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Understanding viewer dynamics beyond TRPs

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MUMBAI: Is a television brand different from any other fast moving consumer durable goods (FMCG) brand? Is brand building for a TV brand different from an FMCG brand?

With a spurt in the number of channels, options for marketers are no doubt getting complex. Increasingly there is direct implication on programming budgets. Questions like return on investment (RoI) and trigger factor are important for the TV and media buying and planning fraternity.

The TAM S-Group study of ‘unconventional ways to understand in-home TV viewing behaviour’ yesterday at the Ficci Frames talked about this after an analysis. Indian Idol was used as a case study as it resulted in ‘disruptive viewership’ from other channels.

TAM media research CEO LV Krishnan put things in perspective by first comparing a TV and an FMCG brand to see if they are really different.

“A brand is a product that provides functional benefits and added values so that consumers find value in buying the product. The same applies for a TV brand where the viewers find value enough to tune in,” explains Krishnan.

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He went on to say that every programme on a channel is a brand by itself. Hence, it is important to build unique identities for each programme.

For whom are we creating the brand and what is the motivation? for tune-ins?

Presently, there are over 250 channels competing for a slice of the Indian TV market. TV space is dominated by soaps from Mondays to Thursdays in primetime. Very clearly, the programming elements are melodrama and family politics. Some soaps are running since 1999 and command a loyal viewer base.

Rival broadcasters today believe the answers lie in ‘A soap for a soap.’ This stood true till October 25, 2004 when Sony, at the heart of primetime, launched the much-acclaimed global format Idol. This was defined by the TAM panel as ‘disruptive programming’ and an adoption of alternate scheduling strategy.

The first episode of Idol was positioned in the standard Monday-Thursday block. The second show was slotted for the Friday block which is usually a non-standard programming day.

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Interestingly, research data showed that though the Thursday episodes saw the slot grow, Friday received a lot more eyeballs than Thursday. Hence, Fridays delivered far better than Thursdays for Indian Idol.

This trend was intriguing for the media industry. It was pointed out that there was a certain family reaction when they were faced with this ‘disruptive programming’, considering that India is still predominantly a single TV household.

If audiences did shift, what were the trigger factors and which specific individual triggered the shift?

On Thursdays, Idol saw a 30:70 male-female ratio and Fridays, on the other hand, saw a more equitable 50:50 shift. The question is who controls the remote?

Research proved that from Mondays to Thursdays it was the chief wage earner (CWE), that is the male, who controlled the remote. Although, on Fridays the control was with both the CWE and the youth who were decision-makers.

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Control is one thing, but who really decided what to watch? It is the housewife (HW) who decided from Mondays to Thursdays what to watch; this primarily being the effect of loyalty. Men, on the other hand, grab a few minutes during ad breaks when the HW is in the kitchen.

But viewing in primetime is not neat and is replete with unspoken agreements.

Though Fridays tell another story. Fridays are more fluid as the HWs have had their fill from Mondays to Thursdays and hence allow the men to decide what to watch.

There seems to be a tacit viewing arrangement where the male from Monday to Thursday says, “Let them watch now, it’s ok” and a reversal occurs on Friday when women say, “Let them watch now, it’s OK, as long as my Monday-Thursday is not affected.”

Another conclusion that was drawn was that youth are programming champions. Most confrontations take place between the CWE and youth over what to watch because entertainment means different things to different people.

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Housewives don’t see Friday line-ups and are willing to hand over control; Males watch TV to unwind and wish to break HWs’ loyalty. The youth watch to fulfill their need to be ‘in’ and try and use ad breaks to catch up.

The launch of Indian Idol, got the status quo to go in for an overhaul. The riggers of change here were primarily the youth. Idol also proved to be a tacit support of change for the males. The results however clearly showed that the day of the week makes a difference.

Motivations to switch to Idol were interestingly different for different SECs. SEC A switched predominantly due to not being left out of college discussions, the prize money, show in the reality genre in Hindi, and acidic comments from Judges.

While SEC DE switched due to the celebrity factor and the
high aspirational value of the show.

Coming to the marketing front, promos both on-air and off-air, the marketing blitz and the buzz effect also hastened the process.

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In conclusion, for a ‘disruptive programme’, kids and housewives are essentially the tertiary TG, males forming the sub-core and youth being the core focus. This holistic approach will help understand channel navigation, programmers’ schedule and make marketers understand who their focus TG really is.

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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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