Category: GECs

  • We were stuck in comedy and it’s difficult to sustain comedy, says Sony’s Neeraj Vyas

    We were stuck in comedy and it’s difficult to sustain comedy, says Sony’s Neeraj Vyas

    Mumbai: Sony Sab has rebranded itself by moving away from being known as ‘a family-centric comedy channel’ to a channel that provides family-centric shows. Sony Sab is in an essential stage of development as it transforms into a channel that presents stories that connect with people’s everyday lives while appealing to the whole family. Currently, Sony Sab has a 20 per cent market share in the Hindi-speaking market (HSM).

    Rebranding

    The man behind this rebranding of Sab from “Haste Raho India” to “Khushiyon Waali Feeling” is Sony Sab, PAL, and Sony MAX business head of movie cluster Neeraj Vyas.  Three years ago, Vyas and his team realised that being a full-fledged comedy channel was not working for Sony Sab and they were stuck in comedy and they had to come out of their comfort top zone to deliver content which would resonate with families and rebrand their channel.

    While speaking with Indiantelevision.com Vyas shared insights on rebranding, challenges, and opportunities for television content in India.

    Vyas said, “Sony Sab has entered a new phase as the brand is undergoing metamorphosis with its content and brand strategy. We are looking for stories and insights from the daily lives of people. We believe it is a very significant milestone in the journey of the brand, and we feel that it symbolises a lot of what we stand for as a network compared to everybody else.”

    “As creators, we are constantly looking for new themes and new insights that reflect the trends and what people are going through, staying ahead of consumers and their changing lives,” he added.

    Stuck in comedy

    While talking about the phase of being known as a comedy channel, Vyas expressed, “We were pressured to do comedy shows, and two years ago I realised it was impossible to create around eight shows in a day. Comedy is a very difficult genre to make shows. In our ecosystem, we have very few good comedy writers who can write shows every day. It is slapstick and repetitive; it is not funny either. In the TV industry, there are no brilliant comedy actors as well to give justice to good writing.”

    Vyas had to persuade everyone that there was a flanker, one singing or dancing show that could work, but he refused.

    He said, “We did an on-ground survey; we went to tier II cities like Pune, Satara, Nashik, and Chandigarh where TV is still watched primarily. There is a myth in India that TV is dying but it is not. It’s still watched by many, but on-ground reality is different. We met people, learned about their lives, and understood what they wanted.”

    On-ground survey findings

    While doing the on-ground survey, Vyas found out that the pandemic changed people’s lives and made them miserable; their aspirations and roles have also changed; most people rely on 1.5 GB of data, and wi-fi has not yet reached everywhere and is not affordable.

    Vyas believes that Sony Sab is perceived as a very happy channel, and that is an advantage for the channel. “I’ve always believed that only if there is a niche audience for the content should we cater that content; otherwise, it’s a waste and just adds to the pile of content,” he said.

    Vyas is very cognitive about rating where he quipped that the representation of 200 million people is 40, 000 boxes. He said, “If you completely restrict yourself to creating content for 40,000 people then you will fall into a trap. It’s a vicious cycle, then we will never be able to create content. If we go by rating we will create different content decided by a group of people which I don’t want.”

    “We believe that real stories work and resonate with people, not high drama or sensationalism. In India, people value relationships and watch shows that have values in them,” he added.

    Content is king

    While talking about content being king, Vyas explained how the channel is focusing more on the content. “We’ve seen only growth; there are objectives beyond the obvious ratings. Everyone will have to keep the big picture in mind, at least we are going to be that content-driven channel. The critical action for us is to make sure that we get more and more people. We make this distinction that we have noticeably been just making differentiated content, and we have to make sure we market it aggressively. We probably must be one of the most active marketers all around.”

    “It’s a combination of us wanting to do something different and, at the same time, having the opportunity. So, I think we’ve come at the right time; we are flowing against the tide,” he added.

    Target audience

    He spoke about the target audience, and he was very clear. “Segmentation is a reality on which we have to focus. I will focus on what I want to focus on, which is the slightly elite audience, which is what the advertiser also wants. He wants to know the premium audience. My attempt is to get that audience and create the whole zone for it,” specified Vyas.

