MAM

How do Influencers perceive the ASCI code on Influencer advertising

Published

5 years ago

June 11, 2021

Mumbai: The 14 June deadline for the Advertising Standards Council of India (ASCI) code on influencer advertising to be implemented is just around the corner, even as we reach out to some of the primary stakeholders- the social media influencers themselves. We share their take on the rules that will govern all their future branded collaborations (and already too), with creative content creators being popular and credible voices of society.

While most agree that the Influencer advertising guidelines released last month has transparency at its core to help customers discriminate between a paid content and an organic post, the underlying concern that emerged was whether the new code proposes to shift the onus (of falling foul of the law) on the content creators more than the brand.

To fully understand the implications of the guidelines on the fledgling Influencer marketing industry, it is only fair that we listen in to the influencer’s side- especially now that the deadline to implement the code looms large.

Indiantelevision.com spoke to some of the leading influencers from disparate genres like Fashion, Tech & Social satire to understand their thoughts on how they perceive the guidelines, whether they have started implementing them, and if they have noticed any changes in their traction or engagement.

Fashion & Beauty content creator Sakshi Sindwani, owner of the Instagram handle @stylemeupwithsakshi with over four lakh followers believes the guidelines will enable content creators to make an informed decision on the ‘what’ and ‘how’ of branded content, and relevance of collaborations. “However, there is a rider in terms of engagement,” she says, “It impacts the numbers. So, content creators and brands will have to go the extra mile to ensure that content is creative and integrated, rather than exclusive. Furthermore, creators will need to identify what makes their audience remain loyal.”

Comedy content creator & popular Social satirist Saloni Gaur @salonayyy aka Naazma Aapi aka ‘pados wali aunty’ and a plethora of other satirical characters, with 5.5 lakhs followers on Instagram says: “A few brands don’t like to put labels like paid promotion on your content, it reduces engagement and people don’t like to consume branded content.”

Known for her biting, humorous take on everyday issues and for calling a spade a spade, Saloni agrees that it makes sense from a consumer point of view as it is important to maintain transparency and authenticity. “While the labels might impact the viewership/ engagement, creators need to believe that at the core of creation lies relevant and organic content. And content is king! Creators hold the power in their hands to make it engaging and entertaining for the audience,” she adds.

According to Tech Blogger Shlok Srivastava aka Techburner, with 4.78 lakh followers on Instagram it is a step in the right direction, however, “the nuances of guidelines are not thought through for different platforms or genres.”

The guidelines define ‘influencers’ as those having access to an audience with the power to affect the purchasing opinion and decisions of the consumers. “Social media is a vast pool with so many creators. Some of them are sceptical about the implementation of these guidelines for the kind of content that they create. For instance, in a space like Tech or Auto, 90 per cent of the products are given by the brands for reviews owing to the credibility that we hold. So, if we label such content as paid or branded, it’ll create confusion amongst the audience and they’ll doubt our authenticity which will destroy the whole purpose of establishing regulations,” says Srivasatava.

Pulp Strategy founder & MD Ambika Sharma says, the reception to the reining in by ASCI has been a mixed bucket. While most Influencers understand that the move is a positive one, they have concerns around the impact it would have.

“We are currently working with over three dozen influencers for different campaigns, the sentiment is mostly positive. There is a lack of awareness and we are building compliance alongside campaign execution,” she says.

IPLIX Media co-founder Neel Gogia states that as with every new initiative a debate is necessary to create a sustainable solution.

“The lines are a little blurred. For instance, a non-monetary association under which an influencer shares an unbiased product review will be labelled as an Ad, leaving consumers in a tough spot. This will be difficult to implement for a tech or an auto influencer as they cannot buy every product for review as they are of high monetary value, and in fact, not all the reviews are positive as well so they cannot be labelled as an Ad,” he says.

Furthermore, Gogia says that the current recommendations might not be aligned with the objective of organic and value-added content creation with genuine product integration. “For a YouTube content creator with long-format vlogs labeling the entire integration section as an Ad will lead the audience to ignore the content even if it is adding value to them”, he adds, saying that we will just have to wait and watch how this unfolds.

