LONDON: Al Arabiya network denied accusations made by Lebanese terror group Hezbollah in a statement issued on Thursday, which claimed that the network was peddling false information on the militia’s captagon and drug smuggling operations.
Responding to threats made by the group, Al Arabiya stressed that all accusations cited in the Hezbollah statement were false.
It also confirmed that all reports and investigations published by its various platforms are documented and supported by trusted sources, and confirmed by audio and video files.
They were also confirmed, Al Arabiya said, by arrest warrants issued against Hezbollah members and financiers by several governments in Latin America, the US and Europe.
Al Arabiya said it would carry on with its approach by adhering to the highest professional standards, relying on documented information in its investigations and news material.
The network pointed out that Hezbollah and its members are already blacklisted for drug trafficking, money laundering, smuggling, and illegal trade in many countries around the world.
Saudi Arabia to host Arab Radio and Television Festival
Festival running from Nov. 7 to Nov. 10 in Riyadh
Updated 11 August 2022
RIYADH: Hundreds of media officials are expected at the 22nd edition of the Arab Radio and Television Festival, which will be hosted in Saudi Arabia.
Running from Nov. 7 to Nov. 10 in Riyadh, more than 1,000 media professionals are expected at the four-day event.
Activities will include a broad selection of workshops, discussions and competitions based on the broadcast industry.
The festival, organized by the Saudi Broadcasting Authority, will also have representatives from media organizations including World Broadcasting Unions, European Broadcasting Union, Asia-Pacific Broadcasting Union, African Union of Broadcasting, Asia-Pacific Institute for Broadcasting Development, China Global Television Network, International Telecommunication Union and the Mediterranean Center for Audiovisual Communication.
Saudi Arabia’s hosting of the festival, considered one of the most prominent media forums, gives a nod to its importance in the Arab and Islamic worlds as well as efforts to push for cultural transformation the Kingdom is witnessing, state news agency SPA reported.
All you need to know about Saudi Arabia’s new social media influencer permit
Kingdom’s media regulator says new law to take effect from October, with all social media influencers affected
Updated 17 sec ago
TAREK ALI AHMAD
LONDON: As more Saudis connect through their social media profiles and even begin to profit from these platforms, the Kingdom has launched a new licensing system to properly monitor the influencer industry.
From early October, every Saudi and non-Saudi content creator in the Kingdom who earns revenue through advertising on social media must first apply for an official permit from the General Commission for Audiovisual Media (GCAM).
For a fee of SR15,000 (roughly $4,000), content creators will receive a permit lasting three years, during which time they can work with as many private entities as they wish and promote any product or service, as long as it does not violate the Kingdom’s laws or values.
The incoming influencer license “is not a permit to censor or to block,” Esra Assery, CEO at GCAM, told Arab News. “It’s more of a permit to enable the maturity of the sector. We want to help those individuals grow, but grow in a professional way so they can make a career out of (social media revenue).”
The new regulations are being touted as legal protections, both for influencers and businesses wishing to advertise with them, so that rates and contractual obligations are standardized across the industry.
“The market is so unregulated,” said Assery. “We’re not against influencers or those individuals. Actually, we want to enable them. If you check out the new bylaw, it protects them also, because the bylaw regulates their relationship with the advertisers.”
Currently, anyone in Saudi Arabia is able to advertise on social media and earn money from deals with private entities — with payments per post climbing into the thousands of riyals, depending on the number of followers an influencer can reach.
Concern has been expressed that introducing permits and regulations will undermine how much money influencers can make and might even constitute censorship. However, GCAM insists the permits are designed to ensure transparency between influencers and their clients.
Saudi influencers, whether based in the Kingdom or abroad, must apply for the permit if they wish to work with a brand — local or international. However, non-Saudi residents in the country must follow a different track.
After applying to the Ministry of Investment for a permit to work in the country, they can then apply for an influencer permit through GCAM. However, non-Saudi residents must be represented by specific advertising agencies.
“While some influencers may focus on the short-term loss of paying the license fee, there is a huge benefit to licensing coming in as it legitimizes the sector on a national level,” Jamal Al-Mawed, founder and managing director of Gambit Communications, told Arab News.
“This is crucial in the influencer industry as it has been a bit of a wild west for marketing in the past, with no clear benchmarking for rates or contracts.”
Al-Mawed said that the new measures can protect brands that are susceptible to fraud “when they pay huge budgets to influencers who are buying fake followers and fake engagements. This creates a vicious circle, as hard-working content creators are undermined by the bad apples.”
Although the new license is unlikely to solve every issue overnight, “it does create a foundation for more professionalism and accountability,” Al-Mawed added.
In June, non-Saudi residents and visitors to the Kingdom were prohibited from posting ads on social media without a license. Those who ignore the ruling face a possible five-year prison sentence and fines of up to SR5 million.
GCAM announced the ban after finding “violations by numerous non-Saudi advertisers, both residents and visitors, on social media platforms.”
