Why the Australian Open’s online tennis coverage looks like a Wii sports game

Screenshot/YouTube Marc C-Scott, Victoria University

The 2025 Australian Open (AO) broadcast may seem similar to previous years if you’re watching on the television. However, if you’re watching online via the official Australian Open TV YouTube channel you’ll encounter a distinctly different kind of coverage.

The channel’s “AO Animated” coverage looks more like a Wii Sports tennis match than a real one, with players’ physical forms replaced with virtual avatars.

Fans that have viewed the live streams are divided, with comments ranging from “This is the best kinda live” to “What the hell is this? Why can’t we watch normal? This is utterly ridiculous”.

So what’s the answer? Why can’t we watch normal?

How does it work?

The system that creates the AO Animated streams uses 12 cameras that track the silhouette of the players. This data is then fed into a system and stitched to 29 points on an animated character – the player’s graphical reproduction. The result is a live stream with a two-minute delay that includes commentary and sound from the court.

For those who have seen it, you’ll notice the system is far from perfect. There are glitches with the ball, racquets vanishing and reappearing, clothes changing or appearing to have holes, and fingers remaining straight when they should be gripping the racquet. As Tennis Australia’s director of innovation, Machar Reid, notes, “It’s not as seamless as it could be.”

Although AO Animated was introduced last year, it has only recently become a major talking point among tennis fans. Many learned about the animated live streams through an X post by tennis reporter Bastien Fachan, who points them out as a way for the Australian Open to sidestep limits placed by current media rights agreements.

Nine has paid A$425 million for a five year deal (until 2029) that allows the network the domestic linear and digital rights to the Australian Open and lead-in events, including the United Cup.

Internationally, the BeIN media group has the broadcast rights for 24 countries across the Middle East and North Africa, while ESPN has held the broadcast rights for the United States and Canada since 1984 (and will remain these rights until at least 2031).

Yet the AO has found a way to sidestep these exclusive media rights deals by using animated avatars on YouTube – a decision that raises several questions about the future of sports broadcasting and media rights deals.

Future media rights

As of when this article was published, the AO Animated video of Botic van de Zandschulp playing Alex de Minaur had more than 35,000 views. The most viewed match, with more than 160,000 views, was between Andrey Rublev and Joao Fonseca.

But these are paltry numbers compared to the 1.9 million Australians who tuned into Nine’s TV broadcast of the night session on day three (in which Botic van de Zandschulp played Alex de Minaur).

A closer look at the ratings also reveals it is overwhelmingly older Australians who are tuning in, with 838,000 viewers aged 25–54, compared to 414,000 aged 16–39. You might suspect younger Australian are streaming the tennis via Nine’s video-on-demand platform, but even here an older viewership dominates.

It’s possible many young people are turning to other platforms such as YouTube, which reportedly had almost 21 million active users in Australia in 2024 (almost 80% of the population). In this light, what looks like an effort by Tennis Australia to dodge media rights deals could also be viewed as an effort to reach new, younger audiences.

It seems Tennis Australia’s Machar Reid had this in mind. He told The Guardian the AO Animated videos were targeting the “community that engages with animated or virtual or gaming products”.

This strategy makes sense. Millions of young people are already hooked on YouTube’s huge selection of gaming content. For instance, last year videos related to the viral Roblox game Dress to Impress were viewed more than 4 billion times in the US alone, according to YouTube’s data.

Similarly, more than 645 million people in the United Kingdom watched videos related to the video game franchise EA Sports FC in 2024. This number was even greater in the Middle East and North Africa, at 950 million.

AO is not the first

The AO is not the first to live-stream sports matches in which players are animated. Last year, North America’s National Hockey League used player tracking technology to stream a “MultiVersus NHL Face-Off” game. The players of Colorado Avalanche and the Vegas Golden Knights were replaced with Warner Brothers characters including Batman, Bugs Bunny and the Scooby Doo gang.

The National Football League also recreated a simulation of a live game in which players from the Cincinnati Bengals and Dallas Cowboys were replaced by Simpson’s characters. The entire look and feel of the broadcast reflected The Simpsons.

These US-based examples, together with the recent AO Animated coverage, suggest animated simulations could play a larger role in future media rights deals – and could provide media rights holders unique marketing and collaboration opportunities.

In the future we may see an expansion of the AO Animated live streams. It’s possible the Mii-style characters could even be replaced with popular characters, similar to the examples above. Such a change would further enhance Tennis Australia’s ability to collaborate with its media rights holders, both domestically and internationally.

Marc C-Scott, Associate Professor of Screen Media | Deputy Associate Dean of Learning & Teaching, Victoria University

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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Australia has a remarkable history of outdoor cinema. Here’s why Netflix will never beat it

Dendy Powerhouse Outdoor Cinema Ruari Elkington, Queensland University of Technology

In December 1916, as war raged in Europe, an entrepreneurial pearl diver took a chance on some bleeding-edge technology and installed an outdoor cinema in one of the country’s most isolated towns – Broome, Western Australia.

Ted Hunter didn’t know much about cinemas. Not many people did at the turn of the 20th century. But that didn’t stop him beginning what has become a long history of outdoor cinema exhibition in Australia.

Sun Pictures in Broome opened with Jack Hulcup’s 1913 silent film Kissing Cup, in which a “squire’s jockey” escapes kidnappers and gallops across the Isle of Wight in time to win the race. Huzzah.

More than a century later, Sun Pictures still stands – the world’s oldest operating open-air cinema.

Sun Pictures was often subject to tidal flooding prior to a levee built in 1974. Locals have shared stories of watching films with fish swimming around their feet. Wikimedia, CC BY-SA

While the Guinness World Record is a nice-to-have, Sun Pictures’ survival has been ensured not by the latest Hollywood blockbuster, but by what the cinema offers locals and visitors each night: a moviegoing experience that is at once unique and familiar.

Segregation at the movies

Before opening Sun Pictures, Hunter made his money as a master pearler. Pearl shells, which were turned into mother-of-pearl buttons, transformed the economic life of Broome in the late 1800s. Despite being so isolated, the pearling industry brought great riches to the town, while also entrenching workers along racial lines.

Racial segregation was firmly present in Broome’s “picture garden” for the first half of the 20th century. White Australians and their kids were seated in the middle, with Chinese and Japanese patrons behind them. Malays, Filipinos and First Nations people entered separately and were seated at the sides, or remained standing.

