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Radio Mirchi is the flagship brand of Entertainment Network India Limited (ENIL). ENIL is the largest private FM radio broadcaster in India. ENIL was able to gain a stronghold in the market due to its strengths of innovativeness and creative content, large operating network, reach among listeners, high quality studio and strong advertisement sales capabilities. The case discusses Radio Mirchi's entry into the Kolkata market in 2003 amidst the competition from three other players—Red FM, Aamar and Power. Kolkata occupied a prime place in the company's growth plans. The case discusses the dilemma faced by the company on developing the entry strategy. Its top management has to decide on the market segment(s) it should target, and the design of the product.

The case study “PVR Limited at a Crossroads” has been designed with the requirements of strategic management. The learning objectives are as follows:

• Situational analysis – understand the global and Indian media and entertainment industry PESTEL.

• Strategic planning – internal and external environmental analysis – strength, weakness, opportunities and threats (SWOT) analysis helps in achieving the strategic plan.

• Strategy development – to accomplish the turnaround plan, various alternatives are developed; choosing from the possible alternatives is a part of strategic planning.

PVR Limited (PVR) is the largest premium film exhibition company in India. In their annual report for 2019–2020, Chief Executive Officer Gautam Dutta acknowledged, “It was the first time in our more than two-decade history that we witnessed over 100 million patrons entering our premises in a year”. However, with the onset of Covid-19 pandemic in January 2020, things changed for the entertainment industry in India. There were fears of an eminent third wave and the detection of a new Covid-19 variant, Omicron, added to these fears. Being a major player in the game, PVR felt the impact. And even when the business started to reopen, social distancing remained a concern and ticket sales were impacted. Over-the-top viewership rose dramatically at the cost of the multiplex. The lockdown halted film productions worldwide, leading to a shortage of content. Other revenue streams, such as food and beverage, convenience fees and advertising, also came to a halt. Given the circumstances, Dutta was facing the twin dilemma of how to bring customers back to cinema in a post-pandemic world without in any way compromising the security of its patrons and keeping costs under control while investing in social distancing, safety measures and entertainment infrastructure to enhance the cinematic experience.

This case was written for use in Strategic Management classes at the undergraduate and MBA levels. It can be used in both management studies and executive development programs. It is suitable for courses on strategic management and strategic planning focusing on a turnaround strategy. Additionally, the case could be used in consumer behaviour courses in management as the focus of the case is well aligned with discussions related to change in consumer behaviour.

Teaching notes are available for educators only.

CSS 11: Strategy.

In July 2004, J.P. Morgan Partners (JPMP), the private equity arm of JPMorgan Chase & Co., was in the midst of formulating the final terms of a public-to-private buyout proposal for AMC Entertainment Inc. (AMCE), a publicly traded movie theater company.

This paper aims to understand the changing landscape of media and entertainment industry, to understand the difference between display advertising and native advertising, to know the standing of BuzzFeed in the industry and to know the strategic actions of BuzzFeed under the current competitive business environment.

Founded in 2006 as a viral lab, by Jonah Peretti and John S. Johnson, with the aim of tracking viral content, it caused disruption in the market with its entry and grew very rapidly. It was valued at $1.5bn in 2015, having raised money from numerous investors. The revenue of BuzzFeed was driven by the concept of native advertising. Catchy headlined articles conveyed the sense that BuzzFeed might be charging advertisers on basis of clicks, but this was not entirely true. Instead, BuzzFeed charged a fee from its clients for creating custom content targeting the customer base of the client. However, the year 2015 went tough for BuzzFeed when, as per the reports by Financial Times, it fell short of achieving its targeted revenue of US$250m by US$80m. It forced the company to revise and lower its target revenues for the year 2016 as well. The combined worldwide traffic to BuzzFeed saw a decline of up to 14 per cent. As Claire marketing head looked out of the window and pondered over the slashed revenue projections and the content related issues, the question on her mind was would native advertising sustain BuzzFeed in the longer run? BuzzFeed was known for its viral content and native advertising would involve finding a balance between what is good for the advertisers' brand and what will become viral. Buzzfeed ran a risk of losing brands to other modes of advertisement if they felt that native advertisement, which disguises the product within the content, was not meeting their expectations.