    “Every large advertiser has a very robust internal mechanism to measure the popularity of television and digital. They have their own way; they have their own questionnaires, which they constantly send to consumers,” he added.

    He further informed us that this year television advertising is likely to grow anywhere between 10 and 14 per cent, whereas digital advertising will grow because digital is at a nascent stage in the growth phase.

    What about a Sab App in the future?

    Vyas hinted at launching a separate Sony Sab app. “Five years down the road, I could have an independent app called Sab, but for that, I need to cater to the audience who needs content, and I have to produce such content irrespective of medium — it’s going to be platform agnostic,” he explained. “If I decide to be available as an independent app on some digital platform, then people should come to the brand to see that this brand gives you this kind of content, and this is the only place where I’ll get to see content.”

    He further talked about how YouTube helps attract young audiences. “YouTube is largely offering some kind of sampling option, more than anything else. So there is a large segment of people who watch short clips in shorts. I could be available on YouTube as an independent app. I could completely change my business model,” he pointed out.

    Vyas believes TV has a great future as OTT is a very private space for users, and his channel is more focused on family-friendly content. “A lot of people watch our shows with their families. OTT has its dedicated OTT audience, which is a different audience, and decides to pay for that app to watch shows privately. A lot of the content has bad language, nudity, and violence, so OTT apps know their audience — family is not the one.”

    With rebranding, the channel is entertaining the audience with shows like Maddam Sir, Wagle Ki Duniya, Pushpa Impossible, Dharm Yoddha Garud, and the recently launched Alibaba Dastaan-e-Kabul, as well as its most watched show, Taarak Mehta Ka Ooltah Chashmah. The channel will soon launch a new show based on migration, where the theme will be how old people are left alone every year because of migration.

  • Sony Pictures Networks bags India-Bangladesh tour rights 

    Sony Pictures Networks bags India-Bangladesh tour rights 

    Mumbai: Sony Pictures Networks (SPN) has secured exclusive television rights to broadcast the India-Bangladesh tour. Sports fans can watch the inning live on Sony Sports Ten 5, Sony Sports Ten 3, and Sony Sports Ten 4, which are exclusive to the Indian territory.

    The Indian cricket team will visit Bangladesh beginning 4 December led by Rohit Sharma and vice captain KL Rahul. Star players such as Virat Kohli, Shikhar Dhawan, Rishabh Pant, and Mohammed Shami will also be part of team India’s lineup.

    Fans will be hoping for an all-round performance from Ravindra Jadeja as he prepares to return to the field after a knee injury. This series will be India’s final before facing Sri Lanka in January 2023, consisting of three one-day internationals and two tests.

    The series will add to Sony Sports Network’s nonstop cricket coverage, and the broadcaster will be hoping for India to continue its international success.

    Sony Pictures Networks India chief revenue officer & distribution and head of sports business Rajesh Kaul said, “It gives us immense pleasure to present fans with Team India’s final series before ending a successful year of cricket. India’s overseas record under the leadership of Rohit Sharma has been remarkable, and we hope to witness the same success in Bangladesh. We hope to continue providing fans with nonstop cricket action with this series.”

    Bangladesh Cricket Board chief executive officer Nizam Uddin Chowdhury added, “We are happy to note that Sony Sports Network has acquired the broadcast rights for India’s tour of Bangladesh in 2022. Sony Sports Network is among the industry leaders, and I am sure the broadcast quality and standards will be befitting of a much-anticipated series like this one.”

  • “Our focused efforts and investments in content and user experience enhancements are displaying positive results”: ZEEL MD & CEO Punit Goenka

    “Our focused efforts and investments in content and user experience enhancements are displaying positive results”: ZEEL MD & CEO Punit Goenka

    Mumbai: Speaking in a conference call, ZEEL managing director & CEO Punit Goenka said during the company’s Q2 FY23 earnings call that he remains hopeful of a steady recovery in the advertising environment during the second half of the fiscal given some of the green shoots due to a good monsoon and the onset of the festive season.

