 Moving forward, we are moving towards our next panel discussion, which will talk about the dynamics and diversity of OTT content. Once again, some stores from the industry are here with us on this panel. It gives me men's pleasure to welcome them and introduce them to all of you. We have with us Mr. Vijay Subramaniam, director and head of the Amazon Prime Video India, Nikhil Madhuk, executive vice president and head of Hot Star Specials, Disney Plus Hot Star. We have with us Mr. Vijay Koshy, president TVF, Mr. B. Srinivasan, managing director, Wickedton Group of Publications. And chairing this session is Mr. Gaurav Rakshith, chief operating officer, Viacom 18 Digital Ventures. A very warm welcome to all of you. Hi, good evening. Hello. Good evening, Gaurav. Good evening, Gaurav. Hi, Vijay. Guys. Hi, Nikhil. Hi, Gaurav. Hi. Hey, Vijay. Hi, Srinivasan. Good to see you. Nice to see everyone here. It's obviously a really hard to do some of these panels because the backdrop of lockdown is on all of us and all our teams are struggling. And so it's time. I'm really glad to have such an August panel with me because some of the questions I have are genuinely those that I'm looking for help and answers on. And so it's nice to be on the other end of the panel playing the role of moderator rather than sort of having to take them on. Let's open with the 600 pound gorilla that's around us. The lockdown has precipitated a lot of change in all our lives. And while I think consumer appetite for digital content is just continuously rising and even faster on account of lockdown, all of us are facing significant stresses in terms of putting together content for these consumers. And I wanted to just get early on how that has changed your outlook in terms of both the process that you're going through to put content out and how it's perhaps informed some of the choices that you're making going forward because ostensibly, this is here to stay for a while. It's not going to go away in a hurry. So that's a question to all of you all. I hope each of you have interesting takes on the subject. Nikhil, maybe you can start us off and let's hear what you think about the situation we're going through right now. Yeah, sure. Thanks, Gaurav. And hi to everyone who's watching this. Great question. All of us are sort of struggling with this a bit. But if I speak from a Disney plus hot star perspective, if you look at the content a little more broadly that we have on our platform outside of just the original content that we create. So there are multiple content pipes starting from our television shows, which we continue to drop daily on the platform. There is our partnerships with the Hollywood studios from which we get a lot of Hollywood content. Of course, from Disney itself, including the Disney plus originals, the recent one being Falcon and the Winter Soldier. Till recently, we also had Cricket. And then we have the original content that we're creating. So fortunately, because of the width of the content streams on the platform, we've still, you know, even over the last one month and even now managed to offer a fair amount of variety of content to our viewers. If you look at original content, which is really what we call hot star specials, there is some advantage to the fact that some of our productions have already taken place and we're now in the post production phase. So I see for the next couple of months for us to be sorted at least from a content delivery point of view and have something to offer. I think on a larger level, what happens six months down the line if this sort of continues to stay? The first and most important thing is, do we have the ability to actually produce content? So if the sort of lockdowns, et cetera continue, then we need to manage with the rules of the government if it doesn't allow us to shoot. But if those sort of permissions start coming in, I think the first preference, first attempt really will be to make sure what we already have under production is completed and we sort of get back onto our pipeline in a more organized fashion. So yeah, I think the long and short of it is, for now, from a bit of offering point of view, there is enough to offer. But going forward, if this continues for more than three to six months, then we'll have to figure out different ways of attacking the problem. Sure, thanks Nikhil, that's an interesting perspective based on width of content and so possibly being able to still bring out something that people want to watch. Vijay Akkoshi, you are a self-confessed, only creator of non-fast food content and your content, you obviously hold at a high benchmark. How does this affect your lives in terms of a rethink or a re-jig or do you just slow down? Where does this go? So we were faced with a similar situation last year. And we just got into a large hardcore planning mode and preparation for our existing pipeline. We have almost 10 to 15 shows ready in various stages of production. So we managed to put out four shows in the first few months of this year and we have some more slated in the next couple of months on various other platforms. And the standard crib that most of our creative team used to have that they're not getting enough time for preparation