Aboriginal rights activist Charles Perkins would later directly challenge the segregation of Australian cinemas in his 1965 “Freedom Ride” throughout rural New South Wales.

Outdoors, from the comfort of your car

My colleague Tess Van Hemert and I have spent the past three years researching the cultures and practices of cinemagoing and how cinema sites shape this experience.

Outdoor cinemas – whether they be the picture gardens of Broome or the Yatala Drive-In – function as special sites of culture, connection and community.

During COVID lockdowns, social distancing measures particularly invigorated drive-in cinema attendance. But even after lockdowns ended, David Kilderry, the long-time operator of Melbourne’s Lunar Drive-in, remains clear on the appeal:

You could open up the car or even sit outside it and if cool, hop back inside and snuggle up in private. […] You can talk about the film as it runs. Kids can ask questions and parents can explain. Patrons can use phones during the film without interrupting others, and babies and infants won’t annoy other customers […] The drive-in has always been more than just a movie experience. It’s where the two icons of the 20th century come together: the motion picture and the automobile.

While the Lunar was shuttered in 2023, Kilderry said this decision was less about the 400,000 annual patrons and more about the land tax implications of keeping a site of that size viable.

But it’s not all doom and gloom for drive-ins. Kilderry notes many operators now own their land, rather than trying to constantly negotiate leases.

There are currently about 12 drive-ins running regularly across Australia, with a few more opening for the occasional screening. New drive-in developments are also planned for Perth, pending local consultations.

Connecting with others and the environement

Beyond drive-ins, Sun Pictures is in good company with a range of locations around the world that actively celebrate outdoor cinema.

During the European summer, open-air cinemas are popular in countries such as Germany and Italy. In Bologna, three large piazzas – Piazza Maggiore, Arena Puccini and Piazzetta Pasolini – are set up as cinemas for the annual Cinema Ritrovato festival.

Closer to home, the University of Western Australia’s Somerville Auditorium, framed by a “tree cathedral” of mature Norfolk pines, has long been a place of unique outdoor cinema experiences.

Perth Festival film programmer Tom Vincent understands the distinct pleasures of outdoor cinemagoing:

The m ost memorable cinemagoing anywhere will always engage the audience’s sense of place, usually through architecture and experience design. […] It includes a natural sensory mix that includes river breezes, ambient sounds and wildlife, alongside a sense of grandeur and good programming. Good outdoor cinema says ‘look, we are here, engage all your senses’.

But while seasonal outdoor cinemas such as the Moonlight Cinemas continue to operate around Australia – alongside local council park screenings – openings of new permanent outdoor cinemas are rare.

Phoebe Condon, manager of the new permanent Dendy Powerhouse Outdoor Cinema in Brisbane, explained how the site positions itself as a high-value leisure experience:

It’s more than just a night at the movies – it’s a destination […] What truly sets us apart from other outdoor cinemas is our focus on creating an elevated, year-round experience.

This framing of outdoor cinema as an “elevated experience” is vital. While the cost of cinemagoing has come up as a key consideration in our research (especially in the current economic context) the industry is quick to remind consumers it remains affordable compared with other out-of-home arts and leisure experiences such as live sports, music, comedy and theatre.

Despite legitimate cost-of-living concerns, census data continues to show cinemagoing as the nation’s most popular cultural activity.

Why Neflix can’t replace cinemas

Our research on Australian cinemagoing supports broader arguments for a more holistic understanding of cinema’s value in society. Cinemagoing shouldn’t be compared to your Netflix subscription, but to other leisure activities people get up and leave the house for.

As the International Union of Cinemas notes, “films reflect national culture or subcultures and the wider world to the audience; they frame moral and political discussions; and they entertain and educate”.

We also know cinemagoing has never stood still. Ever since Hunter took a chance on outdoor cinema in 1916, these spaces have evolved constantly to respond to new challenges and shifting appetites.

But one aspect remains the same: whether sat under the stars, or parked in a lot, Australians continue to see the value in leaving their homes to connect and share in new stories on the big screen.

Ruari Elkington, Senior Lecturer in Creative Industries & Chief Investigator at QUT Digital Media Research Centre (DMRC), Queensland University of Technology

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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Who were the real courtesans at the heart of Netflix’s Heeramandi?

 Netflix

Radhika Raghav, University of Otago

Indian director Sanjay Leela Bhansali is known for his big-budget Bollywood production, featuring grand sets, star casts, meticulously choreographed dance sequences and lavish costumes, jewellery and furnishings. His new series for Netflix, Heeramandi: The Diamond Bazaar, lives up to these expectations.

Against this visually rich backdrop emerge the scheming, menacing and murderous courtesans of Heeramandi.

The series is set in Heeramandi, a historical red-light district of Lahore in present-day Pakistan. It unfolds against the backdrop of the Indian freedom struggle against British rule.

The show is an entanglement of plot lines – a murder investigation, a war of succession, a budding love story and a courtesan’s secret involvement in a rebellion against British rule.

Eventually, all characters and storylines converge around the central theme of anti-colonial nationalism. Driven by nationalist fervour, the courtesans call themselves “patriots” and willingly sacrifice their careers and lives for the country.

But who were the real courtesans?

Role models for female independence

The show takes creative liberties by distorting the lives and timelines of the historical courtesans.

The North Indian tawa’ifs (courtesans), or nautch-girls (dancing girls, as the British called them), were cultural idols, female intellectuals and entrepreneurs.

Dating back to ancient India, these women were trained in music, dance, fashion, poetry, repartee, etiquette, languages and literature from a young age. Typically following a system of matrilineal inheritance, courtesans passed down their professional knowledge and skills to talented daughters of the household.

Dancing girls from Malwa entertain Akbar, 1561. Wikimedia Commons

Once trained, courtesans attracted patronage from royal courts, feudal aristocrats and colonial officers.

This unique class enjoyed privileges not afforded to most women in Indian society, such as education and personal income. They led glamorous lifestyles, wielded power and wealth, and paid taxes.

As independent professionals, they contributed to Indian arts and culture, travelled extensively, made connections with chosen kin and often embraced gender fluidity.

Their financial, political and sexual independence challenged patriarchal gender norms and restrictive Hindu moral laws that dictated the lives of women from upper-middle-class families.

