iWorld
Snap names Doug Hott CFO as Derek Andersen exits amid restructuring
Leadership shift and layoffs signal sharper focus on costs and growth path
NEW YORK: Snap Inc. is reshuffling its top leadership, appointing Doug Hott as chief financial officer as longtime finance chief Derek Andersen prepares to step down next month.
In an internal note, Snap chief executive officer Evan Spiegel said Andersen will leave after nearly eight years with the company, with his final earnings call set for May 6 and last working day on May 8. Andersen is departing for a new opportunity, closing a chapter that saw him guide the company through the pandemic, major shifts in digital advertising, and broader economic turbulence.
Reflecting on his tenure, Snap chief executive officer Evan Spiegel said Derek Andersen had been “a great partner” who helped steer the business through some of its most challenging periods while keeping a steady focus on long-term growth and profitability.
Taking over is Doug Hott, currently vice president of finance, strategy and corporate development, who has worked closely with leadership on capital allocation and restructuring. Snap chief executive officer Evan Spiegel described Doug Hott as a long-time partner with a strong commitment to cost discipline and doing more with less, signalling continuity at a time when efficiency is front and centre.
The leadership transition comes alongside a broader organisational reset. The workplace experience team will now report to Scott Withycombe, while the content team will move under the product organisation led by Ceci Mourkogiannis. Partnerships executives Anne and Craig will report to Zach Kahn as Snap aims to streamline operations.
The changes follow a recent round of layoffs that saw the company cut around 1,000 roles, or roughly 16 per cent of its workforce, reflecting a wider industry push towards leaner structures and tighter cost controls.
Investors are now turning their attention to Snap’s upcoming quarterly results in early May, which are expected to offer clearer signals on the company’s financial trajectory and the impact of its restructuring efforts.
With a new finance chief in place and a sharper organisational focus, Snap appears to be tightening its belt while keeping an eye on long-term growth in an increasingly competitive digital advertising market.
iWorld
Tata Play Binge adds Pocket Films to micro drama platform Shots
Over 210 micro dramas and 220 hours of content strengthen short form play
MUMBAI: Short stories are getting shorter and sharper. Tata Play Binge is doubling down on snackable storytelling, adding Pocket Films to its micro-drama hub Shots as it looks to capture India’s fast-growing appetite for quick-consumption content. The move expands Shots into a deeper, more diverse catalogue, now featuring over 210 micro-dramas and 220 hours of short-format programming across genres such as action, drama and thriller. The content spans Hindi and key regional languages, reflecting the increasingly local yet mobile-first nature of viewing habits.
Pocket Films brings with it a library of emotionally driven, culturally rooted narratives, including micro-dramas like Chaturanga, Vidushi, Maasa, Silent Cycle and Pilibhit, alongside short films such as Lock-up, Dubki and The Disguise. The addition builds on existing partnerships with Bullet and Stage, strengthening Shots as a one-stop destination for bite-sized storytelling.
Designed for vertical viewing, the platform leans into scroll-friendly interfaces, auto-play sequencing and seamless discovery mirroring the habits of always-on, digital-first audiences. The content remains ad-supported and is available within the Tata Play Binge app at no additional cost.
The integration also sits within a broader aggregation strategy. Tata Play Binge currently offers access to 30 plus OTT services including Prime Video, JioHotstar, Zee5 and Apple TV+ through a single subscription and interface, aiming to simplify fragmented streaming consumption.
As platforms race to keep up with shrinking attention spans, Tata Play Binge’s bet is straightforward: when stories get shorter, the catalogue needs to get bigger and faster.
