Digital-first movie release as a trend is here to stay for the long-term: Pradeep Dwivedi

Dwivedi, Eros STX Global Corporation CEO - India, talks about the challenges being faced by the Indian film industry and the company’s plans for its film and OTT businesses

e4m by Javed Farooqui
Published: Feb 1, 2021 12:00 PM  | 10 min read
pradeep dwivedi

Media veteran Pradeep Dwivedi took over as the CEO of Eros STX Global Corporation - India just before the Covid-19 induced lockdown in February 2020. Dwivedi has had a well-rounded career in advertising and media business over the last two decades.

In an interaction with, Dwivedi talks about the challenges being faced by the Indian film industry and the company’s plans for its film and OTT businesses.


The Indian film industry is yet to recover from the shock of the pandemic-led lockdown, how is Eros coping with the challenges that are thrown by the pandemic?

These 10 months have been very challenging on multiple fronts. It is broadly divided into two parts. One is the supply side which is the film product, shooting, and signing of new projects. That got adversely impacted. Earlier there were lots of restrictions but now we are putting things back on the floor. We used this time to finish whatever films were in the post-production stage. We have gone ahead and finished those projects to ensure that they are ready for release. ‘Haathi Mere Saathi’ a Rana Daggubati movie which we have shot in three different languages - Hindi, Tamil, and Telugu. We are looking to launch this movie in March. Similarly, we will be coming out with few other movies over the next three to four months.

The bigger issue for us has been on the demand side as theatres were shut. Only towards November/December, some theatres had started opening up. Even now people are hesitant as the occupancy levels haven't gone up. With the vaccination roll-out and social distancing norms, capacity will start building up for theatres. That will give us the advantage to showcase a lot of good movies. A case in point is if you look at what is happening in the South. If you look at Tamil Nadu, the theatres were full as soon as they reopened. While the previous festive season was dry, this year between Holi and Eid leading up to Diwali, we will see a lot of movies from multiple production houses and studios coming out. So, things should get normal in the latter part of this year.

Do you think there will be an over-supply of movies in the market considering there are pending projects awaiting coupled with the launch of new projects?

Initially, even we were apprehending that there will be an over-supply situation due to the backlog that has got created. Interestingly, what is happening is that the models of monetising are starting to change. Traditionally, the model was that you do a theatrical window and then you go to satellite broadcast and then you look at going to digital. But now, going straight to OTT has gained a lot of currency. What is happening is audiences are expecting movies to come straight on OTT. If the movies are not extremely high-budget for OTT platforms to buy then many of these movies will not even wait for the theatrical window and will go straight to OTT.

We are premiering American sci-fi thriller ‘Greenland’ straight on Eros Now as part of our newly launched Premium Video-On-Demand (PVOD) offering ‘First Day, First Show’. In the normal course, we would have gone ahead with the theatrical release. However, we believe that audiences are not fully comfortable going back to the theatre and that is why we have done this option wherein users can pay half the ticket price that one would have paid in a multiplex and still enjoy the movie in the PVOD window in the comfort of their homes. Basically, a lot of others will come as well.

Is direct-to-digital a sustainable model in the long-run?

You have to look at it from two or three dimensions. If you look at digital-first platforms like Netflix or Prime Video they have adopted both own content production as well as acquisition. If you look at Netflix, they have been commissioning new content rather than buying content. If you look at Warner Media, they have announced that every movie they produce will be released simultaneously on OTT platforms as well as theatres during the entire course of the year. They are believing in the value of a digital-first audience and the way audience preference is changing. There is obviously the overall cinematic experience of going to a theatre and watching a movie. However, from a sheer monetisation standpoint, the whole Hollywood and Bollywood industry is pivoted towards digital in a significant way. I don't think it is a temporary phase and we will go back to normal. Digital-first movie release as a trend is here to stay for the long-term.

When do you expect things to return to normal as far as production is concerned?

In the next six months, production will be fully normal and production schedules will get back on track. We are already seeing production facilities in overseas markets being available in sanitised form. From a domestic standpoint, outdoor shoots can be safely done right now. For indoor shooting, we have to take lot more precautions because there a lot of people in a very closed area. I am hopeful that in the next three months things will start going back to normal on production and that should give us good content to go for calendar 2022.

What is Eros' film slate for 2021?