Complicated relationships

In Heeramandi, the courtesans turn patriotic to avenge the British police officers for raping and killing the natives. While these actions are dramatic, the historical relationship between courtesans, the British empire and Indian nationalism was more complex.

The politically engaged Bibbojaan (Aditi Rao Hydari) mirrors Azizan Bai, a courtesan from Kanpur who is said to have financially supported the 1857 mutiny against the British East India Company.

While the mutiny was one of the most widespread anti-colonial revolts of the 19th century, Indian nationalism was not its primary aim, but a consequence. Azizan’s interest was in maintaining her patronage from the native rulers for her social and economic wellbeing.

After 1857, India’s governance shifted from the East India Company to the Crown, leading to the spread of British rule across India alongside Western education and Victorian morality. Meanwhile, nationalist leaders envisioned a nation as a pure land of sacred Hindu ancestors and valued chastity in women.

Both the imperial and nationalist ideals clashed with the courtesans’ sexual freedom.

Nautch girls in Hyderabad, in a photo from the 1860s. British Library/Wikimedia Commons

In the 1890s, Hindu reformers and bourgeois nationalists joined Christian missionaries in organising anti-nautch campaigns that advocated boycotting them to “rescue” art and culture from perceived immorality. This led to the downfall of the courtesan class.

In Heeramandi, patronage diminishes and the women’s dreams of marriage fade. The courtesans shut down their salons, give up their careers and sacrifice their lives for the nation.

But historical courtesans were quick to reinvent themselves in the face of declining patronage and social stigma.

They turned to the power of modern technology. Gauhar Jaan, a famous courtesan, became a celebrated concert singer and gramophone artist, earning the title of “India’s Melba” in the international press.

In 1921, Gandhi asked Gauhar Jaan to perform for the Swaraj Fund. Aware of the ambiguous position courtesans held in nationalist discourse, she agreed on the condition that Gandhi attend her performance. When Gandhi failed to show up, she contributed only half of the raised amount to the cause.

Courtesans contributed significantly to the founding of the Indian film industry through their artistry, star power and capital investment. The first generation of female film stars came from courtesan backgrounds: Jaddan Bai, Kajjan Bai, Akhtaribai Faizabadi and Naseem Banu entered the industry as actors, singers, composers, directors and studio owners.

Later, some acted as managers and costume designers for their daughters, the emerging actors of the next generation.

By becoming modern-day artists, the courtesans preserved their art. They remained visible and relevant in a society that was increasingly obliterating women’s cultural contributions and diminishing their role as citizens in an emerging nation.

Patriarchal nationalism

In the show, a woman’s value is judged by her respectability, marital status and the presence of a male guardian controlling her sexuality. Courtesans refer to themselves as “birds in gilded cages” and dream of freedom from their courtesan lifestyle.

Heeramandi oversimplifies the multilayered persona of tawa’ifs. Netflix

Here, the courtesans’ nationalism resonates with present-day far-right Hindu nationalists, seemingly promising women empowerment in nationalism but, in reality, reserving only regressive roles for women.

Heeramandi oversimplifies the multilayered persona of tawa’ifs. The series portrays them as melancholic victims yearning for patriarchal married bliss, while remaining marginalised in respectable society. But these women should be remembered as celebrated figures filled with joie-de-vivre, gusto and spiritedness.

They should be honoured for their strategies of self-representation and processes of self-determination, as they turned resilience into a way of life.

Radhika Raghav, Teaching Fellow, School of Humanities and Social Sciences, University of Otago

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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Disney weighs options for struggling India TV business

Walt Disney Studios in Burbank, Calif., on Feb. 9. MUST CREDIT: Bloomberg photo by Eric Thayer.

Disney is weighing options for its television business in India that include either an outright sale or setting up a joint venture with partners as it faces intensifying competition from local rivals in the world’s most populous nation.

The U.S. entertainment giant is mulling a sale of its stakes in its TV network Disney Star after the Indian unit last year lost its streaming right to the Indian Premier League (IPL) to Viacom18 Media, a joint venture between Paramount Global and Mukesh Ambani’s Reliance Industries, according to people familiar with the matter, who are not authorized to speak publicly as the discussions are private. Disney will likely retain control over their content business in the country, the people said.

Deliberations are still at a preliminary stage and a deal may not happen, the people said. The Wall Street Journal on Tuesday reported that the company is exploring strategic options for Disney Star.

Among the companies that have been approached for a potential stake sale is Ambani’s Reliance, which has also expanded its entertainment content by signing a pact with Warner Bros Discovery in April after beating Disney Star in the bidding war for IPL streaming rights, one of the people said. Reliance declined to comment.Disney’s plan to consider at least a partial pullout from its India TV business came after Chief Executive Officer Bob Iger expressed his disappointment with the company’s performance in India during his visit to Hong Kong a few weeks ago, the people said. Losing the streaming right to local business tycoon Ambani has dented the company’s standing in India as it has seen an exodus in paid subscribers. Disney declined to comment. Disney weighs options for struggling India TV business

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What the David Beckham documentary tells us – and what it doesn’t – about controlling parents in sport

In the Netflix documentary Beckham, the footballer is asked how he coped with the abuse of his entire country after the 1998 men’s football World Cup. David Beckham responds:

I was able to handle being abused by the fans […] because of the way my dad had been to me.

A poignant scene shows Beckham’s mother Sandra struggling with how hard his father Ted was on their son. Ted’s shouting often brought David to tears. When asked if he was too tough on David, Ted says:

No […] if I told him how good he was, then he’s got nothing to work at.

Throughout the documentary, Ted’s behaviour is rationalised by Ted and even Beckham himself as necessary to support David’s sporting trajectory. But David also said he was scared of his father’s feedback and felt compelled to practise for hours every day.

Other athletes with similar stories include Tiger Woods, Andre Agassi and Australian Jelena Dokic.

Too often, controlling behaviour by parents is portrayed as necessary for success as an athlete. But the evidence shows this idea is false. In fact, such an approach can be detrimental to both a child’s chances of sporting success and their wellbeing.

And it’s not just a problem with elite sport; our research shows it’s also occurring with community sport.

What we found

Our research found about one in three people we surveyed said they’d experienced abuse by a parent during their time in Australian community sport.