and they're always rushing into projects and they're always under pressure from other clients and all of that. So we need some breathing time. So we're saying, hey, this is the best opportunity you're getting, just keep, go back to the net, keep practicing, keep planning properly and that's all that we can do at this point in time. So otherwise, there is no major change in terms of the content choices that we're making. I think we are using this time to just prepare better for the time coming up. That's largely what we're doing. That's nice. I hear you because there is pain in the creative community around us demanding speed and perhaps most of us on this call are to blame in some fashion for that. But the reality is then there's hope for better quality stories coming up because there is more time now and that would be nice if that happens. Vijay, I mean, you guys plan so many, not even months, quarters, years ahead. How does something that shakes the core of your schedules? How do you roll with that? What do you do? You just answered the question. We plan quarters years ahead and that helps mitigate to a large extent. Yeah. And I think we've been very fortunate that we've stuck to the knitting, even as we've scaled, even as our business has gone from a show in a year to 12 shows in the next year, a couple of big movies in a year to almost 105 movies a year. The key for us has been the multiple and the diverse pipelines that we have. I think that's held us in good stead and continues to. I mean, if you think about the last five months, just the sheer number of fresh content pieces we've been able to launch more recently. We just put out the trailer for the last hour. We launched LOL, Haseethu Fasee, which went live a couple of weeks ago. Got a couple of big launches coming up in June. There's a whole raft of films that we brought onto the service, starting the year with Drishyam too and Malayalam too. Master coming within two weeks of its theatrical release and followed by Yuvaratna and Mumbai Saga. And so I can go on and on. And the point really is that, as challenging as this is, and it's really important to recognize the situation for what it is and partner with practically everyone we work with to make sure that they have robust protocols in place whenever stuff resumes. I can safely say that the years of planning is actually, you know, kept us more than head and shoulders above the situation so far. So, and we're banking on the fact that our pipelines will continue to remain, you know, interesting, TVF is one such partner and they have a show that's to be launched pretty soon. So I guess it's just, you know, the short answer from my side is the planning man, which is the rigorous planning and the fact that we have multiple pipelines of content. That's awesome. I mean, being very candid, we're obviously a more recent entrant into the S-word space. And one of the challenges that we are looking at at least is when it opens up, it opens up for everyone. And so, you know, there's only so much talent. There are only so many crews to take the content forward. So I don't know how that's gonna play out, but certainly slightly concerned, if you will, in terms of how that's going to play out. Yeah, I agree. I agree with you. In fact, I second that view very strongly. Not only is it a talent-related point, it's also an infrastructure-related point. There are only so many post-production studios. There are only so many sound stages, you know? So, and it's gonna be, everybody is gonna be rushing to get their stories completed. So yeah, but yeah, I'm pretty sure, you know, being as dexterous and industrious as we are as an industry, we'll invent our way through that as well. I'm pretty confident of that. Yeah, right. Just to add to Vijay's point, one of the other learning that we've had is, if you've had a successful season one, then instead of doing season two and then waiting for some time and doing season three, we're now actually planning two seasons together at a go. So then years of planning that Amazon has done has helped us. And we've learned that's the best way. So it helps optimize everyone's schedule and you've got a good product at the end of the day. So that's good learning for all of us. Mr. Srinivasan, what's your take on? I'm beginning to wonder if I'm the diversity quotient on this panel. Because, you know, as an independent producer, probably a boutique production house from that perspective. You know, our biggest challenge is actually to retain the capacity to deliver of our talents. You know, talents that do creative talents of this caliber that when we're dealing with, there is only so much that you can do. Most of the time we, you know, we spend a lot of time actually writing screenplay for our screenplay writers and for our directors. How do we cajole them? How do we coax them? How do we assuage them when, you know, it comes to tough situations? You know, how do we actually get them, counsel them and get them out of their, you know, the various challenges that they have? I mean, they call, we would have to call them for a hundred things. I mean, Nikhil knows the challenges that we have had with November story and the timelines. And, you know, sometimes there is only so