The case is targeted at students of post-graduation and under-graduation programs in Business Administration.

Teaching Notes are available for educators only. Please contact your library to gain login details or email support@emeraldinsight.com to request teaching notes.

Marketing

Management of technology, technological innovation, business innovation and new product development, innovation, design and strategy, entrepreneurship innovation and leadership strategic planning of technological innovation.

MBA.

KidZania® is a Mexican company of family entertainment centers, founded in 1996 by Luis Javier Laresgoiti Fernández and fully developed by Xavier López Ancona. An innovative concept inspired in a fusion of nursery and theme park, KidZania®, brings together strong brands as partners to support their own and offer a complete entertainment and educational experience to kids between two and 16 years old. A unique business model, involvement of experts and a committed board of directors has been the key to the innovation of KidZania®. Its managers, by 2011, operate eight centers – two in Mexico, two in Japan and the rest in Indonesia, Portugal, United Arab Emirates and South Korea – and have plans to expand to more countries in Asia, Latin America and Europe in 2011 and finally to the USA. The future of KidZania® seemed bright, and the manager of the company believed that the growth appeared unstoppable because the purpose was to grow on 100 percent. The strategy appeared clear: dominate in the emerging and consolidated markets (big cities) in order to strengthen its competitive position and then, enter the US market with all the muscle and take the lead in the biggest market. But what was the competition going to do about it? What will the moves be for big players like Walt Disney – which had revenues of US$38.06 billion (USSEC, 2010), for example? Will the competitors try to buy the new entrant in order to build it up or to disappear it? Or will they try to imitate KidZania®? What would be the future of this new edutainment business model?

This case has been used in executive and MBA courses in creating and sustaining innovation, recognizing disruptive technologies, and in identifying effective methods of marketing a new innovative business model. Instructors can use the case to achieve the following two learning objectives: the KidZania® case helps students to refine their understanding of the model of disruption. They are forced to look closely at the product/service and decide whether it is a disruptive innovation or a sustaining innovation. This close examination becomes a helpful tool as students think about what decisions they would make to secure the success of the KidZania® in the entertainment market. The KidZania® case allows students the opportunity to develop their knowledge and understanding of the model “skating to where the money is”. Based on their analysis of the company and product students, must decide whether the KidZania® is a business that will produce sustained revenue and is worth investing in.

Teaching notes are available for educators only. Please contact your library to gain login details or e-mail support@emeraldinsight.com to request teaching notes.

International business or International marketing.

The case is recommended for undergraduate and graduate courses in the fields of international business and international marketing. The aim is to show students the problems that a family business in the animation industry faces while growing and internationalizing. Specifically, the case discusses the entry mode selection and market selection challenges faced by an emerging market company in the comic book and animation industry to operate overseas and compete with entertainment giants such as Disney and DC Comics. The case enables the instructor to discuss international market selection theories and evaluate entry modes. For graduate students, the international market selection can be further developed by using more robust concepts such as psychic and cultural distance.

This case examines the trajectory of a pioneering company in the comic book and animation industries, and in the licensing of trademarks in Brazil. Mauricio de Sousa Productions was founded in 1959 and is considered to be one of the most successful cultural producers in the country. According to a leading Brazilian public opinion research agency, 97 per cent of Brazilian children and 96 per cent of their parents are familiar with the Monica and Friends characters. As one of the main players in the publishing market, with 86 per cent of market share, Mauricio de Sousa Productions has a product portfolio that goes beyond Monica and Friends comic strips: the company’s show on the Cartoon Network ranks third in audience viewing in the country and the company has produced animated movies, books, shows and games. However, despite its experience in publishing comic books in several countries, Mauricio de Sousa Productions (MSP)’s worldwide operations have not been as profitable and sustainable as expected. Aiming at expanding its global presence, MSP’s top management decided in 2014 to review the company’s internationalization strategy and operations to enhance the firm’s performance.