Psychological abuse by parents was reported by just under a third of our respondents, and included behaviours such as:

• excessive criticism

• insults and humiliation

• excessively training to extreme exhaustion/vomiting

• ignoring a child following a sport performance.

The controlling and abusive behaviours described above have been consistently normalised by parents, coaches and sporting organisations as being necessary to create “mentally tough” athletes ready for high-level competition.

However, there is no evidence abusive and controlling behaviours have a positive impact on performance.

Instead, there is ample evidence to indicate it:

• harms children’s confidence and self-esteem

• increases competition anxiety

• leads to sport dropout

• is associated with depression and anxiety.

Research shows when adults in community sport use what’s known as an “autonomy-supportive approach” – in which young people are empowered to make their own decisions and have their feelings validated – children can be more self-motivated.

An experiment at the 2012 Olympic Games found coaches with a more supportive approach achieved higher medal tallies than those who did not.

Most of this evidence has focused on coaching, but given many parents act as coaches for their children, these findings remain relevant.

There is no evidence abuse improves performance of children in sport. Shutterstock

Putting children’s experiences first

There is no evidence that controlling or abusive practices improve children’s performance in sport. But even if there was, sport performance should not be valued above a child’s health and wellbeing.

These behaviours would not be tolerated in different environments, such as workplaces or schools.

It’s time to move on from this debate in sport. So where to from here?

The sport system is complex, and while it’s easy to think it’s just a few problematic people, the reality is these practices have been normalised for generations.

Parents are repeating patterns from their own experiences and mirroring practices they see as normal in elite sport. There is no quick fix.

But we can all play a part by reflecting on our own behaviours and considering how we can prioritise children’s experiences and wellbeing.

Parents should focus on fun, learning new skills, enjoying the moment, and being part of a team so their kids can get the most out of the games they love.

Despite Beckham himself suggesting it was all worth it, the evidence suggests he was successful in spite of the high-pressure home environment, not because of it.

Mary Woessner, Lecturer in Clinical Exercise and Research Fellow, Institute for Health and Sport (iHeS), Victoria University, Victoria University; Alexandra Parker, Professor of Physical Activity and Mental Health, Victoria University, and Aurélie Pankowiak, Research Fellow, Institute for Health and Sport, Victoria University

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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Indian court dismisses plea by Zee’s ex-chairman, CEO over market regulator ban

An Indian tribunal on Monday, July 10, 2023, dismissed an appeal by former Zee Group Chairman Subhash Chandra and Zee Entertainment CEO Punit Goenka to lift the markets regulator’s ban on the duo holding board positions in publicly listed companies. The Securities and Exchange Board of India (SEBI) issued the ban on June 12, alleging that Chandra and Goenka were actively involved in diverting company funds to the group’s other listed entities and firms related to founding shareholders. The Securities Appellate Tribunal (SAT) refused to vacate the regulator’s directions, saying it did not find any illegality or irrationality in SEBI’s order and saw no merit in interfering. The SAT further said the order was passed “considering the sense of urgency which was infused by a host of circumstances, namely diversion of funds from a listed company to related parties which are controlled by them”. It directed SEBI to pass a final order by the middle of next month and asked Chandra and Goenka to defend themselves before the regulator. A spokesperson for Zee declined to comment. Chandra and Goenka have denied the allegations. The ruling comes as Zee and an India unit of Japan’s Sony Group are closing in on a merger announced in 2021 to create a $10-billion TV enterprise, with Goenka set to become the merged entity’s managing director and CEO. However, regulatory approvals are pending. A unit of Sony had said it was tracking developments that ‘may affect’ the deal, while Goenka had reportedly said the merger will go through “whether or not” he is the CEO of the merged company.Zee’s shares fell as much as 5.7% after the ruling. The stock is down 16.6% so far this year after losing 25.2% in 2022.Indian court dismisses plea by Zee’s ex-chairman, CEO over market regulator ban

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Reality TV show contestants are more like unpaid interns than Hollywood stars

Country singer Adley Stump, a former contestant on NBC’s hit reality show ‘The Voice,’ performs at an Air Force base in Washington state. Joint Base Lewis McChord/flickr, CC BY-NC-SA David Arditi, University of Texas at Arlington

In December 2018, John Legend joined then-newly elected U.S. Rep. Alexandria Ocasio-Cortez to criticize the exploitation of congressional interns on Capitol Hill, most of whom worked for no pay.

Legend’s timing was ironic.

NBC’s “The Voice” had just announced that Legend would join as a judge. He would go on to reportedly earn US$14 million per season by his third year on the show. Meanwhile, all of the participants on “The Voice,” save for the winner, earned $0 for their time, apart from a housing and food stipend – much like those congressional interns.

The fall 2023 TV lineup will be saturated with low-cost reality TV shows like “The Voice”; for networks, it’s an end-around to the ongoing TV writers and actors strikes.

Whether it’s “The Voice,” “House Hunters,” “American Chopper” or “The Bachelorette,” reality shows thrive thanks to a simple business model: They pay millions of dollars for big-name celebrities to serve as judges, coaches and hosts, while participants work for free or for paltry pay under the guise of chasing their dreams or gaining exposure.

These participants are the unpaid interns of the entertainment industry, even though it’s their stories, personalities and talent that draw the viewers.

Dreams clash with reality

To conduct research for my book, “Getting Signed: Record Contracts, Musicians, and Power in Society,” I interviewed musicians around the country.

The book was about the exploitative nature of record contracts. But during my research, I kept running into singers who had either auditioned for or participated in “The Voice.”

On “The Voice,” singers compete on teams headed by a celebrity coach. Following a blind audition and various elimination rounds, the live broadcasts begin with four teams of five members apiece. These 20 contestants spend months working in Los Angeles and are provided with only their room and board. Each week, at least one player is eliminated. At the end of each season, the winner receives $100,000 and a record contract.

While some viewers might see reality shows like “The Voice” as launching pads for music careers, many of the musicians I spoke with were disheartened by their experiences on the show.Contestants audition for ‘The Voice’ ahead of its 24th season.

Unlike “American Idol,” where a number of winners, from Kelly Clarkson to Jordan Sparks, have made it big, no winners of “The Voice” have become stars. The closest person to “making it” from “The Voice” is the controversial country singer Morgan Wallen, who was infamously dropped by his label and country radio following the emergence of a video of him using a racial slur. And Wallen didn’t even win “The Voice”; in fact, he barely made it past the blind audition.