much you can do when a director calls and he says, you know, I've had this problem or it's a, it could be a personal problem. It could be a family problem. And it could be, you know, COVID related. So it's maintaining our calm in ensuring that, you know, the talents best interests are served so that the products best interests are served is actually one of the tighter strokes as an independent producer that we need to be able to, you know, hold. Because we are, you know, in Tamil, there's a word. It's called Matalam. It's like, you know, the tabla. You know, we get it both from the producers and from the talents, right? So we are like, like stuck right in the middle. But yeah, it's been interesting. It's a very interesting perspective. I think that's actually the something that, you know, whether you're a production studio or, or in some cases the platform, the being human at these times is really hard with your teams and that includes, you know, employees but also the creative freedom that works with you. It's important to, you know, fortunately we built a fairly resilient industry. And so I think that the industry can afford a break or what have you. We can't pretend like, you know, if it doesn't come on a particular date, hell is going to break loose. And it's on all of us, I suppose to, to figure out how to balance that. I mean, frankly, you know, in OTT, there's still that space. On television, there is no space. There is no time. You know, everything is, you know, you have, it's once, once you've caught the tiger by the tail, there's only that far you can go, right? And then, you know, talents, while we say that we have actually groomed talents in our industry, I have to say that, you know, talents are still few and far between. And sometimes, you know, when we are retaining talent, we wonder with the kind of efforts that we take, you know, should they be retaining us as counselors? It's like really, it takes a lot. And, you know, and really good talent, right? So you don't want to mess with them and you don't want to lose them, right? I mean, Nikhil, Nikhil has a point of view probably on the television side as well, and in that sense, and how that goes. Yeah, I think the, you're right, that the space is a little more on OTT and the way the television model works, you know, people are expecting something in prime time every night. And I think to their credit, the way the television producers, paternity has got together and found solutions to keep going despite this, you know, it is fairly commendable. As you were saying, it's a resilient industry and people find solutions, you know, that people who are shooting in resorts in Goa, in Salvasa, in other parts of the country where they've been able to create a secure bubble. Now, of course, in places where the lockdown has been imposed, there's a different challenge. But, you know, for the last one month, they've been at it. So I would say hats off to them. Yeah, I totally agree with our television counterparts. We learn so much from incredibly scrappy, very, very, and big hearts as well. You know, frankly, in that sense, we're definitely taking a page out of their book and not vice versa. So appreciate you're bringing that up, Mr. Srinivasan. I wanted to get to a slightly more contentious point, if you will, at least I'm confronted with in the creative industry, where people accuse us of, as a digital industry, having so much data and so much, you know, so many metrics about everything, that we're at risk of, you know, getting stuck in the echo chamber in terms of what works on digital streaming. And I want to get a sense of how you guys think about breaking out of that echo chamber, trying new things, giving people license, all the while knowing that perhaps this medium is more accountable because you can actually watch every person that's watching your show. How do you guys manage that balance? It's something that, you know, I'm figuring out as I go, I'd be nice to hear what you guys think about it. Maybe Vijay, you can go first. Vijay, so good morning. Yeah, look, my view is pretty much counter to what you said and our goal is, our goal is not to fit into any one mold at all. And our everyday endeavor is really to provide as wide a variety of stories that we can, because we understand that we are programming for many Indias and I'll come to the data point straight away. Sure, we have a lot of data and data is like all good intended parts of science. It points us in certain directions. It also reaffirms some of the hypotheses that we have, but ultimately we are governed by the customer. Our goal is to reflect the distant preferences of our customers and she's pretty smart when it comes to entertainment. She's constantly evolving and our job is to keep lockstep. And to that end, data is very helpful. And by data, I'm not just talking about a bunch of things that we see in terms of who's watching what. I'm talking about customer voices, anecdotes, the kind of complaints they come to us with, the kind of things that they enjoyed watching and why. Those are very insightful and powerful, but above and beyond all of that, I think they're governed by two things, customer obsession, what's working in their world and what are the things