    “We are utilising this period to further strengthen the resilience and fundamentals of our business across all aspects. Our focused efforts and investments in content and user experience enhancements are displaying positive results. Going forward, we remain cautiously optimistic about the overall advertising sentiment gradually recovering through the second half of the fiscal year, which will further aid revenue growth.”

    While the underlying impact of the macroeconomic headwind across the industry continued to spill over in the second quarter of the fiscal year, Goenka emphasised, “That said, we have been able to moderately grow our advertising revenues sequentially in the second quarter on the back of our network share gain and focused efforts from our ad sales team.”

    He noted that the merger with Sony should be completed within this financial year. “As you would know, this is something that we are grappling with on a daily basis because the regulatory approval is required, and we can’t give you one final date. The number of days required for delisting or the company’s continued delisting, our expectation is it will be about five to six weeks.”

    Talking about sports being a newer growth opportunity. Goenka mentioned, “In addition to strengthening our current offerings, we are also consistently identifying new growth opportunities for sustained value creation. We took yet another firm step in this direction by sharpening our strategic vision to build the sports business for the company. The strategic licensing agreement with Disney Star makes Zee the exclusive TV destination for all ICC events starting in 2024. Going forward, all our investment decisions to make the sports segment a compelling value proposition for the company will continue to be taken with a prudent approach. Our energies remain focused on enhancing performance across platforms through compelling content offerings and delivering a robust user experience.”

    “For instance, our linear viewership share has increased QoQ, and our key markets like Hindi and Tamil are showcasing an improvement in their performance.” He explained that both in Tamil and Hindi, it is basically implementation and picking the right shows that have worked for it. “In Hindi, particularly, both fiction and non-fiction have done well for us. Tamil is still largely fiction-driven, and we are pretty confident that these will now continue to grow from here. They are stabilised at this level, and now we should see more growth coming. In Marathi, as I mentioned in previous calls to Abneesh, it was an implementation and team issue. A new team was formed about a quarter of a year ago. They are working on plans for getting the turnaround to happen in Marathi, too. I’m quite hopeful that in the next couple of quarters we’ll see something turn around there.”

    When asked about the reason for the NTO 2.0 delay, Goenka stated, “I don’t know what Trai was planning to do, but as I understand it from informal sources, they were trying to build consensus amongst all the stakeholders. As you will understand, building consensus in this industry among broadcasters, cable operators, and DPOs is not easy. I think that is largely the reason for the delay.”

    “My view is that they are finished with all the discussions and everything. We should see the NTO guidelines come out anytime now. As Rohit (ZEEL CFO Rohit Gupta) mentioned, the 28 of February is the deadline they have kept, but I’m quite confident that they will not miss this deadline,” he added further.

    Gupta noted that in the absence of a clear path ahead for NTO 2.0, the near-term outlook for subscription growth remains uncertain and muted. “We will continue to monitor NTO 2.0 guidelines and will be prepared to implement the same for improved long-term revenue outcomes.”

    When asked about the possibility of rethinking capital allocation towards movies given the disappointing performance of Hindi cinema, Goenka said that the company is rethinking or re-studying its movie portfolio strategy and maybe rejigging the capital allocation within that. “So, instead of spending a lot more on, let’s say, Hindi, for example, do we want to spend a little bit more on the regional languages, which are doing much better than the Hindi side, but will we completely look at reducing capital allocation to movies. No, that’s not in the thought process.”

    When asked if it makes sense to buy movie rights after their theatrical release, Goenka responded that, unfortunately, the industry does not work that way because these films are sold even during production. “If we were to wait for the film to be released in theatres and then take the chance of buying the film, there is a risk to that as well. So therefore, the industry is behaving in the manner that it does. Therefore, we have to participate and play the game as per the industry, and our view is that we would also like to continue to build and buy as little as possible. At times that’s not possible, but we are working on that strategy,” he concluded.

  • Earlier, there was a creative courage to be roughly right, rather than precisely wrong: CII The Big Picture Summit 2022

    Earlier, there was a creative courage to be roughly right, rather than precisely wrong: CII The Big Picture Summit 2022

    Mumbai: The Big Picture Summit 2022, organised by the Confederation of Indian Industry (CII) on 16 & 17 November saw the presence of various senior executives and officials from the advertising, film, TV, marketing, and OTT fraternities.