“After checking their data, it was found that they had committed systemic violations, including lack of commercial registrations and legal licenses, and they are not working under any commercial entity or foreign investment license,” the commission said at the time.
Now, with a regulated license, such violations will be easier to monitor and the sector will be better regulated to ensure full transparency.
Although Saudi influencers will be able to hold full-time jobs while earning on the side through promotional campaigns on their social media profiles, the law states that non-Saudis can work only in one specific role while residing in the Kingdom.
However, the system does not apply to businesses and entities — such as bakeries or hair salons — that hold social media accounts and advertise their own products or services on these platforms. Only individuals are affected by the new law.
There are certain exceptions, however, such as individuals who have been invited to the country by a ministry or government entity in order to perform, including musicians and entertainers.
With the rise of social media over the past decade, content creators and so-called influencers with thousands of followers on Instagram, TikTok, Snapchat and other platforms have drawn audiences away from traditional outlets, such as television, newspapers and magazines, to new and largely unregulated media.
Sensing the shift in content consumption, advertisers have followed the herd. Crystal-blue waters caressing white, sandy beaches at luxury resorts and scrumptious feasts at the finest restaurants are now commonplace on influencer profiles as businesses rush to take advantage of more “natural-feeling” product placement.
However, regulators have struggled to keep up with this rapid transformation, leaving the process open to legal disputes, exploitation and abuse. That is why authorities elsewhere in the world have also been exploring influencer permits.
Dubai, widely seen as the influencer hub of the Middle East, is among them.
In 2018, the UAE’s National Media Council launched a new electronic media regulation system, which required social media influencers to obtain a license to operate in the country.
The cost of the annual license is 15,000 AED (roughly $4,000). Those who fail to obtain or renew the license can face penalties including a fine of up to 5,000 AED, a verbal or official warning, and even closure of their social media accounts.
The rules apply to influencers visiting the UAE as well. They must either have a license or be signed up with an NMC-registered influencer agency to operate in the country.
With Saudi Arabia progressing in the entertainment and creative industries, the introduction of the license is viewed as a step in the right direction.
“It’s great news for the industry,” said Al-Mawed. “When someone is licensed by the government to offer their services, that gives them a level of safety and trust and can help filter out the scammers who prefer to fly under the radar.”
Druze: the great survivors
How the world's most secretive faithhas endured for a thousand years
SAN FRANCISCO: The Disney+ streaming service saw its number of paying subscribers leap beyond expectations in the last quarter, as rival Netflix’s client count ebbed, results showed Wednesday.
The number of people subscribing to Disney+ topped 152 million, up some 31 percent from the same period a year earlier, the entertainment giant said in an earnings report.
Disney’s bottom line was also boosted by rising revenue from its theme parks, which showed signs of recovering from stifled attendance during the pandemic.
Better-that-expected earnings reported by Disney came as many of the tech titans that flourished during the pandemic curb costs in the face of inflation and people get back to living life in the real world instead of online.
Disney shares were up more than 6 percent in after-market trades that followed release of the earnings figures.
“We had an excellent quarter, with our world-class creative and business teams powering outstanding performance at our domestic theme parks, big increases in live-sports viewership, and significant subscriber growth at our streaming services,” said Disney chief executive Bob Chapek.
The 14.4 million Disney+ subscribers added in the recently ended quarter raised the overall number of subscriptions to its streaming services, which include Hulu and ESPN+, to 221 million, Chapek added.
The overall number of subscribers to Disney streaming services topped those of Netflix for the first time.
“Investors will breathe a sigh of relief from Disney’s robust fiscal (quarterly) earnings,” said Insider Intelligence principal analyst Paul Verna.
“The streaming figures will be seen as an indicator of the health of the market, especially after lackluster subscriber figures from Netflix and Comcast.”
Disney also announced that an ad-subsidized version of its streaming television subscription service will be offered in the United States starting December 8 at a monthly price $3 less than the ad-free offering.
Taking a page from Netflix’s playbook, Disney has been investing in shows created in places outside the United States.
The company plans to “step up” investments in such local original content, Chapek said, pointing out a film concert and docu-series focused on South Korean music sensation BTS.
He expressed confidence in Disney theater films in the works, including an eagerly anticipated “Black Panther: Wakanda Forever” addition to its Marvel superhero line-up.
A trailer for the Black Panther film logged more than 170 million views in the 24 hours after its release, Chapek said.
“Disney still faces economic uncertainty and intense competition, but performance should at least temporarily put to rest some of Wall Street’s gloomier perceptions about the company, and more broadly about the entertainment industry,” said Paul Verna, an analyst at Insider Intelligence.
Rival Netflix has reported losing subscribers for two quarters in a row, as the streaming giant battles fierce competition and viewer belt tightening, though the firm assured investors of better days ahead.
The loss of 970,000 paying customers in the most recent quarter was less than expected, leaving Netflix with just shy of 221 million subscribers.
“Our challenge and opportunity is to accelerate our revenue and membership growth... and to better monetize our big audience,” the firm said in its earnings report.
