compared with adjusted EBITDA of $36.4 million in 2023.

NewsBit Bureau

Media giant Paramount Global’s channels, including CBS and Nickelodeon, will be unavailable on YouTube TV starting Thursday after the two companies failed to reach a contract renewal, both parties said.

Paramount said on Wednesday that YouTube TV was attempting to pressure it into accepting “one-sided terms” and “non-market demands” that could lead to the removal of Paramount’s networks from YouTube TV.

“We have made a series of fair offers to continue our long-standing relationship with Google’s YouTube TV,” a Paramount spokesperson said, adding that it will continue its efforts to reach a new agreement.

YouTube, owned by Alphabet, said that it is actively negotiating with Paramount to maintain the channels on YouTube TV without affecting subscribers.

“If we can’t reach an agreement and their content is unavailable for an extended period of time, we’ll offer subscribers an $8 credit,” YouTube said in a blog.

Paramount’s channels – BET, CBS, CBS Sports Network, Comedy Central, MTV, Nickelodeon and Paramount Network – are currently available on YouTube TV, and subscribers also have access to add-on services including Paramount+ with SHOWTIME and BET+. ThePrint

YouTube, owned by Google has seen a major shift in viewing habits, with TVs surpassing mobile as the primary screen for U.S. users as of December 2024, according to CEO Neal Mohan.

In his annual blog post, Mohan revealed that over 1 billion hours of YouTube content are watched on TVs daily, cementing its place as the top streaming platform by watch time in the U.S. for two years, per Nielsen data. Beyond entertainment, YouTube has become a key player in news and podcasts, with 45 million viewers tuning in for Election Day coverage.

Meanwhile, YouTube TV now has 8 million subscribers, and YouTube Music & Premium have surpassed 100 million subscribers. Looking ahead, Google is integrating AI deeper into YouTube, with Dream Screen and Dream Track enhancing content creation. The company also plans to integrate Google’s Veo 2 AI to further expand creative tools in 2025. GuruFocus

As Starlink intensifies competitive pressures and African governments remain uncertain about intervening to protect telco incumbents, African telecom companies are increasingly focusing on underserved regions. In response, they are launching strategic initiatives to tackle the rising challenge of low Earth orbit (LEO) satellite connectivity to maintain their market position and tap into new growth opportunities, according to GlobalData.

Recent tie-ups – including the Orange–Vodacom deal in Uganda for network deployment in rural areas; Safaricom partnering with local satellite operator ESD Kenya; ZainTech partnership with Arabsat covering North Africa; and Vodacom and MTN’s own desire to boost connectivity across their footprint via LEOs – point to this trend.

Ismail Patel, Senior Analyst, Enterprise Technology and Services at GlobalData, says: “The rapid shift in focus by Africa’s telcos can largely be attributed to a confluence of factors, with Starlink being a key driver. These telcos are increasingly seeing unserved and underserved regions of the continent as opportunities rather than investment dead ends.”

GlobalData analysis uncovered the existence of not only regulatory divergence in how to deal with Starlink, but also variation in Starlink’s attitudes to compliance with licensing or lack thereof in the wider MEA region. In Africa, some governments require it to be licensed, thus adopting a protectionist approach. Some are more hesitant to do so, ostensibly due to the potential of Starlink connectivity stimulating the economy in rural and underserved regions.

Although its subscriber market share is small, Starlink is eating into the untapped revenue opportunities, with the potential of building up a loyal customer base. This represents a concern for the incumbents as Starlink builds up a base of higher-than-average revenue generating customers such as small office/home office (SOHOs) and small and medium-sized businesses (SMBs), on top of connecting underserved populations that include thousands of micro-businesses.

With Starlink promising to launch in 14 new markets across Africa in 2025, pressures on the traditional telco incumbents will only become starker and sharper, leading to more collaboration among themselves as well as with alternative LEOs.

Patel concludes: “Starlink has undeniably changed the competitive field for connectivity, resulting in telcos scrambling for a piece of the rural greenfield opportunity that was neglected for a considerable time. The global LEO is competitive on pricing and offer a quality connection that has not been the norm for many in Africa. But not all is lost for the continent’s telco groups, as they can typically offer the type of tech-based services to SMBs that a global LEO cannot, such as – inter alia – improved supply chain management, e-health, adverse weather mitigation, mobile payments, and natural resource management.” GlobalData

The Bhutan Information, Communication, and Media Authority (BICMA) recently granted approval to Starlink Services Private Limited, a foreign direct investment (FDI) company, to provide satellite-based internet services in Bhutan, and the services are now available.