    On a panel discussion on 17 November, Madison World chairman and managing director Sam Balsara brought to the fore that advertising has been through a lot of changes. Opening the conversation, he said, “I started work in 1972, and advertising was a few thousand crores, and there was a time advertising was merely about announcing product availability and making a manufacturer’s statement – that I am the best – this was considered a good advertising approach probably for decades.”

    He added that everything has changed, but on another level, you can argue that not much has changed. He looks back at his favourite definition of advertising, which was given by a humorist – called Stephen Leacock – “Advertising is the science of arresting human intelligence long enough to get money from it.”

    Balsara goes on, “I haven’t come across any definition that, ideally, more accurately describes advertising. The fundamentals of what we try to achieve in advertising haven’t changed all that much. Sure, volumes have changed. Advertising cost a few hundred crores, which was the total outlay of AdEx. It is currently worth around Rs 90,000 crore. Global AdEx, just for perspective, is now $880 billion. So surely advertising works for marketers, and I think there is widespread acceptance that advertising is indeed the gas that fuels the entire economy or the machinery that keeps the wheels of the economy moving.”

    Taking the discussion further about how advertising has changed, columnist and Counselage India founder and managing partner Suhel Seth expressed, “I think advertising has changed for the worse. Earlier advertising was about civility and about creating things in partnership with clients, and the relationship was both mutually beneficial and one of respect. Sadly, nowadays, agencies are treated by clients like vendors, and the relationship by and large has become unequal.”

    He understands that previously, there were times in advertising when they sat and co-created campaigns, but those were created on the basis of deep consumer insight and a rigorous approach to consumer behaviour learnings and insights that one could then weave and work into the narrative of the creativity that was produced.

    He discussed, “We don’t get the kind of people we used to get in advertising in the good old days, and the reason is we don’t pay enough. When you pay peanuts, you get monkeys – and the tragedy is that advertising agencies are paying peanuts because clients are monkeying around with advertising agencies who don’t have the courage to tell the clients that they don’t know what they’re talking about.”

    “In the good old days, when the client asked us to jump, you would say ‘why’- today you ask ‘how high’. When the relationship dramatically alters and changes and becomes a master-servant or a master-slave relationship, advertising and creativity suffer,” pointed out Seth.

    He also reminisced about how earlier liberal arts people also staffed client offices. “I have no grouse against MBAs, but MBA has been the worst disaster for advertising agencies because people who have done management by rote, who have no idea of Shakespeare or Tagore, who have no idea about the sensitivities of music, are asked to produce advertising that is bereft of sensitivity,” he states.

    Seth went on to say that he has a different definition of advertising. For him, the purpose of advertising is to invent desire. “It is not to inform – for that you got to go to Google, Yellow Pages or Wikipedia. What I think advertising was all about – is that it was all about creating magic. It was about engaging the consumer with the brand through the medium of creativity.”

    He also shed light on the proliferation of media. In the previous days, the clients would ask about hoardings, TV, and cinema – that’s about it. Today’s spread is massive—it’s digital. India has changed dramatically. It is no longer consuming advertising that is English-speaking; it is consuming advertising that is vernacular. It is regional to the point where the regional influxes are actually carried forward pan India.

    Expressing his views, Seth said, one of the dramatic changes is that, due to the rush that everybody seems to be in, less time is spent on strategy and agencies are becoming more tactical. That’s not advertising; that’s salesmanship.

    “They also don’t prepare for brands with the rigour that we used to. For example, there were partnerships between Madison’s creative and media agencies. “Now, rather than partnering communication, I see media agencies as a post box or an amplifier for disseminating communication,” he said.

    Seth also put forth his concern, saying that the advertising industry has stopped being inventive and innovative. “We have become more and more risk averse. Because you are talking about billions of dollars being spent, and no one wants to take the risk,” he said.

    “Another thing is that people are wanting to manage not the consumer, but the client. When you start managing the client, you immediately forget the consumer. Nowadays, it’s very important for the CEO and his wife to be happy, rather than the other way round,” he said.

