Mumbai: “Opportunity To See” or OTS is a measure in advertising media that denotes the number of times the viewer is most likely to see the brand (In the below table brands denote TV channels). This term is used by marketers and analysts to differentiate between the total audience in the universe and the percentage of the total audience that has access to see your brand/ channel. The larger the percentage the higher is the availability of the channel converting into consumption/reach.
The following OTS analysis over the last four years (2017-2020) within the Indian television market points at
• As seen the Republic TV OTS in urban homes has been higher than Times since 2019 making it the largest available English brand in Urban Homes in India.
• Republic TV OTS has been higher than Times NOW since 2018. The distribution and availability of the channel has been extremely high in comparison to any other channel in the genre.
• The gap has widened into “Reach” in 2019 and 2020 as the TRAI implemented the new tariff order (NTO) making sure Republic TV’s free to air offering in English increased its footprint across homes through India.
• The share of news genre got expanded from 2017, post the entry of Republic TV.
• The channel was launched in 2017 and since then its growth trajectory has always been on the rise. The other channels have also either grown albeit slowly vis-à-vis Republic or remained semi stagnant.
OTS (Opportunity to See) – India Urban – Avg. of 2016 to 2020
Source: Chrome Live, Mkt- All India Urban, 2017-2020
Year
Republic
Times Now
Difference
Avg. of 2017
61%
65%
-4%
Avg. of 2018
66%
63%
3%
Avg. of 2019
91%
53%
38%
Avg. of 2020
86%
60%
26%
Source: Chrome Live, Mkt- All India Urban, 2017-2020
Speaking to Republic World, ChromeDM founder and CEO Pankaj Krishna said, “After a point and irrespective of genre, the key differentiator amongst players within the genre boils down to the availability of content. Considering the fact that distribution is still contingent on a 1000+ variables (DPOs/ CNOs) and is one of the biggest cost centres for running a linear TV channel – unless of course, it is a hugely appointment-led genre, for instance for Hindi GEC.
Most of the genres – be it news (Hindi and English), music, infotainment, the time spent per viewer limits to less than ten minutes a week and is mostly driven by channel surfing or flirting, if I may call it. A differentiator of 15-20 per cent on distribution between any two-three players within a genre would probably be the factor deciding the lead in the consumption / viewership / ratings within the genre.
LCN (logical channel number), placement (where your channel falls), neighbourhood (the channel that precedes you), the packages that you are on (whether your channel reaches 100 per cent audiences and the penetrations of the packages that your channel is a part of) – all of these factors determine the OTS (Opportunity to See) or the availability of a channel which is the primary key factor in determining the dominance of one over the other.
I don't have any inclination to any channel or newsroom or point of view- but after a certain level and with the proliferation of content, it does become a commodity – where-in the availability of content plays a bigger role than the content itself…"
Republic Media Network group CEO Vikas Khanchandani said, “Republic Network has focused and delivered the largest reach platforms in its respective genres. The above data from Chrome is yet another data point that reflects on the growth and leadership that our brand enjoys. There are multiple data points like the engagement of Republic TV on social media which is also highest within its genre reflecting the stickiness of our brand and reflective of high TSV that the brand enjoys. We have similar data points for our humongous consumption on OTT as our brand has very wide availability on connected devices and I am more than confident that we will continue to bring the largest English and Hindi news platforms for consumers and advertisers.”
The data for analysis was provided by Chrome DM.
Chrome DM is a technology-driven market research firm with a pan-India on-ground presence. As of September 2017, the organization had a team of 650+ field staff, 150+ managerial staff and 450 tele-callers speaking over 22 languages to gather data from 3300+ towns. With a presence in over six lakh villages, Chrome DM also has an unprecedented reach into rural India.
New Delhi: Havas Media India in collaboration with Innocean Worldwide and The Viral Fever (TVF) has rolled out a digital-first smart campaign for Hyundai’s Grand i10 NIOS.
Hyundai drives the comeback of India’s popular family web series The AamAadmi Family Vacation Special, a TVF Originals by The Timeliners. Being the first family web show, it breaks away from the oh-so-dramatic and cliché TV daily soaps and lends a fresh take into the modern Indian family, its aspirations and hardships that is well-portrayed by the characters in a simple yet realistic manner, giving it a new-age perspective.