This development marks a significant shift in the country’s internet connectivity, particularly benefiting rural and remote areas, where traditional networks face challenges due to Bhutan’s mountainous terrain and infrastructure limitations.

Before licensing Starlink, BICMA officials evaluated key factors, including the company’s FDI registration, the appointment of local representatives for regulatory compliance, and commitments to service quality and data privacy. The license permits internet services through user terminals but does not include direct satellite-to-mobile cellular services.

Starlink Pricing Plans in Bhutan

• Residential Plan: Designed for household use, offering 25-110 Mbps download and 5-10 Mbps upload speeds with unlimited data for 4,200 BTN per month.
• Priority Plan: Suitable for high-demand users such as businesses and government entities, providing 50-220 Mbps download and 8-25 Mbps upload speeds. Data options range from 40 GB to 6 TB, with prices between 5,900 BTN and 106,000 BTN per month.
• Roam Plan: Offers mobility with 30-100 Mbps download and 5-25 Mbps upload speeds. Plans range from 50 GB to unlimited data, priced between 4,200 BTN and 37,000 BTN monthly.
• Mobile Priority Plan: Designed for mobile users with high data needs, offering 5-220 Mbps download and 10-30 Mbps upload speeds. Data caps start at 50 GB and go up to unlimited, with monthly costs from 21,000 BTN to 2,100,000 BTN.
• Residential Lite Plan: A budget-friendly alternative with speeds similar to the Residential Plan but at 3,000 BTN per month.

Starlink Equipment Costs in Bhutan

• Standard Starlink Kit: 33,000 BTN + shipping
• Flat High-Performance Starlink Kit: 231,000 BTN + shipping
• Mini Starlink Kit: 17,000 BTN + shipping

Billing begins upon service activation or 30 days after equipment shipment, with no early termination fees for cancellations.

It is expected that Starlink’s satellite-based connectivity will help bridge Bhutan’s digital divide by providing reliable internet access in remote and rural areas where traditional infrastructure remains a challenge. FoneArena

The Broadband Equity, Access, and Deployment Program (BEAD) allocated $42 billion to extend broadband access to all homes nationwide. Nearly three years after passage, 16 states still lacked funding approval. In its first three years, the program connected precisely zero homes to the internet.

The expressed objective of BEAD is to bridge the so-called digital divide — the lower levels of access and affordability for some rural residents, minority groups, and lower-income earners. Yet, the private sector is doing quite well at bridging this so-called divide. While the federal government dithered on allotting the $42 billion of BEAD funding, the percentage of Americans using the internet rose from 80 percent in 2021 to 83 percent in 2023 — an additional 13 million users. High-income household use has remained virtually unchanged for a decade — at 87 percent — while usage in low-income households earning less than $25,000 steadily rose to 75 percent by 2023. Even in rural areas, 72 percent already have fixed broadband coverage.

Even the remaining gap overstates the extent of the problems with access and affordability. Less than 10 percent of the overall population lacks internet service. Of the 24 million households with no internet, more than half (58 percent) either have no interest in being online or no need to be online. Lack of availability accounts for just 4 percent of those without home internet. In other words, fewer than 1 million households (fewer than 1 in 100) nationwide are offline solely due to lack of availability.

The per-household cost of the federal “solution” to this diminishing problem is steep. The $42 billion price-tag is sufficient to provide 12 years’ worth of Starlink service — $44,000 — for each impacted household. Even if we presume all the 24 million households currently without access will benefit from increased access and affordability, this comes to $1750 per household.

Meanwhile, the cost per taxpayer of BEAD is simply added to our massive federal credit card balance, a marginal negative impact so distant it is barely discernible. But that’s the ugly truth of dispersed costs and concentrated benefits. A handful of broadband infrastructure companies stand to benefit immensely from these widely dispersed costs. Taxpayers foot 75 percent of the cost of capital investments from which these favored companies will generate revenue for decades to come.

The private sector already has developed an alternative to high-capital expenditures for building our expensive infrastructure serving only sparse numbers of people in rural areas: Starlink.

Starlink covers the entirety of the lower 48 states at a cost of just $120 per month for unlimited residential use. Typical download speed easily exceeds the FCC’s 25 Mbps threshold for “unserved” and often exceeds the FCC’s 100 Mbps threshold for “underserved.”

