MAM

You can be creative and edgy, without being insensitive: Dentsu Creative India CEO

Published

4 years ago

June 21, 2022

Mumbai : Exactly a year back on 22 June 2021, erstwhile Dentsu Impact president Amit Wadhwa took on the mantle of chief executive officer (CEO) to lead the Dentsu India creative service line leadership team. The newly restructured creative service line in India, brought together brands from the house of Dentsu such as Dentsu Webchutney, Taproot Dentsu, WATConsult, Perfect Relations, Isobar, Dentsu One, Dentsu India and Dentsu Impact, along with their digital & PR capabilities- all under one umbrella of Dentsu Creative India.

The past year also witnessed major upheavals, both, at the network which saw several high-profile exits, as well as in the advertising and media landscape with the pandemic rewriting the rules for the communication industry.

The Dentsu Creative India CEO shares with Indiantelevision.com how the past year fared for the network as well as for him, amid the tumultuous new normal, and what his priorities were since taking over the creative agency mantle.

Wadhwa also completed over a decade at the network last year, having joined Dentsu Creative Impact (now Dentsu Impact) in November 2011. With another five-year stint at JWT (J. Walter Thompson) in his kitty before that, he has literally seen the industry evolve over the past decade and a half.

Despite challenges due to macro-economic uncertainties and global inflationary trends, Wadhwa remains buoyant and confident that the advertising and marketing industry will grow at a good pace “crossing double digits”.

IndianTelevision.com’s Anupama Sajeet caught up with the advertising veteran and self-confessed ‘passionate brand builder’ for a free-wheeling conversation, where he also spoke about what has changed in adland and how the creative group is ensuring it keeps pace with the emerging new tech in the space.

Edited excerpts:

On his focus areas since taking on the helm of the Dentsu Creative Group

Three things. Integration was the biggest objective. Secondly, making sure that we digitise everything and so we infused digital and technology in everything we do – whether it is creative, or PR- we have digitised it all- the entire system. And the third of course, was to make sure that the cornerstone of the entire offering is “creative”, and hence up the creative product. These were the three things I kept in mind as I took on the CEO mantle. Have I done that 100 per cent? Of course not. But I think we have moved leaps and bounds on all these fronts.

On how the past year fared for the agency amid high profile exits and the uncertainty wrought on by the pandemic

In terms of how we have fared, I think we are working in a far more unified manner for our clients. So, we have integrated to make sure the best experts come together and deliver as one single team for a client. There are many brands where earlier erstwhile different units of Dentsu Creative are now working together as one. For eg- we recently worked at Ikea where the Dentsu MB and Dentsu Webchutney worked as a single team. Then there was another instance where Isobar and Taproot Dentsu worked together as one unit. There are many such examples. That’s from the integration point of view.

As far as creativity is concerned, one big yardstick is the awards and I think we have done fantastically well, led by the team at Dentsu Webchutney. Having said that, we have also invested in some great talent like Ajay (Gahlaut), Arjuna, Anu Gulati, along with the creative talent which is already there in-house such as Alaap, Anupama and loads of talent below them. So, I think we have upped the game on creativity. And it’s not just awards. Some of the campaigns that we rolled out I’m absolutely proud of. For instance, the campaigns we have done for Uber, Paytm, to name a few, have been great.

And honestly, without being digital-first there’s no possibility of a business surviving. We have ensured that right from our PR to what we used to call our traditional agencies, every one of them is digitally savvy and understands the medium.

So, on all these fronts, we are moving in the right direction and at the right pace.

On whether the recently released ASCI guidelines on gender stereotypes (in the wake of the recent controversy over the Layer’r Shot deo ads) will lead to curbing creativity.

We are in the business of creativity, we need to express ourselves. But at the same time, we are all living in a society and we need to be sensitive. Does that mean that we curtail creativity? No. But is that the only way to be creative? Absolutely not. I don’t wish to comment on that ad, as enough has been said about it being in bad taste and stuff. But the point is you do not need to go that way to be creative. I don’t think to be creative, you need to be insensitive. You can be edgy without it.

If you look at some of the works we have done recently, such as the ‘The Unfiltered History Tour’ or the Paytm creative we did on financial empowerment. These works are very edgy and creative at the same time. It also had a strong connection with people, without being insensitive. Having said that, do we put a gag on everything because of certain instances? I don’t see that happening either.

On the evolving advertising & marketing (A&M) landscape in the past decade

It’s absolutely true that the entire A&M landscape has changed in the last decade, from what it used to be to where we are today. I remember when I joined Dentsu (back in 2011), I was taking care of a small agency called Dentsu Creative Impact. We brought in a lot of exciting talent, and we did it at a small scale – whether it was in creative, planning or account management. And we picked up businesses like Ikea etc and made it into this exciting brand. But that was then. Digital was there, but it was a small part of mainstream media.

Today, if I’ve to do a similar exercise for the Dentsu Creative Group (DCG), I cannot step up the game on creativity by having a good creative team alone. Of course, creativity is the key essential part of it. But what we are also trying to infuse is to ensure that we are way ahead when it comes to creative technology. And that’s the other aspect that we have invested in heavily. Led by Gurbaksh, who heads the innovation and tech team, it’s a critical part of our creative team. We also have editors and social media experts as a part of it. So, the complexity and composition of the team is very different from what it was, say, less than a decade ago.

On any key trends or emerging category/s in the A&M industry that might dominate in the coming year

If we talk about emerging or dominant new categories, Fintech, of course, is huge, so is gaming. Online gaming is breaking through the roof. But at the same time as all these new categories are popping up, the traditional categories like FMCG remain equally exciting. So, one can see a mix of it with everyone, including the traditional players, trying to do something different in their space, stepping away from the tried and tested.

On how the agency is ensuring it keeps pace with the emerging new tech in the space

There are two parts to it. One is that we need to be digitally first and technologically far ahead. But, is that good enough? Is that the only thing we need to do? Unless there’s a brilliant idea it all comes to nought. The expression of the idea could be on the digital platform or through an innovative technology but the idea is still absolutely important. We need to marry technology very strongly with creativity.

That combination of creative and new-age tech is what gives me the confidence that we are poised for something very exciting. And that for me, honestly is the place where I always wanted to be.

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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

Published

6 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

6 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

6 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.