The case highlights the key factors facing firms when expanding from an emerging markets. Students are expected to discuss and evaluate options, thus developing their knowledge and decision processes related to family-owned business challenges and opportunities, international market selection theories and international market entry mode. Developing strategies to face challenges as those presented by competitors such as Disney should bring opportunities to students to think outside models and weigh risks. Finally, the case gives students opportunity to base their decision processes and evaluations on logistics problems as well as psychic and cultural distances. It also compels the students to appreciate the various challenges involved in exploiting international market with animation content and intellectual properties as a service.

Company presentation to use in the discussion introduction can be found in: www.monicaandfriends.com/content/video.php

CSS 5: International business.

CSS 11: Strategy

Undergraduate or Graduate Capstone Course in Management or Marketing.

Electronic Arts is one of the premiere video game software developers in the world. With the changing video game industry, evolving tastes and preferences, the introduction of next generation platforms and supporting various mobile platforms, Electronics Arts has important decisions to make as it charts its future.

The analysis seeks to fulfil several objectives relevant to management and marketing strategy courses, where analysis of the external environment of a firm is important. Students should be able to do the following: identify the relevant content to include in an industry analysis. Understand the key concepts of strategic analysis and how to apply them. Use the analytical tools of strategy to synthesize information from multiple sources into a comprehensive picture of an industry. Provide an overview of the dynamics and near-term future of this industry. Use industry analysis to explore emerging markets, billing options and where to target company resources.

Teaching notes are available for educators only. Please contact your library to gain login details or email support@emeraldinsight.com to request teaching notes.

The case study illustrated strategic, marketing, financial and operational challenges faced by Netflix in India's growing SVoD market. This case is appropriate in courses such as Strategic Management, Business Strategy, Marketing Management and International Marketing for postgraduate MBA students, other graduate-level management programs and undergraduate-level students. The case was developed to raise awareness among students, to understand the complex nature of the technology-driven industry, to survive in the highly competitive market, to set up a company that serves the huge Indian market. This case delves into the dynamics of marketing on the Indian market, characterized by unorganized players such as local cable television; torrent downloads and organized and established players, low digitalization rates, language barriers, low internet penetration, lack of infrastructure, price-sensitive consumers. Due to up-gradation in technology, internet penetration, an increase in smartphone users, and the market has undergone a notable amount of change, due to a lot on new entrants, competitions, substitutes. The case states various obstacles, for a multinational company while entering the market such as India and how they are required to strategize, mold their marketing mix, need to analyze en-cash their strength, overcome their weakness, take maximum advantage of opportunities and modify their strategies to face huge challenges. The specific learning outcome of the case will help students to understand the strategy that multinational companies can adopt to sustain, compete in emerging countries such as India and within that emerging market such as streaming videos on demand (SVoD). This case will help students to understand the importance of internal and external resources, which help multinational companies to make strategies based on these resources. The case study offers learners the opportunity to explore the strategy in a dynamic environment. This case also highlights the critical issues that should be addressed by multinational companies when entering into a foreign market. The case highlights the importance of analyzing the competitive environment in which it’s going to compete and sustain. It can be used to introduce Ansoff’s growth matrix, internal and external factor analysis and porter’s five forces in the delivery of course for both regular and executive programs. The case should be offered in the middle term periods of the course. Additionally, the case could be used in marketing courses to indicate the importance of scanning the business environment in marketing activities for any organization. The case illustrates the strategies that companies can undertake to expand the market, introduce new products, as per the requirement of business environment and concerns linked with innovating approaches to support the organization to satisfy a larger number of price-sensitive consumers from varied backgrounds.