    “Today, we are also fraught with a lot of social tensions in our society. Religion, which was in the background, is now in the foreground. You have discrimination; you have political grandstanding. People using social media are bullying and trolling clients and companies to withdraw advertising, which is actually an attempt at conveying something creatively,” Seth went on to say.

    Ogilvy India head of strategic planning Rohitash Srivastava feels that in an ideal scenario, advertising has become complete. “Earlier we were worried about changing people’s thoughts and beliefs. And the behaviour part was kind of missing, you change a person’s mindset and then you leave him to behave the way he wants to. Now with digital and technology coming in, the promise of technology was that we are going to change behaviour, we are going to drive behaviour change. So that was the ideal scenario. And that’s why I’m saying that now advertising in an ideal world is not just about thinking and feeling; it’s also about thinking, feeling, and doing,” he pointed out.

    He goes on to explain that, in reality, the advertising industry has become more schizophrenic than ever. And there is a lot of speed, but there is no velocity.

    Srivastava adds, “There’s no sense of direction; you’re trying to do a lot, but there is no bigger plan. And this whole short-termism thing is really killing the industry. And I’ve seen so many marketers behave like salespeople. Now, marketing’s role is to create a facilitated environment, so that the scalability of the product goes up, not the sales themselves. But today’s marketers are so worried about that very moment. And when sales happen, they forget the larger tasks of marketing and advertising to create conditions for scalability over weeks of marketing. That is exactly what I mean by ‘short-termism.’”

    Also, information is being confused with knowledge, he said. “There’s a lot of data out there, and it’s called dumb data because you have to look for the right meaning to make sense of it. And then within that, there is data that is readily available, and then there is long-term data, equity studies, and all of that amounts to a lot of hard work. This whole desire to go through spreadsheets and excel sheets is blinding us to the human stories that are happening and what people are really thinking. So whatever data comes in, you want to react to it,” he said.

    Srivastava revealed, “The discernment is going away. And this whole thing about people being more precisely wrong than roughly right—before, being roughly right was such a big gift—In fact, we were paid so much because we could make decisions in grey areas, and there was a creative courage to be roughly right. But this whole obsession, to be precise, is making us precisely wrong.”

    TAM Media Research CEO LV Krishnan commented on the creative aspect of advertising, “The things have changed so much in the last 50 years that we’ve seen advertising kick start in India. And the interesting thing is the fact that the one thing that hasn’t changed between the first year of advertising and today is that nobody knows that the 50 per cent that I spend on advertising is a complete waste.”

    He explained further that until and unless the whole industry puts a finger on it, testing in terms of advertising will continue.

    Krishnan added, “Earlier, for every piece of communication, there was a brand and an advertising positioning strategy, and once they were done, one would know exactly what kind of execution needed to be done. But today, even if those two definitions are not thought through, execution is already happening on the ground to create communication effectively.”

    He is of the opinion that, now that everything is digital, it’s no longer a strategy. There is simply a local influencer using a brand and attempting to showcase it to his or her followers in order to demonstrate that this is the brand that they use. These influencer and social media marketing campaigns are not aligned with the national campaign that is run on television or in national print. So it’s becoming more tactical. Most of the campaigns we’re seeing now are more tactical sweatshop in nature.

    Balsara went on to reveal that out of the $880 billion, 60 percent of all advertising money today is spent on digital, and not on print, television, or any other medium. He believes that the arrival of digital has actually killed the big idea, which we all used to crave, and big production budgets are now a thing of the past.

    Srivastava agreed that digital is a big part of the clients’ spends, and even within digital, the performance part, which is called performance marketing, is really becoming significant. And to that extent, the role of the big idea sometimes gets compromised.

    Seth said, “Clients and agencies want one particular campaign idea and then try to force potential into several other media options, whether it is YouTube or Twitter.”

    “It is tactical; advertising is no longer about the consumer. It’s about the client. And when advertising becomes about the client, advertising suffers because the consumer is sidestepped and disregarded,” he wraps up.