The three-part series unfolds the story of a middle-class Indian family, the everyday conflicts they face and their journey into buying the family’s first car. The show not only seamlessly integrates the brand’s messaging and its features but also highlights the comfort, convenience and flexibility of owning a four-wheeler for a commoner and urges the audience to take progressive steps by making smart choices in today’s dynamic new-age world.
The campaign is amplified through various in-show integrations, social media engagements, contests and more.
Hyundai Motor India director sales and marketing Tarun Garg said, “Hyundai is always looking for platforms to connect with our audiences in the most unique ways. This collaboration is an example of Hyundai’s commitment to create stronger connections with our customers and be a part of their daily experiences. The AamAadmi Family perfectly weaves in the brand’s ideology of smart cars for smart Indians. We truly believe that the Grand NIOS with its segment-leading features and technology is the perfect choice for the smart millennial customers.”
Innocean Worldwide joint MD Vivek Srivastava said,“With the dominance of the digital screen in the engagement matrix of brands with consumers, the content-based integrations have become an integral part of communication outreach. It’s effortless, unobtrusive yet impactful in seeding the soft and hard aspects. This initiative with TVF for Grand i10 Nios is a living testimony to this new strategic normal. The AamAadmi Family series not only helps us embed our client’s message in the digital milieu, plus it does so in a very relatable family context.”
Havas Media Group India CEO Mohit Joshi said, “At Havas Media, our endeavour is to provide meaningful experiences and build meaningful brands by capitalising on the most meaningful media. ‘The AamAadmi Family’ show by TVF perfectly captures the reflection of our society, showcasing the real-life conflicts which not only makes it an earthly watching experience for the audience but also strikes the right chord with Hyundai Grand i10 NIOS TG. Every character in the show has created a special connection with the audience allowing the brand to seamlessly integrate its brand promise and drive brand affinity. We are excited about this collaboration with TVF in driving the shared endeavour for Hyundai and we look forward to scaling new heights with many more meaningful offerings.”
NEW DELHI: Reliance Industries Ltd has moved a petition in the Punjab and Haryana high court today, seeking the government’s intervention to bring a complete stop to acts of vandalism by miscreants, who destroyed some of its telecom towers in the states a few days ago.
“Taking advantage of the ongoing farmers’ agitation near the national capital, these vested interests have launched an incessant, malicious and motivated vilification campaign against Reliance, which has absolutely no basis in truth,” the conglomerate said in a statement.
While thanking authorities for their action against the vandals, Reliance has sought punitive and deterrent action against miscreants and vested interests in its plea to the high court.
“These acts of violence have endangered the lives of thousands of its employees and caused damage and disruption to the vital communications infrastructure, sales and service outlets run by its subsidiaries in the two states. The miscreants indulging in vandalism have been instigated and aided by vested interests and our business rivals,” it claimed.
Reliance has asserted that it has nothing to do with the three farm laws enacted by the Centre, and in no way benefits from them. It added that its subsidiary Reliance Retail, Reliance Jio Infocomm has not engaged in any “corporate” or “contract” farming in the past, and has no plans to enter this business in future.
The Mukesh Ambani-owned company clarified that it has not purchased any agricultural land, directly or indirectly, in Punjab/Haryana or anywhere else in India, for agricultural purposes. It further mentioned that it does not purchase any food grains directly from farmers, and has never entered into long-term procurement contracts to gain unfair advantage over farmers or sought that its suppliers buy from farmers at less than remunerative prices.
“Reliance and its affiliates fully share and support the aspiration of Indian farmers to get a fair and profitable price on a predictable basis for what they produce with exemplary hard work, innovation and dedication. Reliance seeks significant augmentation of their incomes on a sustainable basis, and pledges to work towards this goal. Indeed, we shall insist on our suppliers to strictly abide by the Minimum Support Price (MSP) mechanism, and/or any other mechanism for remunerative price for farm produce, as may be determined and implemented by the government,” the company said.
The conglomerate’s statement comes on a day the government was scheduled to hold talks with protesting farmers in New Delhi. This round of discussions, too, proved inconclusive; the next meeting will be held on 8 January. Meanwhile, farmers have declared their intention to further intensify their movement.
NEW DELHI: FMCG major Marico has posted strong performance with double-digit volume growth in its India business in Q3 2021. In an investor update on BSE, the company has shared an update on the overall summary of its operating performance and demand trends witnessed in the quarter ended 31 December 2020.