that they crave that are unmet, what are the things that they would like to see more of, so underrepresented. And then on the other hand, the insights that we draw and we try to match the two. And right in the middle is the creator, the passion of the creator and the vision of the creator. So I mean, if you just take a step back and look at our offering and apply what I just said, you can practically see the set play. You know, the way we went after comedy specials at the very beginning, when we saw a huge demand for it with young adult audiences, they were crowding coffee bars and performance theaters because stand-up was a thing. Backing that trend came from customers. Encouraging not only first-time talent in bandage bandits for doing a musical. At a time when everyone says, hey, music only belongs to movies. These are all great examples of why variety is so important. And the importance of using a very strong, always on customers-centric approach. And then, you know, learning from the insights. There are so many need gaps even now, Gaurav. It's not fair for us to believe that only one particular genre works or not. It may just be that, you know, we've come rushing into a white space that's existed for a very long time. I'd like to believe crime is one such thing. But there are many other white spaces open and it's our goal. I think it's the goal of all of us to find those white spaces because that's what customers are craving for. That's nice. It's interesting you mentioned crime because I also mentioned crime to Vijay and I got a very violent reaction. So, Vijay, what are your thoughts on crime being the lowest common denominator that works in- It's a Vijay thing, man. Ha ha ha ha ha ha ha ha. Okay, okay. So one is I'd like to say that Bikitang is not the only group here adding to the diversity factor. Even we, TVF also as a company does not have access to as much data or whatever, but there's no issues. The platforms give us the right insight. They tell us what is working, what is not working and to us that feedback is most important. So we just go with that. And the other part is unlike other creators, we have our own communities. So whenever we do any project or any show or any series with any platform, we release some of it on our social media also and you get a fair indication of what's working, what's not working. So for us that much data is enough and we stick to the story that we want to tell. So on the crime front, we've not done any show so far on crime or we've not done a biofake or we've not done sci-fi. These are all genres which are doing extremely well in the international space at least. And I think a lot of the platforms here also have dabbled in some form or the other like sci-fi, Nikhil was mentioning the other day that they have to start with something. So who knows? I mean, we will have something animating. I hope we will get some things. We're not saying that it doesn't work, but for us it's more about talking to the real India, the ones living in tier two, tier three towns and telling their story. And most of our team also belongs from there. So they have their own insight, they have their own story and the beauty of it is all of it is so relatable. So even a guy sitting in Agra or Meret or someone sitting in Bhubaneshwar or someone sitting in Colaba or South Delhi they all find it equally relatable. So that's the thing for us. We'd rather stick to our own insights and not rely too heavily on data. Got it. Nikhil, what's your take? You're, are you gonna agree with these guys? Are you gonna disagree? How do you feel about the point of view? No, I think, you know, one of the interesting things is that I started by saying the width of content on Disney plus hot stuff across different genres, right? So you have sports, you have news, you have movies, you have TV content, you have international content, original, the width is really massive. And I think one of the things that people don't realize is that when all of that data is available to you in one platform, it actually encourages you to try so many more things because you start seeing connections between different genres, different types of content and also start realizing that maybe some of the preconceived notions that may exist are not true about how people are actually consuming content, right? You may go in saying, you know, X genre romance, maybe, you know, something that will appeal to a 18 year old girl or something, but you land up seeing her choices and those content choices are really vast, which actually gives you confidence to say, you know, hey, let's go out there and try something, you know, the example that I was referring to, if you look at this show that we launched a couple of weeks ago called OK Computer. So it's a, you know, futuristic, quirky, madcap comedy and there's no amount of data in which we'll say that this is a genre which is popular in India and you must do it, but you're able to make connections and say, hey, this is, this looks like a fantastic idea. It's extremely unique. It's not for everybody, right? So we put it on the platform. There were two, you know, young makers who made it and it found its audience. Some people who liked that genre loved it like deeply and