MediAvataar's News Desk
IIn the current Scenario when the entire world is waging a war against the outbreak of deadly Novel Corona Virus it is imperative that each and every person pitches in and does their best to contribute in their own capacity to fight this pandemic.
Across the globe Governments are fighting to save their citizens with lockdowns, where Corporates are responsibly helping the government by contributing money, food packets, medical supplies and also offering to extend their resources for the aid of patients.
B4U Network in India has been actively involved in providing food packets to underprivileged children on various occasions in the past. The network has pledged to fight against hunger and partnered with the Rahi NGO to enhance this cause.
B4U’s pledge against hunger and belief that no one remains hungry, particularly in the current troubled times of lock down, has once again partnered with Rahi NGO and are distributing Food packets which include Dal, Rice, Dry vegetables and vitamin sachet in a single pack providing complete nutrition to families of daily wage workers, rag pickers, abandoned senior citizens, destitute, low income groups, medical patients etc. affected by the current lockdown.
Echoing the sentiment of the pledge, Mr. Sanjay Agrawal (Group CFO and COO B4U Network) quoted: We are happy to do our bit in these extremely difficult times our endeavour would be to try and ensure that we fight against hunger along with the fight against this Pandemic. Stay Healthy, Stay Safe.
More information about B4U is available on www.b4utv.com. You can keep abreast of all B4U shows on social media platforms like Twitter - @THEOFFICIALB4U; Facebook – B4UMusic.
As COVID-19 spreads across the globe, hospitalizing thousands and compelling governments to issue stay-at-home and social-distancing mandates, MTV News is tailoring content to meet the special concerns of its young audiences.
The news operation isn’t focused on informing young people about what COVID-19 is or how they should combat it since Gen Z is already in-the-know and plugged in to what’s happening in the world. In fact, 53% of 13-25 year olds agree that they “have a deep understanding of important social and political issues,” according to ViacomCBS’ Global Consumer Insights 2019 “Power in Progress” study. Instead, MTV News wants to be a resource for its audience and create a safe space to address and listen to their particular concerns. They are creating content both on the MTV News site, and on social media, with correspondents reporting from their homes.
“We see young people leading the conversation in so many ways, from the journalists and voices we’re highlighting on MTVNews.com, to the incredibly inventive ways they’re educating others on platforms like TikTok. We owe our audience meaningful coverage on COVID-19, and as we always do, we continue to reflect their perspective and their impact to the larger cultural landscape,” says Terron Moore, vp, editorial director for MTV News.
Prioritizing the Needs—and Actions—of Youth
One of the site’s most popular COVID-19-related pieces has been a video series of Dr. Darien Sutton-Ramsey answering questions from MTV News’ Instagram followers, including queries like “Can I go on my Tinder date?” and “How do I protect my mental health while inside?” In another popular piece, “Young People Want You To Talk About Mental Health During This Pandemic” a 17-year-old high school student says, “It has only been five days of ‘social distancing,’ and I can already feel the effects.”
MTV News Director of Social Impact, Ella Cerón, said she was proud that MTV News could be a place where conversations about hooking up or the mental health challenges of quarantining could happen. Cerón added that MTV News is distilling all the resources in one place to help young people “navigate this new normal together.”
Cerón added that the mental health aspect of quarantining is a huge part of what is driving MTV News’ approach to the issue. “On the mental health side of things, if people aren’t used to staying home, if they’ve suddenly lost their jobs, or if they don’t have health insurance, it is an extremely scary and destabilizing time, ” she says. “There are so many different factors that young people are navigating right now at disproportionate rates compared to the rest of society. The more we can slow down and also acknowledge that your mental health is valid and you should prioritize that, I think the better.”
“We have a lot of stories coming up in which young people tell us how they’re feeling about their mental health and how they’re trying to be proactive in this moment,” Cerón added.
In the weeks since COVID-19 has rapidly spread around the world, many young people have banded together to make a difference, and MTV News has documented some of those efforts. It covered two 17-year-olds from Connecticut who started the “Kick Corona Challenge” that urges young people to spread positivity by creating engaging social challenges to spread positivity among teens and young adults who are struggling with the isolation of being suddenly homebound. Cerón also pointed to Invisible Hands Deliver, created by 20-year-old Liam Elkind and 25-year-old Simone Policano, which picks up prescriptions and groceries and provides no-touch deliveries for at-risk individuals. As of Friday, the organization already had 2,700 volunteers.