  • Viacom18 & MTV Staying Alive Foundation collaborate to roll out season 2 of MTV Nishedh

    Viacom18 & MTV Staying Alive Foundation collaborate to roll out season 2 of MTV Nishedh

    Mumbai: Viacom18 and the MTV Staying Alive Foundation are all set to bring back the behaviour change content campaign MTV Nishedh Season 2 following the ground-breaking success of season 1, which reached over 11 million people and beyond across India, and the unique digital-only spin-off — MTV Nishedh Alone Together in 2020. The show debuts on 19 November and can be seen whenever on Voot and every Saturday through Sunday at 8 p.m. on MTV.

    The multifaceted, media-led intervention focuses on relationships, sexual and reproductive health, the use of contraception, approaching abortion as a safe option when faced with an unplanned pregnancy, with support from The David and Lucile Packard Foundation, and tuberculosis awareness to encourage early testing, with support from Johnson & Johnson. It consists of a 10-episode TV series that blends challenging storylines with diverse messaging on these topics.

    Speaking about the campaign, Viacom18 Youth & English Entertainment head Anshul Ailawadi said, “We believe that doing good is good for business, and that ethos drives our content choices too. The maiden season of MTV Nishedh performed well with a consolidated viewership of over 11 million and a growing digital following. We are excited to push the boundaries when it comes to content narratives and to shine the spotlight on topics that might be considered taboo.

    MTV Staying Alive Foundation executive director Georgia Arnold said, “I’m excited that we’ll be able to reach even more young people, empowering them to make informed choices about the social and health issues they encounter. With partners like Viacom18, it gives the campaign monumental leverage in terms of reach and engagement.”

    “It’s important to speak up and break taboos. The youth of today have the spirit and fire to question societal conditioning; they just need a little support and awareness,” said actor Arjun Kapoor. “MTV Nishh arms them with exactly that, disguised in relatable content, and the show will open up the minds of young India and ensure that they aren’t afraid of #KhulKeBol!”

    Commenting on the partnership, Janssen India managing director Sarthak Ranade said, “Johnson & Johnson continues its fight against TB in India, building on our longstanding work in collaboration with the government, NGOs, and other partners. We believe that there is tremendous power in multi-sectoral partnerships to help turn the tide against this devastating disease. Through our partnership with the MTV Staying Alive Foundation on season 2 of MTV Nishedh, we aim to empower the youth of today to make a real change and champion the cause of a TB-free India.”

    The show, which is mostly aimed at young people and is set in the made-up, conservative town of Premnagar, follows a rebellious filmmaker, a married couple who discover they are expecting a child, and an influencer who is on the run as they work their way through a complex set of choices in life. The programme encourages young people to speak openly about taboo topics and seeks to positively alter views.

    On the social media pages of MTV Nishedh, MTV India, and MTV Fully Faltoo, the campaign will also feature digital and social media material.

  • Sun TV Q2 net profit up marginally to Rs 400.71 cr; revenue from operations declines

    Sun TV Q2 net profit up marginally to Rs 400.71 cr; revenue from operations declines

    Mumbai: Sun TV has reported that its second quarter net profit was Rs 400.71 crore, up marginally by 1.88 per cent from Rs 393.32 crore in the same period of the previous fiscal.

    Ebitda (earnings before interest, taxes, depreciation, and amortisation) was Rs 610.89 crore in September 2022. This was a 4.15 per cent increase over the previous fiscal period of Rs 586.57 crore.

    Profit after tax rose significantly by three per cent to Rs 407.31 crore, compared with a profit of Rs 395.46 crore in the same quarter of the previous fiscal.

    However, revenue from operations fell by 2.7 per cent to Rs. 825.65 crore compared to Rs. 848.67 crore in the same quarter of the previous fiscal.

    A dividend of Rs 3.75 per share has been declared by the company.

  • ‘Bigg Boss Telugu’ launches new campaign #BiggBossIsWatchingYou with host Nagarjuna

    ‘Bigg Boss Telugu’ launches new campaign #BiggBossIsWatchingYou with host Nagarjuna

    Mumbai: Star Maa and L&T Metro Rail Hyderabad have come together to create a public safety awareness campaign, “Bigg Boss Is Watching You,” with their marquee property, Bigg Boss Telugu. The campaign aims to encourage people to use caution when travelling on the Hyderabad Metro Rail (HMR).