others were like, you know, they didn't like it, but that's actually fair. I mean, it's the nature of the beast, right? You have to make sure that you're creating something which is unique and offering something new and I think that opportunity we shouldn't lose as far as this industry is concerned because really you have the opportunity to create so much variety and so much with and the data is actually very useful because it gives you confidence to say, hey, this is not a 10-person opportunity. This is probably a 10,000-person opportunity we should go for. You know, I hear you and I like the fact that, I think we have made a similar point that if the content is well-formed and entertaining, then not only are we many Indias, the digital media allows the person to choose which content they want to align with and so there's no reason to be in an echo chamber when we're not operating a broadcast model. So in that sense, I... Yeah, I remember even distinctly when we launched Arya last year, I got a message from a friend of mine. His 82-year-old mother and his 14-year-old or 15-year-old son were sitting together and watching till one o'clock at night and you won't normally expect that these three people will represent to you demographically very three distinct choices and say, how do they come together? But that's how it, you know, that's what happens and unless you don't try it, you will never know. Sure. Mr. Srinivasan, your thoughts on breaking out? Yeah, thanks, Gaurav. Actually, we've been in a... We continue to remain in a very unique position because we come from the print industry and when we started our journey into television, that's about 22 years ago, we started off by creating a product which started the episode on print and finished the episode on television, right? And then we actually, it was a weekly and our magazine was out every Thursday and the product would be out at Thursday at 9.30. So we have always had a connection between writing our readers, their reactions and creating stories around what excites our readers across genres, across our various magazines. So most of our products, be it the Thirupati Selvam which became the Pavit, which became Pavitra Eshta and in five languages all over India simultaneously, we've always found stories which are grouted through reality and stories which want to be heard and which want to be spoken of, you know, more or less with starting from the readers from the feedback that we get from our readers and then how our writers pick up from it. So I think we have, I would say that in many ways we do have echo chambers, but I would say that echo chamber is rather large because it comprises the print universe, the digital universe as well as the television universe. So we've also been putting out our programs on YouTube since 2011 and the kind of feedback that we would get, the comments that we would get for our everyday episodes would be extraordinary. They would be telling us the storyline, what should be coming ahead? And we would actually change our storyline based on the kind of feedback that we would get from them. And we would credit our user saying that this user on this date gave us this idea and we would actually give them a price for it. So I think this is where for us, you know, data points are not just the data points. We look at entire 360 degrees when it comes to storytelling. So today, even as we speak, we are getting, we've got about five different stories which we are pitching to multiple OTT platforms, all of which are some of the most red content on our magazines, on our websites and those which are ready for OTT, we personally believe. We are kind of excited about these shows and we are really keen to explore and we want to try and see if the same model which works for television will also work for OTT. But we do understand that OTT genre is a little more edgy and needs a little more, you know, and all of that depth, the characters and the kind of the universe that people are, you know, wanting to immerse themselves in as well as stories that need to be told. So we always think about why a story needs to be told before we decide what story needs to be told. And I think that really kind of, you know, that curiosity that we have consistently been building with our writers team, I think helps us create better stories. Interesting. I'm glad that the OTT, sorry, sorry, I'm interrupting you. I'm glad that the OTT audience and the lights or what kind of content they prefer is termed as edgy. If we were to go by that and the data there, some of our shows would have never seen the light of day. So I think it also depends on the faith and belief that the platforms also have in you as a content creator. And I will take a case in point is if I went out with data and tried to make a show about a village where a young man goes there and then interacts with random people there. I mean, nobody would give us a chance. They would have said, forget it. But there's this one gentleman on this call right now who said, hey, I think this works. Let's give it a shot. And then we all know what happened with Punjab. So it's probably one of the best shows that, so it's about what is it that we can bring to the table, the human emotions, the