There are two parts to it. So as far as Hollywood movies are concerned, we have a bunch of 7 to 8 movies that are coming in apart from ‘Greenland’. We have marquee content STX Films such as Horizon Line, Queenpins, Copshop, American Sole, The Marsh King's Daughter, Run Rabbit Run, Devotion, Every Note Played, and Memory. These will also be released first on Eros Now in India over the next 18 months.

On the Bollywood front, we are working on some very interesting projects not just directly in our own business but in our subsidiary Colour Yellow as well. ‘Haathi Mere Saathi’ is the big launch. We also have ‘Rom Rom Mein’. Then there are a bunch of other movies that we have planned.

We are also one of the pioneers in Bollywood content in global markets and there our digital strategy of Eros Now with its worldwide distribution also works very well. So, while we will look at the theatrical window for some movies but by and large, we will leverage a lot of new content on our streaming platform.

Has the relationship between production companies and multiplexes got fractured due to direct-to-digital movie premieres?

I believe that we are one extended industry and we have to carry all the constituents along. As you can see theatres are reopening with some restrictions so big movies are headed their way. I think direct-to-digital is a short-term phenomenon as during lockdown interests were clashing and producers who had invested a significant amount of money in their movies were not able to find a way out since theatres were shut. So, they wanted to monetise their content, and OTT players were willing to pay top dollars. It's an open economy and there were demand and supply dynamics at play. Last year, there was no demand from theatres for movies while there was a demand from OTT. This year if the demand comes back from theatres and OTT demand remains the same, we will some bit of it pivoting back to theatres.

What is your plan for Eros Now?

We have 2-3 core strategic pivots or plans on which we are working. At the most fundamental level, with the Eros Now SVOD proposition what we are doing is enriching it with new content and we have announced 54 new pieces of content across short-form, web series, originals, and movies in our announcement in December. We also have some very interesting line-up planned. We want to stay on top as far as content is concerned. As far as distribution is concerned while we have large partnerships with telcos and digital players we believe in connecting directly with our consumers and create attractive price points for customers to come directly to us which will be helpful for our distribution strategy. We are investing significantly in improving our distribution eco-system. The third pivot for us is the international distribution which remains extremely important for us and we are investing a lot of time and money on that as well.  

We also look to occupy niches and spaces in the market that are not fully exploited. The ‘First Day, First Show’ that we are doing with ‘Greenland’ is just the start. You will see a lot more content coming in to fill that segment. We are also looking at regional languages besides Hindi. The stories might be universal in nature but they need to have a compelling relationship with the local market. Today, urban customers might be shifting to OTT but in tier-2 and 3 cities there is a big audience base that relies on regional TV content because they don't have a compelling content offering on digital. We are addressing this problem through investments in content and talent. The other way we are addressing this is through technology. We have a partnership with Microsoft where we will use their artificial intelligence speech translation engine to dub content in multiple Indian and global languages. We are creating a new kind of OTT platform where people can access worldwide content but in their own language.

What is your strategy to monetise OTT rights? Is the priority to exploit the value by selling it to the highest buyer or use it to build Eros Now?

We create some content exclusively for Eros Now. We are clear from day 1 that this content is going into OTT because of the kind of budgets they have, the audience, and the content that we carry on OTT. There are certain big-budget films that traditionally should have gone to theatrical but we have not managed to get them released. For example, a film like ‘Haathi Mere Saathi’ could have gone to theatrical or we could have taken it to our own platform. But we have gone ahead with the theatrical launch. So, monetisation depends on the kind of movie and the budget of a movie. There could be a movie that we would like to place on other OTT platforms which financially makes sense. We produce as well as co-produce movies. Sometimes, we just take distribution rights or we have to take the aspirations of the partners in terms of the best way to monetise the movie. So that decision depends on the kind of money involved and the partnerships that we have.

With OTT players aggressively acquiring movies, how has that impacted the value of satellite rights?

There are two reasons why satellite rights rates and monetisation has gone down. One is of course the digital premiere. Digital has replaced satellite as the port of call. Secondly, the tendency of advertisers to spend money on advertising has also come down. With ad revenue under pressure, the ability of broadcasters to pay a significant premium for satellite rights has gone down. So, both the ability to pay and the competitive intensity from OTT have led to a reduction in the kind of revenue we had from satellite rights compared to pre-pandemic. I feel that broadcasters will come back aggressively to compete for movie rights with OTT players once the ad revenue situation improves.