    The public safety campaign has been executed in all 57 metro stations, covering areas including concourse, entry-exit, and check-in areas. Customised jingles with caution messages are played in all metro trains. The 100 days campaign period would enable all metro commuters to be aware of safety precautions to be taken during travel and at metro station premises including awareness on safety measures, rules of metro, encouraging more usage of the metro rail as the safest and convenient mode to commute.

    L&T Metro Rail (Hyderabad) Ltd. MD & CEO KVB Reddy said, “As part of our third collaboration with Star Maa, Bigg Boss Telugu, Hyderabad Metro Rail is delighted to be the travel partner for Bigg Boss Telugu Season 6. We have rolled out the “Bigg Boss is Watching You” campaign as part of the partnership, which aims to increase safety awareness and safe travel practises among the general public. This initiative would also encourage smart travel habits among commuters by encouraging them to use metro smart cards and mobile QR tickets for a safe and convenient journey. My best wishes to the superstar Akkineni Nagarjuna and Star Maa Network for the great success of Bigg Boss Season 6.”

    “As a network, Disney and Star India always believe in creating meaningful communications, enriching the lives of millions, and driving relevant communication through our messaging. We are extremely delighted to partner with the Hyderabad Metro Rail for a campaign on public safety awareness in Hyderabad city. Bigg Boss is a global format well accepted by the Telugu audience as part of their daily entertainment dose. Using this vehicle will have a faster reach for public safety,” commented a Star Maa spokesperson.

  • Dish TV’s D2H repositions itself as direct-to-heart

    Dish TV’s D2H repositions itself as direct-to-heart

    Mumbai : Dish TV India’s D2H has rolled out a campaign introducing the new brand positioning “direct-to-heart.” The campaign shows how D2H brings families together and gives them the sheer joy of sharing happy moments while watching TV.

    Featuring brand ambassador Rishabh Pant, the campaign was conceptualised by Lowe Lintas. The brand will run the campaign through TV, BTL, digital platforms, and home channels to amplify it.

    D2H in its new brand avatar focuses on its connection, going beyond just a provider of content to an enabler of collective viewing for Indian families. This is captured in the main thought, as the brand reframes itself in the “direct-to-home” (DTH) category by positioning itself as a connection that touches the lives of consumers and forms a bond that’s “direct-to-heart.”

    The industry has changed over the last two years owing to the pandemic. The budget-conscious subscribers’ pockets have stretched because of successive lockdowns, while consumers in the upper and middle segments are moving towards HD and OTT platforms. To cater to the changing needs of its customers, D2H overhauled the complete packaging. Over the years, the brand has designed affordable monthly SD and HD combos, made HD add-ons economical, and made the combos simple and easy to understand. It has also come up with competitive market offers and lucrative trade schemes for the partners.

    Speaking of the repositioning campaign, Dish TV India group CEO Anil Dua said, “As a DTH company, we have the unique advantage of having two brands, and we are leveraging this by using the power of both our brands. In this context, for our D2H brand, we have launched completely new packaging, introduced extremely competitive customer offers to the market, brought in a new brand ambassador, and have now launched a new brand campaign. This campaign is the culmination of a year-long deep dive into the brand’s connection with its loyal customers to draw out key insights. The new campaign leverages these insights and brings together the association of the D2H brand with cricket and family viewing into the creative platform of “direct-to-heart.””

    Commenting on the new D2H campaign, Dish TV India D2H corporate head-marketing Sugato Banerji said, “We are increasingly witnessing a fragmentation of families, each one busy with different things and pursuits. In this context, the new brand view we are taking in D2H is that TV has a large role in bringing families together. Our new campaign is built on this understanding and draws from the new positioning of D2H, direct-to-heart. With the large-scale investments we are making in strengthening the D2H brand. I am confident that we will gain market share in the next few months.”

    Speaking from the creative side, Lowe Lintas regional creative officer Vasudha Misra said, “In an age of fragmented content consumption, the new brand expression of “direct-to-heart” touches upon the joy that single-platform access to great entertainment can bring to the entire family. Our story revolves around an exuberant kid as he ‘breaks the fourth wall’ with his favourite cricketer, Rishabh Pant, seeking his help so that he can rally his family members to witness a nail-biting finish. A sweet and innocent take that leaves you with a smile.”