The quarter was characterised by a faster than expected recovery in consumer sentiment in India, aided by the festival season and a declining Covid2019 graph. The company registered strong performance across its portfolio with general trade continuing to grow healthily and rural markets staying ahead of urban. In the new age channels, while e-commerce continued its stellar run, modern trade fared better in Q3 after a soft first half. CSD continued to decline, albeit improving sequentially.
Revenue growth was in tandem with volume growth. Parachute Coconut Oil delivered ahead of its medium-term aspiration. Saffola Edible Oils continued its growth momentum, delivering double-digit volume growth. Value added hair oils also exhibited strength with a broad based sharp recovery across sub-segments leading to overall double-digit growth for the category. The foods portfolio continued to witness exponential growth in line with the near-term aspiration, backed by strong performance in both the base foods and the new product launches. There was a steady revival in discretionary categories with the premium personal care portfolios witnessing improving trends sequentially, however, still posting a modest decline on a year-on-year basis.
The quarter was also characterised by inflationary pressure in key raw materials necessitating cutting back of some promotions and taking effective price increases across both Parachute and Saffola edible oil portfolios. The company expects to deliver a healthy profit growth on the back of various cost optimisation initiatives and judicious A&P spends.
International business had a resilient quarter with high-single digit constant currency growth, led by double-digit constant currency growth in Bangladesh and recovery in few other markets.
Marico maintains an optimistic outlook for the rest of the year provided the Covid2019 and the economic situation continues to improve. The company remains steadfast in its medium-term aspiration of delivering sustainable and profitable volume led growth, building on strong brand equity across core franchisees and progressively driving and scaling up new engines of growth.
In Q2 2021, the company increased its advertising spends, taking it back to its pre-Covid2019 levels. While its food segment, Saffola, and Parachute performed well, the brand also launched several new products during this time.
NEW DELHI: In a big boost to the Tamil film industry, the state government on Monday issued a new directive removing the 50 per cent cap on occupancy in theatres.
Cinema halls in Tamil Nadu can now operate at 100 per cent capacity while following the standard operating procedures issued by the government. Precautionary measures will also be screened from time to time to spread awareness among the audiences.
The order comes days after actor Vijay and theatre owners requested chief minister Edappadi K Palaniswami to allow theatres to function at their full capacity.
Back in October, the ministry of home affairs had released guidelines wherein film theatres were only allowed to operate with 50 per cent seating capacity to ensure social distancing.
Tamil Nadu is the first state to allow cinema halls to operate at 100 per cent capacity. The 50 per cent cap, however, still remains in neighbouring states. In fact, only last week, the Kerala government gave its nod to re-open theatres with 50 per cent capacity with Covid-safety protocols in place.
However, the film industry continues to be hit as no big Bollywood releases are coming to the silver screen.
NEW DELHI: Twitter is a reflection of what’s happening in the world and what people are talking about. Over time brands across categories have leveraged Twitter’s ad offerings and influence to strengthen their presence among audiences. This year, as businesses pivoted to digital-first campaigns, Twitter emerged as an indispensable partner to launch something new and to connect with consumers. The constraints of 2020 encouraged brands to be more creative, thoughtful and personal, resulting in campaigns that warmed the heart and left people wanting more. Let’s look back at some brands and campaigns that stood out and made a difference with their Twitter salvos:
Best brand for speaking out and standing up: Axis Bank for #ReverseTheKhata
While nearly every industry was drastically impacted in 2020, the worst-hit were local vendors and small businesses, with many being pushed to the brink. Axis Bank took up the cause and asked people to #ReverseTheKhata, referencing the bond between customers and their corner shop through the maintenance of a ‘khata’. The khata is based on the trust and loyalty shared between the two parties. The campaign showed us different moments on the relationship between customers and small businesses, projecting the various emotions that bubble up from the simple statement – Khate mein likh do – urging people to reverse roles and support vendors who have continued to serve us while keeping our accounts. The campaign used a clever and relatable insight, connecting with its audience in an authentic way, making it the best brand for speaking out and standing up.