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Google opens up access to Bard

In a blogpost, Google said that Bard could provide tips or explain several posts

By exchange4media Staff | Mar 23, 2023 1:07 PM   |   1 min read


Google has said that it is opening up access to Bard, the ChatGPT competitor, as per media reports.

The tech major will be expanding the access to Bard in more countries and languages.

In a blogpost, Google said that Bard could provide tips or explain several posts.

Google unveiled Bard in February. Alphabet CEO Sundar Pichai announced the soft launch of the AI to "trusted testers". 

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MarTech no longer only about marketing, it needs to drive sales: Mirum India report

The survey for the report shows 88% of respondents expect to increase spending on MarTech over the next 3 years

By exchange4media Staff | Mar 23, 2023 12:43 PM   |   2 min read


Mirum India, a Wunderman Thompson company, has put together a report on the emerging MarTech landscape in India.

The report captures how MarTech solutions are being utilized by brands to effectively communicate their brand messages to the right set of audiences at the right time.

The report highlights that while the global spend on MarTech solutions is around 25% of the total marketing budget, in India, majority organizations spend less than 15%, indicating significant potential for growth. With MarTech spending set to increase across company sizes and sectors, 88% of respondents expect to increase their MarTech spending over the next three years. The report also emphasizes the need for brands and organizations to work with growth partners as preferred by MarTech HEROES, focusing on ROI, and delivering value to the brands.

The report will be unveiled on March 24, 2023, at the e4m Pitch CMO Summit in Mumbai. The summit will see India's most reputed brands and top management coming under one roof to interact and share insights on their game-changing success stories.

Speaking on the report, Hareesh Tibrewala, Joint CEO – Mirum India, said, "The estimated size of the MarTech industry in India is expected to be between $35bn and $50bn by 2026, presenting a sizeable opportunity for businesses. Our latest report highlights how brands are using MarTech solutions to effectively deliver the right brand message to the right customer at the right time, creating fabulous customer experiences and increasing brand loyalty. It is interesting to note that marketers globally spend 25% of their budgets on MarTech solutions, and our report shows the emergence of MarTech EXPLORERS, who are keen to leverage the power of MarTech. This presents an exciting opportunity for businesses to grow and thrive in the ever-evolving digital landscape."

CVL Srinivas, Country Manager – WPP India said, "To succeed in the rapidly evolving tech and data driven world, organizations need good marketing automation tools and diverse skill sets. The report highlights the need for growth partners, preferred by MarTech HEROES, to ensure strong ROI for clients. It brings clarity to the ecosystem and presents an exciting opportunity for businesses to create fantastic customer experiences and increase brand loyalty. At WPP, we've invested heavily in building our tech and data practices, creating a comprehensive ecosystem where value is delivered at every touchpoint."

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Why contextual advertising is making a comeback

As part of e4m TechTalk, Dimpy Yadav, General Manager - Xaxis India, writes contextual advertising is re-emerging for delivering relevant & targeted messages to India’s audiences

By Dimpy Yadav | Mar 23, 2023 9:18 AM   |   4 min read


For years, contextual advertising has taken a back seat in favour of hyper-personalised behavioural targeting. But with tightening regulations and deepening concerns around data privacy, contextual advertising is reasserting its place within India’s marketing ecosystem. And it’s about time too.

Contextual advertisement placement is a proven marketing strategy that dates back to the very origins of the modern industry. In today’s digitised world, this tactic involves showing ads that are directly relevant to the content that a user is viewing or even to the user themselves. They can align contextually with anything from a web page to a geographic location or even the weather.

So why is contextual advertising making a comeback in India in 2023? And how can the nation’s marketers and agencies rise to this new digital challenge?

The right context

It’s been seven years since the Indian government launched its digital India campaign and the nation’s digital economy has grown at a phenomenal rate – 2.4 times faster than the overall economy between 2014 and 2019.

Meanwhile, smartphones have become more affordable, internet infrastructure has expanded, and data has become significantly cheaper. Since the outbreak of COVID-19, the adoption of digital interactions has accelerated even further, with food deliveries, telemedicine, and online gaming surging in first-time usage.