“Young people have always been involved in social and political issues. If you look through the vast history of big social movements, young people have been at the front,” Cerón said.
“In a lot of ways, they’re rallying in ways that are superseding government inaction or these government deliberations that are taking forever,” Cerón added. “I think right now it shows that the people we can rely on most are each other.”
Brightcove’s just-released Q4 2019 Global Video Index found a big increase in the time spent viewing streaming video on a pair of devices — smartphones and connected TVs.
The increase on screens at opposite ends of the spectrum in terms of size seems out of character with the streaming world, but it may simply be an example of evolution. Where we once talked about the democracy of screens, that whatever screen at hand was the one we were most likely to choose to watch, viewers have evolved and now use mobile devices to source content and connected TVs to consume it.
Tablets and desktop computers are losing ground, meanwhile, with computers taking the biggest hit, a decline in video views of more than 10%.
Online news becomes a staple; especially in crises
If there’s any doubt streaming video has become mainstream across the world, how consumers are getting news related to the coronavirus outbreak should put an end to it.
Data from Brightcove shows streaming media/entertainment and streaming news numbers are riding a surging wave of viewing, almost certainly driven by the coronavirus crisis.
Whether it’s social distancing prompting consumers to camp out in front of screens to watch streamed entertainment, or a need for the latest news that has viewers checking in on developing stories more often, Y/Y streaming numbers have seen big gains.
In the first two weeks of March, for example, the amount of time spent viewing news video increased 14% from the previous year, while the actual number of videos viewed jumped more than 31%.
On March 13 alone, when U.S. President Donald Trump declared a national emergency, time viewing news online increased 47% from a year ago and the number of news videos views jumped nearly 66% – the highest total for a single day in Q1 for the past two years.
Broadcasters used to be the go-to source for developing news stories, but the COVID-19 crisis has shown that consumers increasingly turn to streaming news sources for the latest updates – as well as in-depth coverage of news that’s important to them. With streaming, news providers can update news on the fly, provide broader, deeper coverage, and pull in points of view from around the globe. And, they don’t need to worry about fitting reports into arbitrary time slots. They have the flexibility to tell a better story.
Q4 2019 Global Video Index sees rise in time watched
Time watched overall during Q4 increased by nearly a quarter, up 23% Y/Y, according to the Q4 2019 Global Video Index. Connected TVs saw time watched more than double globally, up 114% from a year ago, with smartphones rising 30% and tablets up 6%. Only computers saw a decline in time watched, about 2%.
Australia/New Zealand saw time watched on connected TVs increase 173% with North America seeing a significant increase in time watched on smartphones, more than 53%.
Marketing & Sales see rise in mobile use
In Q4, smartphones were the name of the game for marketers trying to reach consumers online. More than 62% of all marketing video views were on mobile devices globally.
Asia-Pac saw an even higher percentage of marketing video on smartphones, 82%, up from 55% the previous year. ANZ increased to 55%, Europe was at 62%, Latin America 61% and North America 53%.
Computers saw the second largest share of retail and marketing video views in every region with tablets trailing and connected TVs even further back. While smartphones earned a bigger share of video views in every market, computers lost share. Asia-Pac saw computer’s share of video views drop by more than 50%, Japan/Korea saw computers fall behind smartphones for the first time, as did North America. MENA saw smartphone share grow to 49%, pulling even with computers during the quarter. In every other region smartphones surpassed computers.
Tablets slipped in every region and connected TVs saw limited growth. But connected TV share is likely to add pace over time as viewers continue to look to the big screen for content, more premium content makes its way onto CTVs and marketers follow.
Engagement (time spent), meanwhile, with retail and marketing video on smartphones is up in every market: Asia-Pac (+380%); ANZ (+41%); Europe (+78%); Japan/Korea (+12%); LatAm (+52%); MENA (+91%); and, North America (+71%).
The bottom line
As the Global Video Index showed, Q4 traditionally has been a quarter of growth for OTT with the holidays driving viewing time on new devices and company’s racing to get content and platforms into the public eye.
But Q1 this year could see significant change as the coronavirus begins to have an impact on how critical information and news is shared around the world.