Netflix has been optimistic about the potential growth of the Indian market. It will grow slowly and gradually and become profitable. The SVoD market in India has been price sensitive. There are no plans for cheaper prices. Netflix had a long way to go. The pricing model of Netflix was a hurdle in its growth, but the future of Netflix in India was bright. There have been numerous challenges in terms of government regulations, pricing structure and an increase in the number of competitive players on the market. Netflix believed that Indian audiences enjoyed “Bollywood” film productions but watched low-quality soap opera content on television. Television audiences were a massive untapped market for their brand of original, exclusively produced content. Can Netflix come up with a marketing and growth strategy, or else they might be looking to lose market share and revenue. Should a new product such as Amazon and MI fire stick be introduced in the existing market like their competitors? Should they enter the existing market with existing products, or should they seek a new market in India, such as the rural market, the Pyramid market, the Tier II market and the City III market? Should they diversify into a new market with new products? How Netflix should plan its market communication if it wants to launch a new product or if it wants to reposition its existing product. Netflix had to rethink its strategies and also needed to address these issues so that they could travel smoothly on Indian roads. High marketing budget and aggressive promotions helped Netflix India to make a profit in its first year.

Postgraduate MBA students, other graduate-level management programs and undergraduate-level students.

Teaching notes are available for educators only.

CSS 11: Strategy.

The novelty of this case is the multidisciplinary focus where the aspects of entrepreneurship, marketing strategy and finance are mixed together. Students are expected to apply their knowledge of Business Model Canvas and Marketing 4.0, as well as learn about the new type of entrepreneurial finance such as crowdfunding. The setting of this case is novel too – the new quest games industry in Russia. Finally, the novelty of this case is its format where the protagonists’ interview is available as a podcast, and thus, the students will need to review only the tables and the appendices.

This decision case was field researched by the authors who interviewed the founders of this start-up and the business incubator (BI) director. No information was disguised in any way. Also, the secondary research on the main trends in the development of the international and Russian quest markets was completed by the authors in the preparation of this case.

Paranoiabox.ru case presents an entrepreneurial and strategic marketing decision situation. In May 2019, in Moscow, Russia, two young residents of the MGIMO University BI, Anastasia and Max, founded the start-up business called Paranoiabox.ru. This project was a quest in a new format with home delivery: a mixture of escape, detective and board game. The player received by post a box containing various objects. Interacting with them, he/she unraveled the plot thread, found clues and gradually approached the final clue. The game with complex copyright puzzles had a built-in hint system and provided mechanisms for interaction online. By July 2019, 30 boxes for their first quest were sold. The subscribers were waiting for a new quest. Despite the first sales, Anastasia and Max had no budget for hiring freelancers or outsourcing. They were faced with an urgent and challenging dilemma: whether to concentrate on the current product sales and spend all the budget on promotion or, alternatively, to launch a series of new quests and focus on the target market with high brand awareness. There was an additional funding dilemma: should they apply for crowdfunding?

This case is a multidisciplinary case with the aspects of entrepreneurship, marketing strategy and finance. This case is intended primarily for a course in entrepreneurship at the undergraduate or graduate level. This case is also ideal to be used as a capstone project in a degree programme for entrepreneurs.

A year into the launch of TiVo—the “revolutionary new personal TV service that lets you watch what you want, when you want”—John Tebona, VP of business development, was faced with important decisions about TiVo's revenue model and strategic alliances. With television's move from a network-based model to an interactive one, he had to decide what role TiVo would play in the emerging industry landscape. Would TiVo be just a set-top box or would it live up to the vision of revolutionizing the television viewing experience? What revenue streams should it emphasize to capture the most value? What strategic relationships must TiVo form in an environment where companies were cross-investing in multiple technologies across different industry segments? How could it expand its customer base and accelerate its revenues before competitors like Microsoft's WebTV became the default standard?

To understand that disruptive innovation from a value creation standpoint may not mean a profitable or viable business from a value capture standpoint; products are far easier to create than robust business architectures with solid profit engines; the future of interactivity is clouded by the conflicting visions of the varied players; and control over standards is a valuable choke point.