Former contestants repeatedly told me that the television exposure did little to help their careers.

Prior to joining the show, many of the musicians were trying to scratch out a living through touring or performing. They put their developing careers on pause to chase their dreams.

However, the show’s contracts have stipulated that contestants cannot perform, sell their name, image and likeness, or record new music while on “The Voice.” (The Conversation reached out to NBC to see if this remains the case for the current season, but did not receive a comment.)

This leaves the 20 finalists with no means to sell their music, even as they spend up to eight months competing. When the show’s losers return to performing, many of them have little new material to promote. By the time they drop a new single or album and announce a tour, some of them told me that they had lost a good portion of their following.

There is one group of people who receive meaningful exposure from these shows: the coaches and judges. Several singers, such as Gwen Stefani and Pharell Williams, have used “The Voice” to jolt their stagnating music careers. While earning millions as coaches and judges, these stars even use the show to promote their music – something the contestants themselves are barred from doing.

Paying these contestants is feasible. If Legend earned $13 million instead of $14 million, that spare million dollars could be dispersed to half of the contestants at $100,000 apiece – an amount that’s currently only reserved for the winner of the show. Cut the salaries of all four coaches by $1 million apiece, and it would free up enough money to pay all 20 contestants $200,000 each.

A gold mine for networks

“The Voice” is far from the only reality show to take advantage of the genre’s low overhead costs.

Over the past two decades, shows featuring Americans looking to buy houses or remodel their homes have exploded in popularity. HGTV cornered this market by creating popular shows such as “House Hunters,” “Flip or Flop” and “Property Brothers.”

Viewers might not realize just how profitable these shows are.

Take “House Hunters.” The show follows a prospective homebuyer as they tour three homes. Homebuyers featured on the show have noted that they earn only $500 for their work, and the episodes take three to five days and about 30 hours to film. The show’s producers don’t pay the realtors to be on it.

The low pay for people on reality TV shows matches the low budget for these shows. A former participant wrote that episodes of “House Hunters” cost around $50,000 to film. Prime-time sitcoms, by comparison, have a $1.5 million to $3 million per episode budget.

Sidestepping the unions

That massive budget gap between reality TV and sitcoms is not simply due to an absence of star actors.

Many scripted television shows are based in Los Angeles, where camera crews, stunt doubles, costume artisans, makeup artists and hair stylists are unionized. But shows like “House Hunters,” which are filmed across the country, will recruit crews from right-to-work states. These are states where employees cannot be compelled to join a union or pay union dues as a condition of employment. For these reasons, unions have far less power in these states than they do in places traditionally associated with film and entertainment, such as California and New York.

That’s one reason why TV production started moving to Atlanta – what’s been dubbed the “Hollywood of the South” – where shows like “The Walking Dead” and “Stranger Things” have been filmed.

But in my research, I also learned that Knoxville, Tennessee, has become a reality TV mecca. Like Georgia, Tennessee is also a right-to-work state. In Knoxville, many working musicians join the city’s low-paying entertainment apparatus by taking gigs working on TV and film production crews in between shows and tours.

At a time when TV writers and actors are on strike, it is important to understand that the entertainment industry will try to exploit labor for profit whenever it can.

Reality TV is a way to undercut the leverage of striking workers, whether it’s through their lack of unionized actors, or their use of nonunionized production crews.

With actors and writers on strike, many networks and streaming services are featuring reality TV-heavy fall lineups. David McNew/Getty Image

Contestants, casts and crew members are starting to catch on. Many reality TV participants have said that they feel like strike scabs, and Bethenny Frankel of “Real Housewives” is reportedly trying to organize her fellow reality performers.

Preying off contestants who are desperate for exposure, reality TV might just be the next labor battle in the entertainment industry.

As John Legend put it, “Unpaid internships make it so only kids with means and privilege get the valuable experience.”

Reality TV does the same to aspiring actors, musicians and celebrities.

David Arditi, Associate Professor of Sociology, University of Texas at Arlington

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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Disney attempts to provide free cricket to gain momentum in streaming wars with rivals

• Walt Disney is aiming to revamp its streaming business in India by providing cost-free cricket content on smartphones. This strategic move is anticipated to drive an increase in advertising revenue and counterbalance the effects of a decline in subscribers.
• 
• As subscriber dropouts continue to escalate, reducing the user base by a third from October 2022 to July 2023, the financial performance of the Burbank, California, there are warning signs of the entertainment giant facing even greater challenges in India.
• In 2019, the company acquired the Indian streaming service Hotstar as part of its $71 billion deal for select 21st Century Fox global assets. After securing the streaming rights to the Indian Premier League (IPL), the world's wealthiest cricket league, Disney converted Hotstar's cricket content into paid service in 2020. Clearly, Disney held high hopes of attracting as many as 100 million users within a few years.
• However, Indian billionaire Mukesh Ambani secured the IPL rights with a $2.9 billion bid last year and proceeded to offer game streaming for free. This move prompted a mass exodus of Disney subscribers; from the 61 million users in October, approximately 21 million had departed by July.
• Disney is set to livestream the Asia Cup matches starting on August 30, as well as the World Cup in October and November. These broadcasts will be accessible to the 600 million smartphone users in the cricket-loving nation at no cost.
• 
• This new approach coincides with Disney's ongoing exploration of potential joint venture partnerships or even the sale of its business in India.
• Disney secured an extension of its rights to broadcast the International Cricket Council's tournaments in India from 2024 to 2027, committing approximately $3 billion to the deal. While retaining digital streaming rights, Disney, according to an insider, licensed the TV broadcast rights to India’s Zee Entertainment for an estimated $1.5 billion last year.
• The company has determined that the model of offering free cricket content on mobile phones and tablets is the essential strategic shift required to increase revenues. This initiative is referred to as a ‘hybrid model’ aimed at increasing advertising revenues by attracting more smartphone viewers while simultaneously attracting new subscribers to the paid plans of the Hotstar TV app, where cricket content will remain accessible.
• The company has set its sights on achieving a new milestone of 50 million concurrent viewers during the World Cup, which is double the number recorded in 2019. This figure would also mark a 56% increase compared to the viewership that JioCinema, led by Ambani, garnered during this year’s IPL finals in May.
• 
• In the United States, the subscription rates for the ad-free Disney+ streaming service are slated to increase by 27%, reaching $13.99 per month. In contrast, the Disney+ Hotstar service in India is priced at $3.62 per month.
• According to Disney's latest quarterly earnings report, the average revenue per user (ARPU) in India is significantly lower, at just $0.59, while the Disney+ service in the US commands an ARPU of $7.31.
• In March, as the Ambani group promoted the IPL on its streaming apps, its emphasis was on how people could watch matches on the go, using smartphones, and eliminating the need for a TV. In response, Disney launched advertisements asserting that cricket was best enjoyed on television, a platform for which it still held the IPL rights.
• In its recent advertising campaigns, Disney adopted a new approach. It proclaimed, ‘Now, enjoy all the matches from the world's largest tournaments anywhere, on your mobile, completely free.’ Disney attempts to provide free cricket to gain momentum in streaming wars with rivals