In recent times, a significant portion of the marketing budget of brands or businesses is allocated to social media advertising. Influencer marketing has witnessed a surge in India, especially in the pandemic period. Nielsen studies have shown that home-bound consumers during the pandemic have led to a 60 per cent spike in the amount of video content watched globally.

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Brands

Netflix India names Rekha Rane director of films and series marketing

Streaming giant bets on a seasoned marketer who helped build Amazon and Netflix into household names

Published

3 days ago

February 9, 2026

indiantelevision.com Team

MUMBAI: Netflix has put a proven brand builder at the helm of its films and series marketing in India, naming Rekha Rane as director in a move that signals sharper focus on audience growth and cultural cut-through in one of its most hotly contested markets.

Rane steps into the role after seven years at Netflix, where she has quietly shaped how the platform sells stories to India. Her latest promotion, effective February 2026, crowns a run that spans brand, slate and product marketing across originals, licensed content and new verticals such as games.

A strategic marketing and communications professional with roughly 15 years’ experience, Rane has spent much of her career building technology-led consumer businesses and new categories, notably e-commerce and subscription video on demand. She was part of the early push that introduced Amazon.in, Prime Video and Netflix to Indian homes, then helped turn them into everyday brands.

At Netflix, she most recently served as head of brand and slate marketing for India from March 2024 to February 2026, leading teams across media and marketing for global and local content portfolios. Before that, as manager for original films and series marketing, she led IP creation and go-to-market strategy for titles including Guns and Gulaabs, Kaala Paani, The Railway Men* and The Great Indian Kapil Show, spanning both binge and weekly-release formats.

Her earlier Netflix roles covered product discovery and promotion in India and integrated campaign strategy to drive conversations around the content slate, product awareness and brand-equity metrics.

Before Netflix, Rane logged more than three years at Amazon in brand marketing roles in Bengaluru. There she handled national and regional campaigns for Amazon.in, worked on customer assistance programmes in growth geographies and contributed to the go-to-market strategy for the launch of Prime Video India.

Her career began well away from streaming. At Reliance Brands in Mumbai, she worked on retail marketing for Diesel and Superdry. A stint at Leo Burnett saw her work on primary research for P&G Tide, mapping Indian shoppers’ paths to purchase. Earlier still, at Orange in the United Kingdom, she rose from sales assistant to store manager, running a team and owning monthly P&L for a retail outlet.

The arc is telling. As global streamers fight for attention in a crowded Indian market, executives who understand both mass retail behaviour and digital habit-building are prized. Rane’s career sits at that intersection.

For Netflix, the bet is simple: in a market spoilt for choice, sharp marketing can still tilt the screen. And with Rane now leading the charge, the streamer is signalling it wants not just viewers, but fandom.

Brands

Orient Beverages pops the fizz with steady Q3 gains and rising profits

Kolkata-based beverage maker reports stronger revenues and profits for December quarter.

Published

3 days ago

February 9, 2026

indiantelevision.com Team

MUMBAI: A fizzy quarter with a steady aftertaste that’s how Orient Beverages Limited, the company that manufactures and distributes packaged drinking water under the brand name Bisleri closed the December 2025 period, as the Kolkata-based drinks maker reported improved revenues and a healthy rise in profits, signalling operational stability in a competitive beverage market.

For the quarter ended December 31, 2025, Orient Beverages posted standalone revenue from operations of Rs 39.98 crore, up from Rs 36.42 crore in the previous quarter and Rs 33.53 crore in the same quarter last year. Total income for the quarter stood at Rs 42.24 crore, reflecting consistent demand and stable pricing across its beverage portfolio.

Profit before tax for the quarter came in at Rs 3.47 crore, a sharp improvement from Rs 1.31 crore in the September quarter and Rs 0.39 crore a year ago. After accounting for tax expenses of Rs 0.79 crore, the company reported a net profit of Rs 2.68 crore, nearly three times the Rs 0.99 crore recorded in the preceding quarter.