For marketers, digital and mobile media have become more accessible and cost-effective mediums. This year, advertising spending on mobile is expected to comprise 78 per cent of India’s total digital media expenditure. According to eMarketer, mobile ad spending in India grew YoY by 35.9 per cent in 2021 and is forecasted to grow by 28.4 per cent in 2022

India’s digital explosion comes amid a tectonic shift away from the third-party data collection that marketers have relied on for years. Consumers have become more cautious about the data they share online while global regulations around data collection like the European Union’s General Data Protection Regulation (GDPR) have constrained brands’ unfettered access to personal data. In this climate, contextual advertising, which leverages the content of the environment instead of the personal data of its visitors, serves as a privacy-friendly alternative.

A loyal audience

One of the key criticisms of social media over recent years is the potential to miss or misuse key contextual information. Although social media gives brands access to massive audiences, campaigns can easily fall flat if they aren’t executed in just the right context. Even the best creative cannot drive engagement when it appears in an irrelevant or inappropriate environment.

But that dependence on its environment is also one of contextual advertising’s greatest strengths. When utilized in partnership with established publications, it capitalizes on the built-in trust and loyalty that those outlets already enjoy with their audiences. When a receptive audience is combined with the modern capabilities of global scale, digital precision, and algorithmic efficiency, the results can be powerful.

Trust in context

Improvements in targeting capabilities and data analysis have also made it possible for advertisers to target audiences through keywords and topics as well as demographics and interests. Marketers can meanwhile be selective about the types of content they want their ads to run alongside, reserving their investments for audiences that are more likely to take an interest in their products and, therefore, more likely to engage with them. For these reasons, they can feel confident that their content will be well received and their investments will be profitable.

Still, marketing based on context may be a difficult transition for industry leaders who are more familiar and comfortable with behavioural targeting. But it’s hard to argue that the shift towards a contextual mindset will be anything short of necessary and more than likely fruitful. Recent research by Integral Ad Science (IAS) revealed that Indian consumers are more likely to positively receive and remember contextually relevant ads.

Last but not least, contextual advertising will aid marketers in the desired outcome from their campaign. According to a study conducted by IAS and personal computer manufacturer HP, purchase intent was 14 per cent higher among consumers who viewed the in-context ad. In addition, consumers reported a 5 per cent increase in positivity toward the HP brand after seeing an in-context ad

As third-party personal data is becoming less accessible, contextual advertising is growing more sophisticated, giving marketers the power to meet receptive audiences with relevant content. That’s a fundamentally sound path to success that benefits both brands and consumers alike.

Most significantly of all, it has the potential to transform digital media investments into real-world business outcomes. Although the value of premium publishing has always existed, marketers are now able to prove its success with clarity and maximum return on expenditure.

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Brands can be the real winners as gaming firms hit the jackpot with innovative games

Indian gaming firms received $1.4 billion investment over the past five years. This opens up huge opportunities for advertisers

By Kanchan Srivastava | Mar 23, 2023 8:55 AM   |   4 min read


The Indian gaming ecosystem, which boasts of more than 1,100 startups and a 40 crore-strong gaming communities, is thriving like never before.  With their unique offerings such as NFT-based games, fantasy sports, real-money games and cash prizes, home-grown firms have gained popularity across the globe. Over 86 Indian firms have received $1.4 billion investment over the past five years, including two unicorns and seven soonicorns, according to a latest report of the research firm Tracxn. 

Globally, gaming firms received $20.4B funds over the past five years. Of this, India’s share is roughly 6.8%. The United States (42.2%) Chinese (18.3%) firms got the lion’s share. 

Fantasy sports platform MPL ($150 million), which is a unicorn, is among top 10 funded companies globally over the last 2 years. Games24x7, another Unicorn from India, also received $75 million. 

Soonicorns like Zupee ($72 M), WinZO ($65 M), Hike (NFT gaming, $261 M), JetSynthesys, Octro, EloElo and Games2win also bagged the jackpot. Even four early stage startups-Bombay Play, One World Nation, Studio Sirah, Awon Gamez-have also managed to win their first rounds of funding over the last year. 

Even as the cryptocurrency sector across the world tanked, Venture capitalists have shown keen interests in Indian Web3 gaming startups that offer play-to-earn (P2E) entertainment and use crypto coins and NFTs for transactions. Companies with blockchain-based offerings pocketed $620 mn in 2022. Gurugram-based Rario, Bengaluru-based and Delhi-based Hike are among them, Tracxn data says. Hike pivoted from instant messaging to social, gaming, and crypto in 2021 only. 