After years of amassing subscribers, Netflix lost 200,000 customers worldwide in the first quarter compared to the end of 2021.
Netflix said in its earnings report that it had expected to gain a million paid subscribers in the current quarter.
Netflix executives have made it clear the company will get tougher on sharing logins and passwords, which allow many to access the platform’s content without paying.
In an effort to draw new subscribers, Netflix said it will work with Microsoft to launch a cheaper subscription plan that includes advertisements.
The ad-supported offering will be in addition to the three account options already available, with the cheapest plan coming in at $10 per month in the United States.
Universal Pictures International partners with Majid Al Futtaim Distribution in new deal for Arab world
Partnership comes amid rapid cinema growth and strong box office results in Saudi Arabia and Middle East
Under the deal, Majid Al Futtaim Distribution will release Universal Pictures’ titles, including the M. Night Shyamalan thriller “Knock at the Cabin”
Updated 10 August 2022
LONDON: Universal Pictures International and Majid Al Futtaim Distribution on Wednesday announced a partnership that will see the Emirati-based distribution company release Universal films in Saudi Arabia and other Middle Eastern countries, including Bahrain, Kuwait, Oman, Qatar, the UAE and Egypt.
“This is a very exciting time for cinema in the Middle East with the investment and audience interest at unprecedented levels. We are thrilled to be partnering with Majid Al Futtaim, one of the most ambitious and forward-thinking groups in the region,” said Paul Higginson, executive vice president, EMEA for Universal Pictures International.
News of the partnership, which will take effect on Feb. 1, 2023, comes as Saudi Arabia and the wider Middle East experience rapid growth and strong box office results.
Under the deal, Majid Al Futtaim Distribution, one of the largest film distributors in the region and a subsidiary of Majid Al Futtaim Leisure, Entertainment & Cinemas, will release Universal Pictures’ titles, including the M. Night Shyamalan thriller “Knock at the Cabin,” the Super Mario Bros movie and “Renfield” starring Nicolas Cage.
“This strategic partnership reaffirms Majid Al Futtaim’s commitment to deliver compelling content and the ultimate cinematic experience to cinemagoers in the region,” said Ignace Lahoud, CEO of Majid Al Futtaim Leisure, Entertainment & Cinemas.
“We are proud to collaborate with Universal Pictures International, which has a long legacy of producing commercially successful and critically acclaimed movies. We look forward to bringing their impressive slate of blockbuster films and popular movie franchises to the big screen and working together to grow the Middle East’s cinema industry with films that attract a large and diverse audience,” he added.
Niels Swinkels, EVP and managing director of Universal Pictures International, said that the company will continue its distribution relationship with Four Star Films in Lebanon and Cyprus.
He said that Four Star Films “has been our trusted and exemplary partner in the region for over 40 years.”
Kerning Cultures’ new podcast tells ‘forgotten tales’ from around the region
Arabic-language show ‘Masafat’ aims to bridge ‘gap in media coverage,’ host says
Updated 11 August 2022
DUBAI: Kerning Cultures Network has released a new show “Masafat” that aims to tell overlooked and forgotten stories spanning the Middle East region — from Jerusalem and Palestine to Egypt and Morocco.
Inspired by the network’s first English show “Kerning Cultures,” “Masafat” was launched because “we believe it’s important to have the same narrative style podcast in Arabic, telling stories in our native language — especially stories that are often overlooked or even forgotten,” Heba Afify, managing editor for Arabic content, told Arab News.
The show’s 13 episodes explore various topics, such as women in mahraganat (a popular form of street music in Egypt), Al-Quds Radio and how it contributed to the cultural and art scene in Palestine, block painting in Syria and reclaiming public spaces in Lebanon.
Afify, who also hosts the show, said: “There’s a gap in the media coverage when it comes to representation of what life looks like in our region, away from the politics and the sensational takes that often constitute the majority of media attention the region receives.”
She said the company was keen on “producing every episode with the perspective and knowledge of a local producer who knows the place and topic inside and out. So besides our diverse team, we collaborated with freelance producers from the countries that we cover in each episode.”
Although podcasts are a relatively new medium, they have grown in popularity with 67 percent of listeners in Saudi Arabia tuning in at least once a week, according to a 2021 report by Rising Giants Network.
“‘Masafat’ is built on the understanding that podcasts as a medium offer a safe space for stories that often don’t get featured or picked up by mainstream media,” said the network’s marketing director, Bella Ibrahim.
“Podcasts especially resonate with younger listeners that don’t feel seen or represented in mainstream media,” she added, with more than half of podcast listeners aged under 22, according to Mohtwize’s latest report.
The goal of “Masafat” is not only to tell overlooked stories but also to shine a light on the true nature of the region by exploring the “lost pieces of our history, the complex realities behind flashy headlines, inspirational journeys and the multifaceted unique realities of living in each corner of this region,” Afify said.
“Such nuanced coverage of our region grounded in deep knowledge and experience and an authentic and sympathetic approach is very much lacking and is crucial in correcting misrepresentation and giving our stories a place to be told.”