Small businesses have always supported us with credit transactions and kept their khatas open for us. Now it’s our turn to #ReverseTheKhata, by paying them in advance and helping them reopen! #DilSeOpenpic.twitter.com/vy0yIfgpLC
We love to watch our favourite series and films on Netflix and look for the best recommendations, including on Twitter. Netflix India built on this insight and launched #NetflixMatchmaker. This innovation allowed a customised bank of emojis to serve fans a personalised experience on Twitter, helping them decide what to watch. So, how does it work? When someone tweets an emoji with the hashtag #NetflixMatchmaker, they are rewarded with a content recommendation tied to that specific emoji. For example, tweeting a gift emoji might send a recommendation for a holiday movie. Netflix knew there would be an ongoing demand for recommendations, so #NetflixMatchmaker pops up every weekend to help people match their mood to what they could enjoy streaming. This is why they had the best #OnlyOnTwitter campaign this year.
Looking for some suggestions that s̶l̶e̶i̶g̶h̶ slay?
Tweet with the options below and #NetflixMatchMaker will send a film your way!
Best brand that brought the stadium to the phone: Star Sports
To make up for the lack of on-ground sports experiences, Star Sports turned to Twitter to bring fans closer to all the sporting action, especially on two key occasions – the Indian Super League (ISL) and the Indian Premier League (IPL).
During the ISL’s #TrueLove campaign on Twitter, Star Sports invited football fans to send in tweets with messages for their favourite footballers. At the trophy-lifting ceremony of what was a thrilling finale between ATK FC and Chennaiyin FC, these love-filled tweets presented in a physical form as Twitter-confetti and were showered upon the winning team covering them with #TrueLove for this one-of-a-kind activation.
Do you have a message for your favourite #HeroISL team in the Final?
For the IPL, Star Sports cued people in for the opening match through reminders on Twitter, activated by the Heart-To-Remind functionality. The brand also changed their Twitter username to ‘Star Sports at 7:30 PM’ to mark the time slot as the viewing time for the IPL.
Their consistent usage of Twitter to connect fans to the games they love made Star Sports the brand that brought the stadium to the phone.
Best campaign celebrating fandom: Samsung India for #GalaxyS20PlusBTS edition
While launching the #GalaxyS20PlusBTS edition, Samsung routed its campaign towards the massive BTS fandom on Twitter. The brand launched a custom BTS quiz to engage with the K-pop band’s ARMY on the service who could put their love to the test and even stand to win a pair of the Galaxy Buds+ BTS edition. This carefully targeted campaign not only reached its audience but also had them glued to their Twitter timelines through a series of promoted tweets with creatives featuring various members of the band. The BTS edition campaign was part of a sustained promotion plan for the S20+, with the global launch event achieving millions of views worldwide. Samsung India’s clever use of Twitter to connect with their consumers made it the campaign that best celebrated fans.
Galaxy & BTS unite! Introducing the exclusive #GalaxyS20PlusBTS Edition in stunning Haze Purple colour. Take a fun quiz to test your fandom. Hurry! Galaxy Buds+ BTS Edition up for grabs. T&C apply: https://t.co/79M3u2gMIU#Samsung
Best brand connection to the couch: Amazon Prime Video for #Mirzapur2
#Mirzapur2 hype on Twitter was real, evidenced by the many tweets begging Prime Video for the second season. As the OTT service finally prepared to premier the series, it decided to count down to the launch along with eager fans, and host a watch party to finally answer everyone’s wishes and get people watching (and reacting) together. Through a carousel events page, the brand curated a timeline of all conversations around #Mirzapur2 and also rolled out exclusive content leading up to the big day. A ‘Mirzapur throne’ emoji was also launched to fuel excitement.
Bhaukaal is nearing and we want you to be a part of it!
But that was not all, following the watch party, the show’s characters were leveraged to engage the audience via a personality test pairing people with their favourite #Mirzapur characters when engaged with the tweet. Their thoughtful end-to-end integration and celebration of such a popular show earned them the title of best brand connecting all of us to our couch.
If Twitter was #Mirzapur, which character would you be? Go ahead and click on 'Try Now' to find out!
Best brand for pivoting when it counts: Uber India for #MoveWhatMatters
At a time when everyone was being encouraged to stay put, Uber India, a brand that is built on doing the opposite, responded in just the right way. Playing off their slogan to #MoveForward, they suggested we #MoveWhatMatters. The brand echoed what we were hearing from public health authorities, asking people to stay home and stay safe, while their drivers continued to serve India’s essential workers. Moreover, the ride-hailing app also urged people to come out in support of their driver-partners who had also been impacted by the pandemic and set up the Uber Care Driver Fund. In a time when people needed to be assured of their safety, Uber India made its priorities clear.