Ironically, Biden claims this program is “not unlike what Roosevelt did with electricity.” At the founding of the Rural Electrification Administration in 1935, only one in ten farms had access to electricity. Incidentally, the number of US farms peaked in that year and agriculture comprised 21 percent of our workforce, lack of access to electricity posed a real impediment to growth. Contrast that with today when most families even in remote parts of the nation already utilize the internet — and fewer than 1 million are deprived due to lack of availability. Furthermore, in 1935, no practical substitute to hard, physical infrastructure — cables, poles, transformers, and power plants — existed, where today internet access via satellite link and portable equipment can substitute for physical broadband cables. Lastly, the funds provided by FDR’s administration were loans rather than pure giveaways of taxpayer money to favored companies. The differences in need, benefit, and mechanism between this wasteful broadband program and the rural electrification program are stark.

It’s also no surprise deployment of these $42 billion in federal funds has been slow or even nonexistent. BEAD funding comes with various attached requirements, including mitigating climate change, hiring those with criminal records, conforming to a prevailing wage scheme, and hiring and training local residents. In addition, the rules specify that recipients of the subsidies provide services at “reasonable prices” for “middle class families.” Failing to provide an actual price cap skirted the legislation’s ban on outright regulation of broadband rates. But this workaround acted as an even worse form of price control — one in which bureaucrats decide retroactively whether a price is “reasonable.”

Reliance on government funding will discourage private sector investment in broadband infrastructure, as companies might wait for government subsidies rather than investing their own capital. This could slow down overall broadband expansion and innovation in the long term, affecting consumer access and service quality. Rather than focus on investing in infrastructure where returns on capital will prove most profitable, companies instead must predict the geographies and market segments most likely to receive government subsidies. Reliance on federal or state broadband coverage maps can misallocate capital to areas where investments are less efficiently employed. A company spending its own capital on infrastructure would be a costly mistake if taxpayers will provide those resources instead (or provide them to a competitor). The promise of BEAD funds will likely deter private investment in areas where this funding is anticipated.

The marketplace shows an uncanny ability to improve affordability. For instance, across parts of South Florida, Breezeline was the only residential broadband provider.

Household costs topped $150 per month. This changed rapidly in 2024 as Verizon expanded home internet service to many neighborhoods, offering similar access at less than half their competitor’s price. Breezeline’s onerous pricing provided an incentive for Verizon to invest heavily in an alternative. Profit is a motivator for private investment, benefiting both shareholders and the public.

Why not simply allow the market to work? Rural residents with no access to broadband can use Starlink. Over time, private companies may decide that broadband infrastructure development in these areas is worth the capital investment. They are in a far better position to make this determination than bureaucrats doling out borrowed taxpayer resources. The track record of BEAD’s inefficiencies and delays caused by lack of intergovernmental coordination and funding compliance requirements should spell its end.

It’s time to repeal this especially wasteful component of the 2021 infrastructure law. The Daily Economy

Global adtech platform with content production and influencer marketing capabilities- iCubesWire has now taken its next step towards expansion with iCubesWire Films, a dedicated division for ad film production.

This strategic move underscores the company’s commitment to put forward its creative storytelling capabilities, addressing the rising demand for compelling branded content across digital and traditional media channels.

Known for its expertise in influencer partnerships, and performance-driven campaigns, iCubesWire has consistently redefined how brands connect with their audiences and the introduction of iCubesWire Films amplifies its capabilities, empowering brands to craft visually stunning ad films that resonate deeply with today’s digitally savvy consumers.

The new division will welcome a talented team of directors, scriptwriters, cinematographers, and editors, all dedicated to producing high-quality ad films. Having said that, leveraging advanced production techniques, iCubesWire Films will create tailored narratives designed for digital platforms, television, and OTT services.

Furthermore, this expansion strengthens iCubesWire’s reputation as a comprehensive marketing solutions provider, enabling brands to effortlessly integrate digital, influencer, and film-based content into their campaigns.

As the digital landscape continues to evolve, iCubesWire’s latest initiative positions it as a leader in crafting innovative, audience-centric content that drives results. Brands looking to go creative with their storytelling and engagement strategies now have a powerful new partner in iCubesWire Films.

Commenting on the launch, Sahil Chopra, Founder and CEO, iCubesWire, said, “Storytelling is what connects brands with their audiences, and with the launch of iCubesWire Films, we’re taking that connection to the next level. By combining creativity, technology, and data-driven insights, we are looking forward to creating ad films that not only capture attention but also drive meaningful engagement. Our focus is on delivering storytelling that aligns seamlessly with brands’ strategic goals.” Marketing Mind