On a nine-month basis, the momentum remained intact. Revenue from operations for the period ended December 31, 2025 rose to Rs 117.66 crore, compared with Rs 106.95 crore in the corresponding period last year. Net profit for the nine months climbed to Rs 5.51 crore, more than double the Rs 2.18 crore reported in the same period of the previous financial year.

The consolidated numbers told a similar story. For the December quarter, consolidated revenue from operations stood at Rs 45.06 crore, while profit after tax came in at Rs 2.06 crore. For the nine-month period, consolidated revenue touched Rs 133.57 crore, with net profit of Rs 4.49 crore, underscoring the group’s improving profitability trajectory.

Operating expenses remained largely controlled, with cost of materials, employee benefits and other expenses broadly aligned with revenue growth. The company continued to operate within a single reportable segment beverages simplifying its cost structure and reporting framework.

The unaudited financial results were reviewed by the Audit Committee and approved by the Board of Directors at its meeting held on 7 February 2026. Statutory auditors carried out a limited review and reported no material misstatements in the results.

In a market where margins are often squeezed by input costs and competition, Orient Beverages’ latest numbers suggest the company has found a reliable rhythm not explosive, but steady enough to keep the fizz alive.

MAM

Washington Post CEO exits abruptly after newsroom cuts spark backlash

Leadership change follows layoffs, protests and a bruising battle over trust.

Published

3 days ago

February 9, 2026

indiantelevision.com Team

MUMBAI: When the presses are rolling but patience runs out, even the editor’s chair isn’t safe. The Washington Post announced on Saturday that its chief executive and publisher Will Lewis is stepping down with immediate effect, bringing a sudden end to a turbulent two-year tenure marked by financial strain, newsroom unrest and public backlash.

Lewis’s exit comes just days after the Bezos-owned newspaper announced sweeping job cuts that triggered protests outside its Washington headquarters and a wave of anger from readers and staff. While newspapers across the US are grappling with shrinking revenues and digital disruption, Lewis’s leadership had increasingly come under fire for how those pressures were handled.

The Post confirmed that Jeff D’Onofrio, a former Tumblr CEO who joined the organisation last year as chief financial officer, has taken over as CEO and publisher, effective immediately. In an email to staff, later shared by reporters on social media, Lewis said it was “the right time for me to step aside.”

The leadership change follows the announcement of large-scale redundancies earlier this week. While the Post did not officially confirm numbers, The New York Times reported that around 300 of the paper’s roughly 800 journalists were laid off. Entire teams were dismantled, including the Post’s Middle East bureau and its Kyiv-based correspondent covering the war in Ukraine.

Sports, graphics and local reporting were sharply reduced, and the paper’s daily podcast, Post Reports, was suspended. On Thursday, hundreds of journalists and supporters gathered outside the Post’s downtown office in protest, calling the cuts a blow to public-interest journalism.

Former executive editor Marty Baron described the moment as “among the darkest days in the history of one of the world’s greatest news organisations.”

Lewis defended his record in his farewell note, saying “difficult decisions” were taken to secure the paper’s long-term future and protect its ability to publish “high-quality nonpartisan news”. But his tenure coincided with growing scrutiny of editorial independence at the Post.

Owner Jeff Bezos faced criticism for reining in the paper’s traditionally liberal editorial page and blocking an endorsement of Democratic presidential candidate Kamala Harris ahead of the 2024 US election. The move was widely seen as breaking the long-standing firewall between ownership and editorial decision-making.

According to a Wall Street Journal report, around 250,000 digital subscribers cancelled their subscriptions after the paper declined to endorse Harris. The Post reportedly lost about $100 million in 2024 as advertising and subscription revenues slid.

While the wider newspaper industry continues to battle declining print advertising and the pull of social media, some national titles have stabilised. Rivals such as The Wall Street Journal and The New York Times have managed to build sustainable digital businesses, a turnaround that has so far eluded the Post despite its billionaire backing.

As Jeff D’Onofrio steps into the role, the challenge is stark, restore confidence inside the newsroom, win back readers who walked away, and prove that one of America’s most storied newspapers can still find its footing in a brutally competitive media landscape.