“Indian gaming companies have been building local products with capabilities to cater to mobile-gaming markets across the world. Gaming as a category has shown itself to be driven by a highly monetizable audience base: one that tends to spend a lot of time on content and online engagement, is likely to be a trend-setter, has the propensity to spend and is often the chief purchase influencer in his/her family and friend circle,” opines Piyush Kumar, Founder & CEO, Rooter - Gaming and Esports Content platform. 

He further noted, “Indian gaming startups have been quick to encash this opportunity. Gaming content platforms like ours are building scalable, tech-driven, revenue-generating models that have garnered interest from marquee global investors.”

According to Rohit Agarwal, Founder & Director, Alpha Zegus,

“Since gaming is an industry that is completely digitally led, there is an almost infinite reserve of digital content that can be converted into NFTs. Also, the gaming audience is more tech-driven and understands the concept of NFT quite easily. These two factors give the NFT-based gaming industry a big advantage.”

Karan Taurani, senior VP of Elara Capital, echoes the sentiments.  “Indian gaming companies have quickly realized the shift of casual gamers towards real-money games. Web3 gaming is a far more sustainable ecosystem for both players and gaming companies and hence there are huge growth opportunities. Investors know this fact.”

Big opportunity for brands 

Such overwhelming investment in the Indian gaming startups opens up a huge opportunity for advertisers. Most of the gamers are young and have a significant purchasing power. 

The Indian online gaming industry is estimated to grow to more than Rs 15,000 crore in 2023, representing a CAGR of nearly 22%,  as per the latest 'India Online Gaming Report' of GroupM. 

“Most of the potential of this platform is still unutilised”, an advertising executive said. He added, “Gaming platforms offer tremendous scope such as in-app advertising, brand integration, rewards and advergaming. Brands can also reach their target audience through communities, e-sport tournaments, team associations, NFTs and influencers.”

The in-game advertising market globally is estimated to grow at a CAGR of 7% to reach about US$220 billion by 2027, almost two-fold compared to 2020, according to a report of Research and Markets.


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How Nikhil Gandhi led strategic growth for MX Player

Gandhi, who has stepped down as COO, had three focus areas to drive the platform’s evolution when he took over the role two years back

By exchange4media Staff | Mar 23, 2023 8:24 AM   |   2 min read


Nikhil Gandhi, who stepped down as the Chief Operating Officer of MX Player on Wednesday, has the credit of leading the OTT platform for two years with a specialised business strategy.

Gandhi made a mark with his team leadership, brand management, and strategies for generating revenue through digital content.

When Gandhi joined MX Player from TikTok, he was clear on three key areas for growth. The first was to grow users in India and internationally and expand MX Player’s markets by increasing the watch time on the app. Secondly, he spoke of deploying data in creating strategies for content and the third area was to identify new business areas. Gandhi had spoken about these key focus points in an interview with e4m in May 2022.

With Gandhi at the helm, MX Player emerged as the fastest-growing OTT platform in India. As per’s “State of Mobile Report”, released in January this year, MX Player was India’s most-downloaded OTT app and the third most-downloaded worldwide in 2022.

Industry observers shared that Gandhi had bigger plans. “He has been striving to take the AVOD model to the next level and crack the Bharat market, which largely relies on cost-free entertainment options,” an industry expert said.

He was also instrumental in acquiring the Lionsgate library for international content, industry sources said.

MX Player has over 650 advertisers on its platform, Gandhi had said last December, explaining how his “team goes into smaller markets and gets new advertisers”.

Under his leadership, the platform was able to launch several new initiatives in the last one and a half years. Among them was MX Advantage, the self-serve ad platform targeted at Small and Medium Enterprises (SMEs). It allows new advertisers to log in and place ads on the platform. MX Player also helps brands design their ads.

Another feature, launched in October 2022, was MX Live. It helped creators monetise content. MX Live works on a D2C model that allows content creators to interact with fans through live sessions. Users can even buy MX coins and MX tokens.