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Netflix raises prices on standard, premium package

Video streaming service Netflix has increased the monthly subscription charges for standard and premium packages.

From now on, customers will have to pay $13.99 per month for standard services, which charged $12.99 previously. The premium package is set at $15.99 to $17.99.

Netflix subscribers will have to pay the extended price within the next two months, the company told CNBC.

The company will issue a warning to the customers 30 days before the new price comes into effect, the company added.However, the monthly fee for entry-level basic services remains the same at $8.99. Source: https://www.daily-bangladesh.com/

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Satellite TV operators Dish and Videocon d2h to merge

Satellite TV operators Dish TV India Ltd and Videocon d2h Ltd today announced a merger of the two to create a new company with net subscribers of 27.6 million, strengthening its position in the country's vast direct-to-home (DTH) market.

The board of directors of Dish TV and Videocon d2h Limited approved a scheme of arrangement for the amalgamation of Vd2h into Dish TV (the ''Scheme'') and the execution of definitive agreements in relation to such amalgamation (the ''Proposed Transaction''), Dish TV stated in a release.

Under the scheme, Dish TV Videocon will issue 857.791 million shares as consideration for the scheme and the Vd2h shareholders will be allotted 2.021 new shares of Dish TV Videocon for every one share held in Vd2h (subject to certain adjustments as set out in the scheme), which would result in Dish TV shareholders owning 1,066.861 million existing shares or 55.4 per cent of Dish TV Videocon, and Vd2h shareholders owning 857.791 million new shares or 44.6 per cent of Dish TV Videocon.

Following the closing of the proposed transaction, the merged entity will be renamed as Dish TV Videocon Limited (Dish TV Videocon), the release added.

The combined entity will have a revenue of about Rs5,916 crore ($879.11 million), according to Dish TV.

Following the merger, Dish shareholders will own 55.4 per cent of the new company, with the remaining stake going to Videocon shareholders, it added.

Dish, the first DTH operator in India, said the combined entity will have Jawahar Lal Goel as chairman and managing director.

Jawahar Lal Goel, chairman and managing director of Dish TV said, ''We are pleased to announce this combination at a time when the cable and satellite Industry in India is rapidly progressing on the path to digitisation. This transaction, that brings together two powerhouse brands of the cable and satellite Industry in India, will provide us with a gateway to harness growth opportunities in an ultra competitive multi player environment. This combine will enhance value for all stakeholders – consumers, government, employees and shareholders.''

Saurabh Dhoot, executive chairman of Vd2h said, ''Since the commercial launch of Vd2h seven years ago, we have created a highly successful and high-growth DTH business with a solid foundation. We went public on the NASDAQ with a vision to take the company to the next level and emerge as a leading, innovative and highly profitable Indian media platform. Today, we are very excited about this strategic combination to create a solid platform with decisive and proven leadership at the front would lead Dish TV Videocon to create value for all stakeholders, our customers, employees, and our shareholders.''

India has an estimated 145 million households with cable and satellite television, but Dish is betting this will grow to 200 million in the next three years.

The DTH provider industry, while small, has been growing fast and is becoming increasingly competitive. It now has at least seven operators, including the privately-held Airtel Digital TV, Tata Sky, and Reliance Big TV.

The current promoters of Dish will continue as promoters of the combined firm after the deal closes, which is expected to happen in the second half of 2017, subject to regulatory approvals.

The combined company will also seek a global depository receipt listing on the Luxembourg exchange, Dish said. Source:domain-b.com

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Tablets, phones increasingly popular for TV viewing

Data from Hub Entertainment Research’s annual Finding Input One study shows dramatic growth in the use of tablets and smartphones for TV viewing. Among consumers 16-64 who watch some TV shows online:

• Half use a tablet to view TV shows (51 per cent), a 15-point jump from just last year (36 per cent).
• More than a third use a smartphone for TV viewing (37 per cent), up 7 points from 2014 (30 per cent).
• More online content is being watched on TV sets. 71 per cent say they watch shows from online sources on a TV connected to the Internet, 9 points higher than last year.
• Smart TVs in particular have made major strides. In 2015, 39 per cent of those who watch online shows on a TV set use a Smart TV, vs. 42 per cent who connect through a game console, the most popular connection device. That gap has closed rapidly since 2013, when consumers were twice as likely to use game consoles than Smart TVs (52 per cent to 25 per cent).

However, the popularity of mobile devices for TV viewing has NOT created a demand for streaming live TV to tablets and smartphones.

• For example, only 8 per cent of consumers say it’s essential to be able to watch episodes of scripted shows on a phone or tablet live, at the same time they air, and just an additional 20 per cent consider it very important.
• Even live sports is not considered a must-have on mobile devices. A mere 10 per cent of consumers consider it essential to be able to watch live sports events on tablets and phones, and only 16 per cent say it’s very important.
• But tech-loving Millennials must attach more importance to live TV on mobile? Not really: only 11 per cent of 18-34 year olds call live sports on mobile essential, with 20 per cent calling it very important.

Other key findings from the study:

• 53 per cent of 16-34 year olds use a device other than a traditional pay-TV set-top box as their default for TV viewing—the first device they turn on to watch TV programming.
• Consumers are increasingly taking TV capabilities into account when purchasing multifunctional devices. For example, over 6 in 10 who use a game console to watch online say that TV viewing was a reason for buying the console they chose—and 33 per cent say it was a major reason.