complexity of all the relationships that happen there. If it's told in a nice simple narrative, I'm sure the audience will be able to laugh it off. That's a tough log line to sell and we're not selling it and buying it. I think more to the buying it. Yeah, it's a Vijay thing. I think what... I think I have to change my name to Vijay too. I think one of the points that you were making, I think that we did come to this new long form sort of content, what you're calling edgy maybe Mr. Jini was perhaps, it's got this eight-part series, six-part series, whatever you hang points at the end of it. And that's one sort of content that's coming out of the OTT stables. But I also wanted to get to understand how are you guys getting influenced by the short form movement, which is very counter to the kind of grammar that the shows that have gained the highest acclaim have, and I know and I guess there are different points of view around how you're addressing it. Maybe Nikhil, you can give us a sense of, do they coexist or are they two completely different consumption paradigms, how do you see them? No, I think it is, it's definitely and I won't even say emerging opportunity, it is pretty much around us. I think from our perspective, just recently about a week ago, we've launched an initiative called QUIX, which is really every day 10 to 12 minute bite-size content, multiple shows, multiple episodes, one drop every day. And it's really about not trying to, let's say go into territory, which we are not experts at, but this is something that we understand, which is storytelling and characters that people can fall in love with. Now, whether that happens to be a 10 minute long episode that's just in terms of how do you structure the story. But that's an initiative that we've launched about a week ago and it's early days, the initial performance seems to be quite encouraging. But over a period of time, we'll see where we can take it from there. But to answer your question, yes, we see that as one opportunity and we got into that phase. I'm curious to think, to understand whether we, the user is the same, but is it a different psychographic when the user is consuming this? And maybe I'll get Vijay and Vijay Simone to give a thought around, where does short form go and how do you guys as creators think about it? I think it's a very important ingredient to the overall entertainment desire of consumers, all right? And I don't necessarily agree that the users are the same. They can be different as well. And even if they are the same, they have very different needs driving them to the content selections. And it's really important there too to understand that variety is of great consequence. So in fact, the success of short form is not because of any one genre. It's just multitudes of great content coming from homemade creators who've established their own style and so on and so forth. And it's very deeply engaging when done, right? So I think these, look, whether they are on the same service or not, the fact is that all these forms of content co-exist today as we speak, a customer of ours on Prime Video has the choice to go to YouTube and watch a bunch of short form videos and we acknowledge that. We also acknowledge that it's a very important piece of entertainment that is very valuable to customers. And the good thing at Amazon is we never stop inventing. So they're definitely innovating on that. And right now, I don't have much to share with you, but pretty soon you'll hear about how we are taking on the whole universal short form itself. All right, but it's in your radar, which is nice. Very much, the front-end center, it's a big bleep. Awesome. Vijay, how does it influence your thinking around content? Or is that... You can keep it outside the off-stamp. You don't have to play every ball. Unlike the others who started with long form and then are now experimenting with short form, our genesis was with short form. We began with short form. And we kept experimenting there and almost like a 10-year journey. The good thing is we did long form along the way like around 2015, we did permanent roommates and we did pitchers, we did tripling, all of that happened. We tasted a fair degree of success, but we didn't abandon the short form. We continued to persisted with that part of our business. And our founder, Arunab Kumar, he was very clear that TVF should be like the emphasis of content. So while the big things are happening, there's always a strong bench strength that needs to be created. And that bench strength happens with short form. So short form for us is like the Ranji Trophy where people keep coming and practicing and delivering and then a bunch of people from there are then selected and thrown into the big IPLs and the other BCCI format. So case in point, again, I'll go back to the panchayat example. The writer of panchayat Chandan Kumar has been with TVF for four years. And in that four years, he's done nothing but work on short form. And once we were confident that he is ready to deliver the books, then we threw him into the deep end of the sea and then panchayat happened and for be old. So for us, short form is, we'll go hand in hand with whatever else we do. And we have immense faith and ability. And