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Sociapa bags digital mandate for Pansari Epicure

The mandate will include services like the brand’s social media management, product launches and campaign and strategy planning

By exchange4media Staff | Mar 22, 2023 4:24 PM   |   1 min read


Marketing agency Sociapa will now be taking care of the digital mandate of Pansari Epicure which comes from the house of Pansari Foods. The mandate will include services like the brand’s social media management, product launches, and campaign and strategy planning.  

Founder of Sociapa, Dheeraj Raj, says, “As an expert in the realm of brand communication and image building, we are delighted to have the opportunity to collaborate with Pansari Epicure, a brand that effectively captures the burgeoning hospitality industry through their customer-centric solutions.”

“We are well-versed in addressing the communication objectives and image-building expectations of such brands and are thrilled to extend our specialized knowledge to a trusted Indian entity like Pansari Foods. Our enthusiasm for this partnership is further fueled by the prospect of enhancing our proficiency in this segment.”

Rakhee Yadav, Senior Marketing Manager - Pansari Group says, “With Sociapa we are sure we will take our new launches to a great height on our social media to our end consumers. The team is dedicated and clear in their thoughts and approach towards work. We look forward to achieving new milestones with them.”

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WPP acquires influencer marketing agency Goat

Goat will join GroupM, WPP’s media investment group, and merge with its influencer marketing solution INCA

By exchange4media Staff | Mar 22, 2023 1:11 PM   |   3 min read


WPP today announces the acquisition of Goat, an influencer marketing agency.   

Goat specialises in data-led end-to-end influencer marketing campaigns grounded in performance and measurement and was founded by Arron Shepherd, Nick Cooke, and Harry Hugo in 2015. Goat drives authentic brand engagement while integrating targeted paid media to reach the right audience and achieve industry-leading results. The company’s 150+ staff across three global offices have helped to grow some of the biggest brands in the world, including Dell, Beiersdorf, Meta, Tesco, Uber, EA, Natura and Augustinus Bader, delivering best-in-class social and influencer campaigns. Since its founding, Goat has tracked the performance of over 50,000 influencer channels and over 250,000 pieces of content. 

In recent years, Adweek recognised Goat as Europe’s fastest-growing agency while The Drum awarded it Social Media Agency of the Year and LinkedIn named it one of its top companies.  

Goat will join GroupM, WPP’s media investment group, and merge with its influencer marketing solution INCA to create the industry’s first truly global influencer marketing agency with more than 300 employees in over 30 markets around the world. The combined entity – which will go to market as Goat – will operate as part of GroupM Nexus, the world’s leading media performance organisation with more than 9,000 expert practitioners.   

As part of GroupM Nexus, Goat will support GroupM’s strategy to help clients drive growth through performance with the scale and expertise to help global brands activate campaigns anywhere in the world. Enhanced by GroupM’s partnerships with the world’s largest social and commerce platforms, proprietary technology, and deep global expertise, Goat will provide GroupM and WPP clients with industry-leading global, cross-channel, and data-driven influencer marketing capabilities.      

Christian Juhl, Global CEO, GroupM, said: “Influencer marketing is an exciting growth area for our business and one in which our clients are looking for globally scaled and outcomes-driven capabilities. The addition of Goat to GroupM as part of GroupM Nexus gives us the ability to deliver accountable, cross-channel, and data-driven influencer solutions for clients anywhere in the world. Combined with the exceptional talent at INCA, we expect Goat to play a critical role in helping us define the next era of media at GroupM.”  

Arron Shepherd, Founder and CEO, Goat, said: “We couldn't be happier to be joining WPP and GroupM to bring our leading global influencer marketing and digital solutions to some of the best brands in the world. We are delighted to combine forces with the amazing talent at INCA to deliver even better value for our clients all over the world.”  

Mark Read, CEO, WPP, said: “Influencer marketing is a key growth priority for the industry and for WPP. Our clients are increasingly planning budgets at a global scale and require partners that have the global reach to help deliver, whilst driving engagement and impact at a local level. Goat’s proven track record in the influencer marketing space paired with GroupM’s record of excellence will continue to build on our unparalleled expertise in this area.”  

Goat becomes the latest in a series of acquisitions that form part of WPP’s accelerated growth strategy and focused M&A approach. These include 3K Communications, Fēnom Digital, Diff, Passport, JeffreyGroup and Newcraft in the last six months alone, in addition to the acquisition of influencer marketing agency Village Marketing in February 2022.

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