  • Parag Milk Foods’ Gowardhan Ghee partners with KBC 14

    Parag Milk Foods’ Gowardhan Ghee partners with KBC 14

    Mumbai: Gowardhan Ghee from the house of Parag Milk Foods has collaborated with Sony Entertainment Television’s show Kaun Banega Crorepati Season 14 to launch its new communication initiative, #GARVSEGOWARDHAN.

    The campaign kicks off across multiple consumer touch-points, such as television, out-of-home, digital, and experiential activations. It is an attempt to convey the mutual feeling of pride felt by millions of customers, farmers, and the Parag Milk family.

    Following this partnership, whenever a contestant on the hot seat reaches the second “Padaav” of the game, i.e., wins a minimum of Rs 3.20 lakh, they will also attain the prize of yearly supplies of Gowardhan Ghee.

    Host Amitabh Bachchan will mention “Gauravshali Uphar,” which adds to the contestants’ achievements. This association is a step towards celebrating the brand’s purity while embracing its glorious years in the market.

    Commenting on the collaboration, Parag Milk Foods senior vice president strategy, sales, and marketing Akshali Shah said, “Associating with Kaun Banega Crorepati is a logical extension of our brand and product category Gowardhan ghee, as traditionally ghee has been considered a brain tonic for memory enhancement. It is said to promote all three aspects of mental functioning-learning, memory, and recall—which are essential to performing well on the hot seat. We are also very thrilled with this association as the legendary Amitabh Bachchanji serves as the host. His charming personality and humility bring an unwavering fanfare to this game show. It has a successful track record of reaching a captive audience, delivering stupendous results, and garnering favourable reviews across India. The mention of “aapko milta hai Gowardhan Ghee ki taraf se Gauravshali uphar” by Amitabh Bachchan ji has enormous appeal and would aid in extending our pride in #GARVSEGOWARDHAN to the next level.”

  • Zee Theatre to celebrate dramatic feast of 30 plays in 30 days

    Zee Theatre to celebrate dramatic feast of 30 plays in 30 days

    Mumbai: Zee Theatre has announced an unprecedented theatrical extravaganza to provide dramatic riches to its audience on a daily basis. Har Din Naya Drama, a dramatic feast of 30 plays in 30 days, will entertain and engage viewers every day at 2 p.m. and 8 p.m. on Tata Play Theatre.

    This is a celebration of the best of India’s vast and diverse theatre fraternity’s classic, contemporary, and boundary-breaking content. Under this campaign, viewers will be able to watch both old favourites and brand new, original plays in the “Blockbuster” and “Premiere” categories. The “Weekend Highlights” will feature stories that are themed or commemorate special occasions and festivals.

    This campaign will also be live on other platforms such as Airtel Theatre, Dish TV & D2H Rangmanch.

    Talking about “Har Din Naya Drama,” ZEEL Shailja Kejriwal chief creative officer of special projects said, “The idea of “30 Days, 30 Plays” stems from our commitment to offer audiences more of what they want and to give them more value for the time and resources they invest in Zee Theatre. We always strive to make the best of Indian theatre more accessible and to give audiences what they love by enriching and expanding our repertoire. We want to transform the concept of daily entertainment by bringing these masterpieces right into your living room, and we are proud that viewers will now be able to watch a specially selected teleplay everyday.”  

    The new teleplays in the “Premiere” category will add to the existing repertoire of over 90 teleplays, while popular stories such as Sir Sir Sarla and Chokher Bali will be screened in the blockbuster category.

    Over the years, Zee Theatre has collaborated with renowned theatre veterans such as Mahesh Dattani, Vijaya Mehta, Lillete Dubey, Atul Kumar, and young stalwarts such as Purva Naresh to recreate and bring to life some of the most celebrated stories across languages.

    Among the well-known actors in this vast library are Gajraj Rao, Mita Vashishth, Ashutosh Rana, Virendra Saxena, Vikram Gokhale, Mohan Agashe, Nandita Das, Mahira Khan, and Aahana Kumra.