in fact, we've created different channels of short form. We've got TVF, of course, is the main mother channel. We've created something called Daliapa way back in 2015. So considering the online audience is more skewered like a 75, 25 through mail. Now we believe that, hey, there is no unique content creator in the space for short form for women. And we persisted since then. We've not yet got the return that we would have liked but we persisted. So for us, short form is easier to stay forever. Interesting. Mr. Srinivasan, thoughts on short form? Yeah, that's a, actually Vijay, that's a great take. And in fact, that's something I'm gonna take away from today. But the way we've used short form is that we've always used short form for promotion. Everything, you know, from our magazines to our products, to everything. We've tried to create those short form videos, whatever we've tried to put out on our platform, we've always tried to integrate some part of a bigger product that we've created. And we've always tried to use that as a promotion platform. But I think bench strength as, you know, a short form and then using those creators to grow into long form is a great idea. And thanks very much. Yeah, it's also the fact that, I guess, short form is not a means to an end. It is the end itself and so that's fascinating in terms of where the world is. I wanted to get a reaction on the fact that, you know, I think everyone in there is awake to the regional opportunity. And that's more just knowing that people prefer consuming content in their own languages and their own milieu. I wanted to get a sense from you guys in terms of, what are you disappointed in with the industry and that, you know, are we just taking in the, you know, the Hindi playbook and moving it to regional? So we'll be doing more. What's, I guess, what's your bugbears and what would you like to see us do better as an industry? Vijay, why don't you go first, Vijay Subhimani? Firstly, I don't think, thankfully, because we remain customer obsessed, we recognize that the customers are completely different. Absolutely. Their identities, their tastes, cultures, social norms and so on and so forth. And so we've never believed in a centralized approach to our programming, right from the get go. So if you look at the selection that we have on the service in practically any regional language, let's just use Tamil and Telugu and Kannadaan Malayana and the Southern ones as an example. If you look at the selections there, they're driven entirely by insights of tastes and preferences from each of those individual markets, those segments, those four hearts, those customers, those micro communities and so on and so forth. Our successes and failures come from our understanding of that or a lack of understanding of that. And that's the way we view it. We do not, for a minute, think that, oh, we figured it out in Hindi, so let's just trim some stuff and that's gonna work in Chennai or Coimbatore. Why? These are fully serviced, thriving entertainment industries in and of themselves. If we kid ourselves sitting in Mumbai that, oh, they must be missing a big Hindi movie. No, they have their own big movies, right? They have their own great shows. They have their own stars and a culture that follows around it and they have their own fandom. So, you know, because for us, making sure that we're serving the many Indians and many customers and we just follow their insights and that's a great learning. Yes, there's always this thing about being a one service with multiple languages. There is this expectation of, will you dub content? Yes, we do dub content just to make it easy. In case someone, you know, a Tamil speaking gentleman in Madurai decides to watch a Hindi show of ours, we wanna make it convenient for that person to watch it in the language of their choice. But otherwise, the programming is distinct. It will always be distinct and will be driven by insights coming from there. Here's a fun fact, okay? By getting this right, we put this out sometime late last year. You know, 50% of the viewership for our regional films are coming from outside the home state. That's the level of curiosity that being authentic and programming for those customers is doing. You know, so today there are people writing to us from Jamshetpur thanking us for Joji, all right? And then one has to wonder that this is only because we're not thinking about Hindi and saying, okay, this is, let's make a few variants. But we're literally thinking about each language and each community and society independently in and of itself. Right, right. The other region. Yeah, I mean, the regional cinema is absolutely killing it. I mean, you take Bengali, you take Marathi, you take, of course, the Malayalam... Yeah, absolutely. Absolutely. So, and thanks to platforms like Amazon and Hotstar, I think it's getting a large exposure outside that particular regional community. And that's helping. In fact, a lot of my friends and colleagues who had never watched Malayalam movies are now hooked on to it big time. When I was seeing a post of Gujarat Ji the other day, he was like, he's obsessed with Bahar Pasu's movies and he made a dig at the Bollywood industry thing that we spent so much time