Over 75,000 families have already been reached out to, thanks to your contributions to the Uber Care Driver Fund. On behalf of the driver community, thank you India. There are many more who need our support. #MoveWhatMatters. Contribute here: https://t.co/ILnKRJ1FTYpic.twitter.com/6rjYJlHjV6
Best virtual launch: Hyundai India for the TUCSON launch with #TheNextDimension
Hyundai India moved ahead and launched its new TUCSON via a magnificent (virtual) event called #TheNextDimension. Hyundai adopted a three-phased strategy for the launch; it acquired an active viewership through the Heart-To-Remind functionality, which reminded people to tune-in for the launch; it took over the service’s premium real estate with a promoted trend and livestream to maximise visibility, and to wrap up the launch it tweeted highlight videos from the event which were injected into people’s timelines via promoted tweets, making sure nobody missed the action. Despite not taking place on-ground, this campaign by Hyundai proved that launches can be as successful virtually. The live event recorded over 1 million views in the first 12 hours itself, making it a winner in the best virtual launch category.
Fintech start-up Cred was all over Twitter timelines in the best way. Launching its first-ever campaign with a series of videos, the brand made a strong impact, reaching new customers. The campaign was spearheaded by some of the strongest voices in the public space, including the founder himself. Moreover, picking up on a trend around nostalgia, they worked with some of the most iconic talent from the 90s and early 00s including, Govinda, Bappi Lahiri, Madhuri Dixit Nene, Anil Kapoor, Udit Narayan, and others in a creative way, ensuring mentions of CRED on Twitter reached new highs.
Restaurants may have been closed to visitors earlier this year, but delivery services like Zomato made themselves indispensable. And maybe because Zomato was experiencing it themselves, they knew just what to say to keep people on Twitter engaged. Keeping up with cultural moments and trends, the food delivery app stayed connected with its audience through conversations that were fun, light-hearted, and more often than not, perfectly hilarious. From being excited about a cricket match to being grumpy because of hunger pangs, Zomato engaged with its audience in one-on-one banter, replying and engaging with tweets. Adopting a sensitive voice, yet full of personality, the brand built its own community of followers making it the best brand voice on Twitter this year.
Since the test launch of Fleets in June, several brands have embraced it with content designed especially for the format. IndiGo stood out by engaging with its followers through consistent and coherent messaging via Fleets. Adhering to the needs of its patrons, the brand has been using the format to keep passengers informed about flight schedules and other real-time updates. Their diving into this new Twitter format gives them the title of best brand Fleets!
NEW DELHI: Countless cups of coffee and hours of brainstorming lead to that one great creative idea that justified the brief from the brand. This used to be the scenario at a creative agency prior to Covid2019. However, with the outbreak of the pandemic, this process moved online and the entire creative industry was working from home.
It took a while for admen (and women) across the world to adjust to the new normal, but soon they did and it was full steam ahead. Despite challenges and adjustments, the agencies continued to deliver cutting-edge work that impacted people and made them think about the product and service. The creative teams also steered through the production challenges. In the initial days of lockdown, they created several films from the confines of their homes. Once the lockdown was lifted, production resumed slowly. IPL 2020 definitely gave a huge fillip to the industry as multiple brands released fresh creatives across mediums.
There is no doubt that 2020 has been an extremely tough year for the advertising industry, but it has also made them rethink, realign and push themselves to think out of the box and deliver stellar creatives.
Here’s a rundown of some of the top ads of the year.
· Burger King Moldy Whopper
Just before the pandemic struck the world and forced people to social distance, Burger King came up with an ad campaign that broke all rules of food and QSR promotions. The fast-food chain released a video of its flagship burger, the Whopper, decomposing and becoming covered in mold over the course of 34 days. The shock factor was to generate buzz about its new initiative to launch preservative free burgers in the US market. The film went viral and elicited an opinion from everyone.
· HDFC Hum Haar Nahi Maanenge
In order to spread hope and positivity amid the nationwide lockdown imposed in the country, HDFC bank released a song #HumHaarNahiMaanenge to celebrate the resilient spirit of citizens who are standing strong while also following guidelines to fight the Coronavirus. Through the campaign, the bank also aimed to draw attention to the importance of coming together for a cause and supporting more people during these tough times through the PM Cares Fund.
· Nike You Can’t Stop Us
The campaign gave hope to people in such trying times, especially with the cancellation and postponement of sporting events. The ad highlighted the power of sports and how it has the ability to bring us together and become agents of change. With a powerful narration and an equally stunning voiceover by Megan Rapinoe, the ad transcended all boundaries and became viral. It was touted as one of the finest pieces of editing.