The true measure of just how far streaming video has come will be even more apparent in Q2, as large portions of the world’s population begins to “shelter in place” to slow the spread of the virus. Will the amount of streaming video consumed increase? Of course it will.
Romance content has been a safe and frequently commissioned choice for subscription video on-demand (SVoD) platforms. In terms of its share of catalogue, Romance was the dominant genre on SVoDs in eight countries at the end of 2019, including China, where it accounted for 29% of national SVoD catalogues. Year-end also saw Romance content occupying the second and third highest volume of content hours on SVoD platforms in a further 10 markets.
As the overall volume of content on SVoDs has increased since the outbreak of COVID–19 to capitalize on isolated audiences’ need for entertainment, so Romance’s role within the SVoD services‘ offer has grown. In sixteen markets tracked by Ampere - including Germany, Spain and Italy - Romance accounted for the highest percentage of the content volume increase since the beginning of 2020, appealing to the genre’s core audiences as they are impacted by the health crisis.
Ampere’s Consumer Survey for Q1 2020 reveals that those keenest in Romance movies and TV shows are in the 18-24 and 25-34 age brackets. Romance consumers also over-index compared to average consumers among those in part-time employment and full or part-time education. Strong levels of interest can also be seen in unemployed respondents and full-time homemakers. SVoD platforms are providing consumers whose education and livelihood are impacted by the virus, as well as those whose status causes them to spend more time at home, with the kind of escapism that is hoped will translate into continued and increased SVoD usage in the future.
Netflix in 2019 launched about nine times as much original programming as its chief video-streaming rival Amazon, reflecting the divergent business models of the two companies.
Last year, Netflix released 2,701 hours’ worth of original programming, compared to just 314 hours for Amazon Prime Video, according to the Omdia Original Online Production Report – 2020. Netflix offered a total of 657 first-run original titles in 2019, massively outstripping the 70 new titles from Amazon Prime Video.
Compared to 2018, Netflix increased its hours and titles of original programming by 78 percent and 70 percent respectively in 2019. In contrast, Amazon’s hours declined by 18 percent and titles decreased by 5 percent.
“Rather than competing head-on, Netflix and Amazon are in very different businesses—as illustrated by the original programming results from 2019,” said Tim Westcott, research director, channels & programming, for Omdia. “Netflix is a pure-play subscription streaming business that needs to fuel its continued international growth; Amazon is first and foremost a retailer, using video as an add-on to its Prime delivery business. In pursuit if its streaming strategy, Netflix is evolving into a Hollywood-style studio, building its defenses against the likes of Apple and Disney+ by offering an increasing volume of original programs.”
Netflix focuses on the international box office
Non-U.S. productions were the main factor driving Netflix’s programming increase in 2019, with 1,562 hours originating overseas, up from 578 hours in 2018. The 1,139 hours of production sourced from the United States in 2019 were up 20 percent from 2018.
For the first time, most of Netflix’s original content was produced outside the U.S. in 2019, accounting for 58 percent of total hours. The company’s non-U.S. originals were up 175 percent while non-U.S. subscriptions increased by 24 percent.
“Netflix sourced a majority of its original content outside the United States in 2019, but there is more to this phenomenon than simply driving international growth,” Westcott said. “Of course, local productions help to drive international growth, but Netflix is a global platform seeking content that can appeal to audiences all over the world. Non-U.S. productions tend to be a lot cheaper, giving Netflix a more cost-effective way to address audiences in the United States and across the globe.”
Netflix basks in international stardom
At the end of 2019, Netflix reported 109 million international subscribers, 64 percent of its overall total. International subscribers rose 24 percent compared to 2018, while growth in the United States was a relatively modest 3 percent.
Clearly, more international original content is key to driving continued growth, along with local currency pricing, partnerships with local operators, and local acquisitions. However, the relationship between international content and the platform’s growth in the international market is not so straightforward.
Netflix is primarily a global platform, so its original series are designed to appeal to worldwide audiences rather than simply delivering an upside in a local market. For example, take La Casa de Papel (Money Heist), the Spanish-language series picked up by Netflix after the first season on national terrestrial TV in Spain. According to Netflix, this is Netflix’s most viewed series not in the English language, with 44 million views between October 2018 and September 2019. The U.K. productions Sex Education (40 million) and Our Planet (33 million) and another Spanish series, Elite (20 million), also featured among the streaming platform’s top-10 shows per Netflix.