in marketing and this, that and the other. I wish we invested that much time in making good content like you guys do. So, and I was just seeing another chat on film companion where Raj Kumar Rao and Vicky Kaushal are all big fans of regional content and wanting to take a side at that part of it. From us, we are looking at regional in two perspectives. One is one and both of them are already rolling. One is remakes of our popular shows, like this is what we've done with permanent roommates in Telugu. It debut last year on a Telugu platform called AHA and we've got some more remakes scheduled in Telugu and hopefully later this year in other regional languages. And there are some platforms which are saying, no, we don't want remakes. We want original stories which talk about the flavor and the spirit of that particular region. So we are open to doing both and we're extremely bullish about these markets and you will see lots of content coming from the house of TV from the regional space. All right, very encouraging. Nikhil, I did want to make an important point. At least on my team, we don't call it regional language. We call it local language. And there's a huge distinction right there. Region means it's external. It's something elsewhere. Local means you're in it. And as far as, you know, Kanadiga in Bangalore is concerned, Hindi is a local language that's spoken in the Northwest perhaps, right? Or Hindi is a regional language. So we're very, very particular because that's the mental model we have. This is about local language and these are about local communities. There was no answer that's important. That's very nice. Nikhil? I think you spoke about Gaurav some bugbear. So let me tackle that. I think the first part is that from a creative fraternity point of view or at least even from a producer's or platform point of view, this Mumbai-centric approach is wrong. So how are you structured organizationally, right? So for us and Mr. Srinivasan is here, you will have people sitting out of those markets, right? People from Hotstar who are sitting out of those markets interacting with people like Mr. Srinivasan on a daily basis and having those conversations to say, is this something which is locally appealing? Is it culturally specific to the state that I'm trying to address? Versus sitting out of Mumbai and expecting them to come here and pitch your ideas, et cetera. So I think the way you're structured organizationally also is a great example of how committed you are and how deep you want to go and how well you want to serve the consumers. So that's one very important aspect. A second aspect also is that when you're looking at local language content, the ability for you to be able to connect with your creative partners is extremely important. And it links back to the first point. If I'm close, I'm right down there, I'm with them, I'm in the trenches. I know what I'm trying to do. That's when it works best. And the final part is localization should not be. And I fear that this is a problem somewhere that anything that's, if I'm doing 10 shows, let's say two in Marathi, two in Bengali, two in Tamil, one in Gujarati, that's my regional strategy. No, if you're serving a market, that person in Tamil Nadu or Andhra should feel like this is a service that's made for me. The volume of content, the kind of quality of content should be addressing me. He should feel that this is a brand for me, not someone sitting here feeling, okay, I've done 10 shows which are non-Hindi, and that's a great regional strategy. So I think those are the couple of bug bears that I think we should. Very, very nice. Last word, Mr. Srinivasan. Are you satisfied by what you're hearing? Yeah, absolutely. I mean, many platforms are actually reaching out and they're actually, they've created local teams which are trying to ensure that the local language flavor is kind of invite. We are fiercely Tamil, we are fiercely Dravidian, we are fiercely Periares, we are like, we come from completely different lands. So I think, and each of our languages, each of our cultures, our society, everything is so different that when we tell stories that people want to hear, I mean, I think it's very important that you understand the context from which we come. And I think OTT platforms are definitely doing that because that's the only way it's going to work. The Mumbai or LA culture will not work in Chennai. And I'm sure what's already been established in television and in movies is definitely going to be established in OTT also. I mean, that being said, I would say that in television, our Pavitra Rista was able to travel and our Tirumati Selvam was able to travel as local product in five different languages and ended up as super hit in all five languages. So there is so much of capacity for a local language product to travel across. So there are both ways. Hindi could come to Tamil, Tamil could go to Hindi. So both are possible and we are right in the middle of that. That's a great perspective. Guys, I got to cut this short. It's been enormous fun chatting with you guys while we were at the next panel on. Thank you so much. Thank you for doing this. Thank you. Thank you so much. Thank you. Thank you. Thanks everyone. Thank you. Bye bye.