· Amul – Dragon
The cooperative brand which has been releasing interesting topicals for over 40 years came up with another interesting piece where the Amul Girl stops a dragon. The ad was a take on the Indian government’s crackdown on Chinese apps and companies in light of the Galwan valley standoff. The creative piece was widely circulated and liked by the people even though a section of social media objected to it.
Cred took IPL 2020 by storm with its six-film campaign featuring eminent Bollywood personalities like Madhuri Dixit, Anil Kapoor, Jackie Shroff, Govinda, Bappi Lahiri and others auditioning for a brand ad. The films started conversation and generated recall for the brand. Despite being not-so-humorous, the ads caught the public’s attention. The idea behind the campaign was to scale up the service and reach larger audiences.
· Dream11 IPL
The fantasy sports app bagged the title sponsorship of IPL and launched a massive campaign on television with Indian cricketers like MS Dhoni, Jaspreet Bumrah, Rohit Sharma and others. The ads were funny and self-aware, as common people in the film took a dig at the brand ambassadors while playing gully cricket. For instance, one girl stopped Bumrah from bowling because he was too fast. The ads clicked and people signed up to sample the platform, hence, the campaign was successful.
· Tide Ayushmann Khurrana
Tide introduced its latest brand ambassador Ayushman Khurana and launched a new campaign with him. The actor played the role of all the family members in the film and his part reminded audiences of his role in the Bollywood flick Dreamgirl. Of late, Khurrana has become extremely popular on the back of several hits, which has helped him secure several big brand endorsements.
· PhonePe
The digital wallet brand embarked on a marketing blitz with new brand ambassadors Aamir Khan and Alia Bhatt. The campaign included a series of humourous ads that showcased different features of PhonePe. The film was staged in a police station set up and kept very simple for the users to understand and adapt PhonePe as the mode of payment in their daily lives. The brand has been active throughout the year and spent heavily on advertising. It has been working towards scaling the number of app users across the country.
· Chotu
Children are god’s voice and a reflection of his greatness. However, if we look around a lot of children are called ‘Chotu’ and employed in menial, backbreaking and dangerous jobs. Dentsu Impact in association with My Choices Foundation and Saregama Caravan launched an eye-opening film on Children’s Day focusing on their struggles. The film showcased how children’s basic rights, education, dignity, hope and most of all, their childhood is snatched away from them, every single day. Currently, millions of child labourers are employed across the country in various segments like homes, factories, and construction sites. It evoked a sense of guilt and shame in many viewers, who’re familiar with these scenes but chose to ignore it.
· Facebook – More Together – Pooja Didi
The social media giant has been focusing on small businesses and trying to bring them on the platform. This year on Diwali, it launched a seven-minute-long film which was the story of Pooja Didi, a milk centre owner, who employed those who had lost their jobs due to the Covid2019 pandemic. The film showcased how employees used Facebook to engage with and bring customers to the milk store. It reflected the power of connections and people coming together to help, support and celebrate with each other.
· Cadbury Celebrations Hyperlocal Ad
For Diwali 2020, Cadbury Celebrations launched a unique initiative that provided an advertising platform to local retailers whose businesses were impacted by the pandemic. It created a data-driven campaign platform ‘Not Just A Cadbury Ad’ that included 1,800+ local retailers across 260+ pin codes in Mumbai, Delhi, Lucknow, Indore and Pune. The chocolatier developed an algorithm that served an ad customised to the viewer based on his geo-location. The film displayed small stores that changed based on the location in which the ad was being viewed. Therefore, a person viewing the ad in Pune would be guided to small stores in Pune, in their vicinity. Cadbury custom-designed hundreds of versions of the same ad, with the relevant geo-targeting based on pin codes.
· HS Kalekar Jewellers
Most jewellery brands accentuate a woman’s femininity by portraying her in the traditional roles of wife, mother or daughter. However, Kolhapur-based H S Kalekar Jewellers highlighted her strength and indomitable spirit. The ad titled Har Beetiyan Ko Ab Durga Banna Padega (Every daughter must become a Durga) sent a message that every woman should take her safety in her own hands. The commercial began with a young girl walking alone on a deserted street and stalked by a biker. The distressed girl changes her course, and spots an old lady sweeping on the road sides and takes her broomstick and proceeds to threaten the man in pursuit. The girl manoeuvres the broomstick at high speed in nunchuck-style, which is an advanced form of martial arts. Intimidated by her martial art skills, the eve-teaser runs away. The ad ends with the girl walking through the empty streets fearlessly and leaves a strong social message.
