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Second edition of Brands & Entertainment culminates on a high note

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Mumbai: The highly anticipated ‘Brands & Entertainment’ conference, now in its second year, successfully concluded its two day run at Taj Lands End, Mumbai, leaving an indelible mark on the landscape of branded entertainment. 

Organised by Create & Collab, the creators of the IP ‘All About Music’, the event attracted over 80 plus esteemed speakers and an impressive audience turnout in excess of 1,700 attendees from the industries of branded content, media, sports, and entertainment. 

Following the triumph of its inaugural edition, the 2023 edition of the conference provided an unparalleled networking opportunity to influential creative curators and key decision-makers in the media industry to congregate on a single platform and exchange business ideas and engage in discussions on relevant industry trends and future policies. 

With a long term vision of paving the path for branded content innovation, the conference proved to be a milestone event that presented an overview on the future of branded content by providing a platform for networking, knowledge-sharing and collaboration among diverse stakeholders in the field of branded content. 

Professionals from diverse sectors, including marketers, advertisers, record labels, creative agencies, television channels, artists, film and production houses, OTT platforms, gaming & e-sports platforms, and more, converged at this dynamic meeting ground. Irrespective of their roles as entertainers, media buyers, producers, or content creators, attendees benefited from valuable bridge building opportunities, staying updated on industry trends, and forging effective collaborations. 

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The conference featured an impressive lineup of speakers, including industry leaders and influencers, who shared their insights and experiences, inspiring attendees with their expertise. Notable speakers included the likes of Absurdist Studios co-founder Abish Mathew, Amazon miniTV director Aruna Daryanani, Cultural Outreach VP head Jay Shah, Mahindra & Mahindra associate director marketing Kejal Parekh, Myntra, actor & content creator Prajakta, Moonshine Meadery co-founder Rohan Rehani, Mango Films & Productions artiste Sushant Divgikar to name a few and topics such as Brand building in the age of AI, Global trends in branded entertainment for 2023, What’s next for short-format and audio-based app: Reels, influencer marketing, and podcasts, Decoding brand spending strategies: Bridging the rural-urban divide, Ideas that don’t work in 2023, “Build to sell” “Why crafting an exit strategy is essential for startups” and many more. 

One of the key highlights of the event this year was the Networking Lounge, a dedicated space where creators, brands, agencies, and production houses could connect and engage in cross-cultural conversations, fostering innovative collaborations. 

Attendees availed the experience of networking opportunities with over 200+ prominent brands and organisations, including Bombay Shaving Company, Deloitte, Dolby, Fairplay Sports, Ghost Kitchen, Google, Heiniken, Maya Pistola, Meta, Mivi, Moj, Moonshine Meadery, and many more. 

In the conversation with Pocket Aces Pictures Pvt. Ltd. co-founder & CEO Aditi Shrivastava, she emphasised on the growth and significance of branded content. According to her, “Branded content is experiencing significant growth in the industry. The audiences tend to perceive endorsements by Bollywood A-listers as less authentic, as they view influencers as individuals who are more relatable and similar to them. This perception leads to influencers providing better return on investment (ROI) for brands resulting in brands being more likely to opt for a multiple face influencer model, where they collaborate with several influencers, rather than relying on a single face for endorsement campaigns.” 

Response at Bennett Coleman & Co. Ltd. president Partha Sinha Thought on Brand Building and ChatGPT: “Apps makes us smarter but that may not necessarily be the right goal.” 

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Coca-Cola India and SouthWest Asia VP of marketing Arnab Roy expressed his views on the creation of Coke Studio Bharat instead of Coke Studio India in an interview conducted by Devraj Sanyal, Chairman and CEO – India & South Asia, SVP Strategy, AMEA at Universal Music Group. Roy emphasised the significance of Bharat as a sensation and an extraordinary experience, aligning with Coca-Cola’s commitment to crafting remarkable experiences. He further highlighted the immense cultural growth potential of India, which is expected to emanate from its smaller towns. Roy acknowledged that “Digitalization would play a crucial role in unleashing the untapped talent residing in these regions, leading to a music explosion.” In his opinion, these smaller towns are the epicentre of music, where it thrives and resonates. Delving into the country’s history, Roy recognized the abundance of richness and potential, and the team at Coca-Cola India decided to seize this opportunity and make it a reality by launching Coke Studio Bharat. 

Madison Communications partner and group CEO Media & OOH Vikram Sahuja, on Global trends in branded entertainment, “In today’s day, data is gold! Currently, I look at the marketing funnel. It is like an hourglass model. The awareness is very high and so is the performance while the consideration is pinched. The activities we do with branded entertainment, with the apt collection of data. We can make it from an Hourglass to an Onion.” 

Jay Sean said, “I always have had the mindset that if I’ve come this far, I can take over the rest of the world too.” 

YouTube Sales and Solutions of India head Shubha Pai, highlighted YouTube’s role in empowering brands and revolutionising entertainment in India, “Innovation happens at the Intersection with YouTube’s massive scale & a creative content ecosystem driven by love for these incredible creators.” 

Artist Munawar Faruqui, who urged attendees to maintain their hunger for success, stating, “If you reach your destination, you’ll lose the hunger. It is very important to keep the hunger in you always alive.” Faruqui was interviewed by Nirmika Singh, Executive Editor of Rolling Stone India.

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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

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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.

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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.

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

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

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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.

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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.

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BCCL profit jumps 53 per cent in FY25 as tax bill shrinks

Revenue rises 4.3 per cent to Rs 10,209.33 crore while deferred tax gain lifts bottom line sharply

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NEW DELHI: Bennett, Coleman and Company (BCCL) has posted a sparkling set of financial results for the year ended 31 March 2025, proving that there is still plenty of ink and gold left in the ledger.

Revenue from operations climbed a steady 4.3 per cent, reaching Rs 10,209.33 crore compared to Rs 9,786.44 crore the previous year. When you sprinkle in other income, which rose 8.9 per cent to Rs 949.36 crore, the total income for the media behemoth hit a healthy Rs 11,158.69 crore.

While the income grew at a modest pace, the bottom line tells a far more dramatic story. The real headline is the 53 per cent surge in annual profit. How did they pull off such a feat? While Profit Before Tax (PBT) saw a gentle nudge upward of 2.7 per cent to Rs 1,610.00 crore, it was a vanishing act by the taxman that really did the trick.

Total tax expenses plummeted by 32.4 per cent, dropping from Rs 468.76 crore down to Rs 316.97 crore. This was largely thanks to a swing in deferred tax, moving from an expense of Rs 156.02 crore in FY24 to a benefit of Rs 39.44 crore this year.

Total income rose from Rs 10,658.55 crore in FY24 to Rs 11,158.69 crore in FY25, marking a 4.7 per cent increase. Total expenses grew at a slower pace, up 3.0 per cent from Rs 9,306.06 crore to Rs 9,581.45 crore. Profit before tax inched up 2.7 per cent, moving from Rs 1,567.02 crore to Rs 1,610.00 crore. However, the standout figure was net profit, which jumped sharply by 53.0 per cent, climbing from Rs 1,042.03 crore in FY24 to Rs 1,594.73 crore in FY25.

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Despite the rising costs of doing business across the globe, BCCL kept a tight grip on the purse strings. Total expenses rose by just 3.0 per cent to Rs 9,581.45 crore. By keeping costs lower than the rate of income growth, the company ensured that the final figure, a net profit of Rs 1,594.73 crore, was nothing short of a front-page sensation.

In a world of shifting digital tides, it seems the BCCL ship is not just steady, but sailing into significantly wealthier waters.

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