The Implications: “More TV is watched live than any other way, and at the same time we’ve seen a major jump in the use of mobile devices for TV viewing,” said Peter Fondulas, one of the study authors. “One might think that would create a strong market for live TV on tablets and phones, but that hasn’t been the case. Mobile viewing is still highly situational, and the scenarios that make mobile viewing convenient don’t necessarily align with linear TV schedules.” “One of the most important trends we’re seeing is the growth of TV sets connected to the Internet,” said Jon Giegengack, co-author of the study. “For most TV consumers, the big screen is still the main, if not the only, way to watch. Inexpensive and easy-to to use peripherals, and especially Smart TVs with a built in connection, remove one of the last logistical barriers between mainstream consumers and online TV sources.”Source: Article, Image: Flickr.com

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Dish India launches offline VoD

By Chris Forrester: Dish TV, an Indian pay-TV giant, is launching a simplified VOD service that works without needing access to the Internet. Potential users to DishFlix need an additional $92 (Rupees 5990) storage STB to access the service and then subscribe for $1.53 a month. Dish TV will download 15 films a month (one every two days) in a ratio of 70/30 in favour of Hindi/English-language movies. Other languages will be added later. The usual pause, rewind/replay, fast-forward benefits would be available. The box would come pre-loaded with 50 movies, and 15 would then be added each month on a on a first in, first out basis. Source: Article, Image

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Russian President Vladimir Putin says ready to work with US

Russia has key interests in common with the United States and needs to work with it on a common agenda, Russian President Vladimir Putin said on Saturday in a television interview. In his comments to the state-run Rossiya channel, Mr Putin appeared to soften his anti-American rhetoric after being highly critical. Relations between Moscow and Washington and other Western powers have soured over the conflict in Russia’s neighbour Ukraine, sinking to an all-time low. “We have disagreements on several issues on the international agenda. But at the same time there is something that unites us, that forces us to work together,” Mr Putin said. “I mean general efforts directed at making the world economy more democratic, measured and balanced, so that the world order is more democratic. We have a common agenda.” Mr Putin has in the past fiercely attacked the United
States and the West in general, blaming them for the Ukraine crisis, which Russia says was the result of a Western-backed “coup” against Ukraine’s former leader Viktor Yanukovich. Russia has repeatedly denied accusations from Kiev and the We-st that it is supporting pro-Russian rebels. However, both Russia and the West say they back a peace deal agreed in Minsk in February, as a result of which a ceasefire in the Donbass region is largely holding. Source: The Asian Age

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Google turns any TV into computer for under $100

Google has unveiled a tiny HDMI dongle that can turn any TV into a full-fledged computer. Called the Chromebit, it uses Google's Chrome OS. It contains a fully featured, which uses the TV (or a standard monitor) as its display, and wirelessly connects to a keyboard and mouse using bluetooth. ''Smaller than a candy bar, the Chromebit is a full computer that will be available for less than $100,'' Google said. ''By simply plugging this device into any display, you can turn it into a computer. ''It's the perfect upgrade for an existing desktop and will be really useful for schools and businesses.'' Google also said it is releasing its cheapest Chromebook laptops yet, two versions priced at $149 aimed at undercutting Microsoft's Windows franchise and gaining ground in even more classrooms. Various PC manufacturers have been working with Google to design lightweight laptops running on the Chrome operating system since 2011. The newest versions are made by
Hisense and Haier. Hisense's Chromebook can be ordered beginning Tuesday at Walmart.com and Haier's version can be bought at Amazon.com. Their arrival coincides with Microsoft's rollout of a lower-priced Surface tablet in an effort to reach students and budget-conscious families. Pre-orders for that device began Tuesday, too. The success of the Chromebook line is intensifying the PC pricing pressure. The cheaper version of the Surface Pro 3 sells for $499, compared with $799 to $1,949 for the higher-end models.  The discounted version has a slightly smaller screen - 10.8 inches rather than 12 - a slower processor, and less flexible kickstand - just three angles rather than unlimited positions. The Chromebook has served a dual purpose for Google. Like the company's Android software for mobile devices, the Chrome system is set up so users will automatically begin using Google's search engine and other services, such as Gmail and YouTube. Google has used the Chromebooks as a prod to bring down the prices of all PCs, something the company wanted to do because it has more opportunities to show the digital ads that bring in most of its revenue when more people can afford to buy an internet-connected device. Source: Article

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India’s ARPU grows 12-15%

India’s giant DTH and cable market is seeing a “sustained” increase in ARPU levels, says accountancy firm KPMG in its latest FICCI-KPMG study on the Indian media market. Last year DTH operators saw ARPU growth of between 12-15 per cent, and this followed on from 2013’s growth rates of about 8-9 per cent. The overall averages were helped by growth in HD TV services, a growing number of Premium channels and other value-added elements in particular set-top boxes with added storage, and more recently the introduction of 4K transmissions. The cable sector’s main gains are coming from the gradual conversion from analogue to digital under the nation’s Digital Addressable System obligations. However, KPMG issued a very firm warning, saying that digital piracy and theft is a problem, and that India’s government needs to do far more to toughen up its compliance requirements and introduce stricter vigilance and penalties for copyright theft. Source: Article, Image: flickr.com

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Netflix to boost German video revenues to €7.4bn