· HUL Glow and Lovely Glow ko na roko
In the wake of the #BlackLivesMatter revolution, HUL was forced to change the name of its flagship product from Fair & Lovely to Glow & Lovely to avoid any controversy. It released a new campaign called Mere Glow ko Na Roko featuring popular hip hop and rap artist Dee MC who narrates her journey of overcoming obstacles and urges other women to not let anything stop them from pursuing their dreams. Through the inspiring lyrics of #GlowkonaRoko, Dee MC equates ‘glow’ with her identity, which comes from her work, her determination, and self-assurance. The campaign was more than necessary because a new brand name meant a slight change in positioning and it had to be immediately communicated to the audiences.
· Tanishq Baby Shower
The jewellery brand launched a film around the baby shower ceremony in a Muslim family for a Hindu daughter-in-law. Though the film was simple and passed the message of peace and harmony, it was met with severe backlash. However, it did help the jeweller gain a lot of eyeballs on the back of controversy. Eventually, it was forced to pull the film down.
Tanishq has officially withdrawn their ad after being trolled viciously. Here's why this is a very sad state of affairs, and context from other such ads that were trolled (and some, withdrawn) https://t.co/Nb0cSiTPHXpic.twitter.com/sn3IMBqdmC
The sleep and home solutions company launched a witty and topical video that encapsulated the trials and tribulations of 2020. It came at an opportune time to wrap up the highs, the lows, the untoward surprises and the eventful twists of 2020 and resonated with what people went through during the year.
The video was a raging success among netizens, as it struck an instant chord with people whose lives have been turned upside down due to the pandemic and being cooped up at home. Using the hashtag, #BhaadMeinJaa2020, some claimed that it captured the emotions of the year aptly while others declared it was the best video of 2020.
NEW DELHI: Maruti Suzuki India Ltd posted total sales of 160,226 units in December 2020.
This is a growth of 20.2 per cent over December 2019, when sales stood at 122,784 units. Total sales include domestic sales of 146,480 units and 3,808 units for other OEMs. In addition, the company exported 9,938 units in December 2020.
With total sales of 495,897 units in Q3 (FY 2020-21) the company registered a growth of 13.4 per cent over the same period previous year.
The carmaker remains committed to the health, safety and well-being of all members across the value chain, it said in a release. All manufacturing, sales and service operations continue to take place fully consistent with all safety requirements for employees and customers.
The sales figures for December 2020 are given below:
MUMBAI: Mahindra & Mahindra, a part of the $19.4 billion Mahindra Group, reported a 10.3 per cent drop in overall auto sales (passenger vehicles + commercial vehicles + exports) for the month of December 2020. The number of vehicles sold stood at 35,187 vehicles, down from 39,230 in December last year.
In the utility vehicles segment, Mahindra sold 16,050 vehicles in December 2020, compared to 15,225 vehicles in December 2019, registering a growth of five per cent.
The passenger vehicles segment (which includes SUVs, cars and vans) sold 16,182 vehicles in December 2020, a growth of three per cent over the same period last year.
M&M CEO automotive division Veejay Nakra said, “At Mahindra, we have witnessed a growth of five per cent in utility vehicles in the month of December. Our overall sales have been affected due to the continuing supply chain challenges related to the constantly changing global environment, more specifically the supply shortage of micro-processors (semiconductors) used in electronic control units (ECUs). Demand continues to remain strong even after the festive season and as we get into the new year.”
Exports for the month of December 2020 were at 2,210 vehicles.
NEW DELHI: Religious genre is the top gainer for week 51, 2020 of Chrome Data Analytics and Media data. The genre clocked a marginal growth of 0.6 per cent.
In this category, Sanskar has gained the highest OTS with 98.3 per cent. OTS is the actual census-based percentage connectivity of a channel spread across 81 million homes, as reported by Chrome DM, across analogue cable, digital cable, and DTH.
This week, the Hindi movies genre has emerged a close second on the top gainers list with a marginal growth of 0.4 per cent in the all India market. In this genre, B4U Kadak has gained the highest OTS with 93.3 per cent.