Total consumer spend on video entertainment in Germany will increase by 2 per cent in 2014 to over €6.9 billion after 5 per cent growth in 2013, and is on course to reach a total of €7.4 billion by 2018, according to findings from research and knowledge-based consulting company Futuresource Consulting. This growth is primarily being driven by the continued momentum in pay-TV spend, combined with the renewed activity in the digital video sector. Overall digital spend will see a marked increase in 2014, by almost 50 per cent driven by new services and increased investment in the sector. “The majority of the growth is attributable to subscription video on demand (SVoD), which is set to at least double in 2014, helped by the recent launch of Netflix and Amazon Prime Instant Video,” says David Sidebottom, Senior Market analyst at Futuresource Consulting. “These major services, together with the continued development of the Pay-TV sector, will drive the evolution of the video sector in Germany.” “The arrival of Netflix in Germany marks the beginning of an exciting new era for the German video market, and for German consumers. However, it won’t be without its challenges, given the German consumers affinity for packaged media and many being traditionally resistant to premium subscription services. Also, the strength of free-to-air television has also been an obstacle to both digital video and Pay-TV services historically,” he advises. According to Sidebottom, the much anticipated arrival of Netflix in additional European countries, including Germany and France, will provide a significant stimulus to the consumer transition to digital video in these countries. “However, it may encounter some cultural resistance, compared to its successful launches in other European countries,” he suggests. The drive in SVoD services will see SVoD spend surpass total transactional digital video spend in 2015, with hardware and service partnerships also helping improve consumer awareness and familiarity. Key to service uptake will be the ability to harness the installed base of connected TVs, which is set to reach 46 per cent of households by the end of 2014. The German pay-TV sector is continuing its impressive rate of growth into 2014, with analogue to digital conversion still a key driver of growth. Between 2010 and 2013, the pay-TV subscribers’ base grew by over 50 per cent, or 5.3 million, to reach over 15 million subscribers, with a further 10 per cent annual growth expected in the next three years. At almost €1.5 billion, packaged video is set to account for over 21 per cent of total video spend in 2014, the highest level of any country in the world. After bucking the global trend and showing growth in 2013, the packaged video market is set to decline by 11 per cent in total in 2014, but still remains in a better state of health when compared to other markets worldwide. Source: Article, Image: flickr.com

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Samsung Takes Commanding Share in N. American TV Market...NPD DisplaySearch

SEOUL, KOREA - The market share of Samsung Electronics in North America has hit a record-high level. In addition to the conventional flat TV, the company took the leadership in the new markets of curved and ultra TVs, getting close to reaching the world's No. 1 position in the TV market for nine consecutive years. According to NPD DisplaySearch, a market research firm, on July 30, Samsung Electronics' first-half market share in the North American market was 35.6 percent. This is 6.2 percentage points higher than the same period last year. Samsung's share in the ultra-high-definition TV market was 53.2 percent. The company launched the UHD TV in North America in July last year. Its share reached 49.8 percent in December last year and has since steadily gained. This year, it introduced a Samsung section in hundreds of Best Buy stores in the United States under a store-within-a-store arrangement. In the premium TV segment over 60 inches, Samsung took a share of 45.7 percent. A Samsung Electronics official said, "Thanks to Samsung TV's excellent picture quality, design, and UHD TV's future industry standard-ready feature, Samsung brand could take a commanding share in the North American market including the United States, Canada, and Mexico." Source: Koreaittimes

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TV viewing breaks records in first 2014 FIFA World Cup matches

Television coverage of the 2014 FIFA World Cup broke a whole host of viewing records during the first round of group matches in Brazil, highlighting the growing popularity of the competition and football around the world. Opening matches set new audience highs for 2014 all over the world as fans watched in record numbers in countries such as Brazil, Japan, Germany, the United Kingdom, Argentina, France, the Netherlands, Croatia and Italy. An all-time high was set in the French-speaking part of Belgium. The viewing figures also revealed an impressive increase in the United States, Canada and Australia, where the World Cup is helping to drive interest in the game to new levels. ESPN's coverage broke audience records for men's World Cup matches in the United States. 

Some of the key figures include:

• 42.9 million watched Brazil and Croatia on Brazilian channel TV Globo, the highest sports broadcast of 2014
• England and Italy's opener attracted 14.2 million on BBC1 in the UK and 12.8 million on RAI 1, the highest TV audiences in both countries in 2014 
• 34.1 million watched Japan play Côte d'Ivoire on Japanese channel NHK, twice the size of the next biggest sports broadcast of 2014
• Germany’s win over Portugal reached 26.4 million on ARD in Germany, the biggest 2014 TV sports audience
• 11.1 million watched the USA vs Ghana match on ESPN in the United States – a record high for ESPN's coverage of men's FIFA World Cup matches

"These record-breaking figures show just how popular football and the FIFA World Cup are across the world, from Japan to Argentina," said Niclas Ericson, Director of FIFA TV. "We are seeing highly encouraging growth in interest in markets such as the United States and Australia." "The FIFA broadcast production of all World Cup matches makes this competition truly global and accessible for fans all over the world. It therefore plays a crucial role in supporting FIFA’s core mission to develop football everywhere, and for all." FIFA, which had a net cost of about USD 150 million on the broadcast production at the 2010 FIFA World Cup, is investing heavily again this year to ensure that football fans everywhere receive the very best viewing experience of 2014 World Cup matches in Brazil. FIFA has agreed arrangements with more than 160 main Media Rights Licensees for TV around the world, meaning all global territories are able to access the 2014 FIFA World Cup. In total, FIFA has approximately 700 licensees across TV, mobile and broadband, and radio for the FIFA World Cup. Source: Arunava about Football

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Sales of Large Premium TVs Rise on Upcoming Brazil World Cup

SEOUL, KOREA - As the Brazil World Cup comes close in mid-June, large-sized TVs over 50 inches, particularly high-resolution UHD TVs, are gaining ever-rising popularity. According to HI-Mart on May 15, the sales of 50-inch-plus large TVs marked a 25-percent growth over the past one month, compared to a year ago, with their share in overall TV sales rising to 45 percent from 35 percent.HI-Mart said that this reflects the potential demand for large TVs ahead of such global sports event. The share of UHD TVs in total 50-inch-plus TV sales, which hovered below 10 percent in the latter half of last year, showed an upward trend starting from early this year. The share of UHD TVs broke the 30-percent mark in March and reached the 40-percent level in May after temporarily dipping to the 20-percent level in April due to the effect of the sinking of the ferry Sewol. Considering that the Brazil World Cup game live casts will continue toward the end of July, the special demand for large premium TVs is expected to increase at least until the end of June. Source: Article

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Two thirds of wi-fi users face service problems

Nearly two thirds (62 per cent) of wi-fi users in the UK are experiencing problems with their wi-fi signal, with 63 per cent suffering from slow speeds, according to new research from Ofcom-accredited comparison site Broadbandchoices.co.uk. In a study that questioned over 2,000 Brits, a further 32 per cent complained that their connection keeps dropping out. Certain activities were more likely to cause these problems than others. When asked what they were doing when the problems occurred, online TV viewing, social networking and music streaming were found to be the most likely culprits: Twenty-one per cent of respondents said they experienced problems whilst using online catch-up or on-demand TV services and 16 per cent said they experienced wi-fi troubles when watching a movie online. Source: Advanced Television

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