Tag: Indranil Chakraborty

KlugKlug clicks with new funding as it eyes 10x growth and global reach

MUMBAI: From Klueless to Klug influencer intelligence just got sharper. Klugklug, the influencer marketing SaaS platform that’s already making noise across boardrooms and brand plans, has secured a fresh round of undisclosed funding. But this wasn’t just another cheque drop. The backers, a powerful mix of unicorn founders, ex-CXOs, ex-CMOs, and leading angel investors are joining not just as financiers but as co-pilots in Klugklug’s turbocharged growth ride.

The Delhi-headquartered startup is aiming to scale its operations by 10x over the next two years, with much of the acceleration already kicking in during the first quarter of 2025. Its expansion roadmap now includes India, South Asia, Southeast Asia, and the Middle East and North Africa (MENA), as it sets sail into newer markets with a strong tailwind.

As part of its scale-up playbook, Klugklug has added some heavyweight marketing minds to its advisory panel: Lloyd Mathias (ex-HP, Pepsico), Amit Jain (Cardekho), Gaurav Agarwal (Tata 1Mg), and Indranil Chakraborty (Storyworks).

The influencer game is no longer a gut-feel gamble.
Klugklug’s software, powered by AI, parses and profiles over 300 million influencers across 150 plus countries and 160 plus languages, giving brands deep dives into audience demographics, engagement metrics, campaign ROI, and influencer authenticity. It promises 40 to 60 per cent efficiency gains in influencer-led marketing music to the ears of performance-obsessed CMOs.

“We’ve seen seasoned marketers achieve campaign wins from day one using Klugklug,” said CPO co-founder Vaibhav Gupta. “More and more CMOs are using data as the starting point not the afterthought in influencer planning.”

CPO co-founder and CEO Kalyan Kumar added: “The global influencer market is at an inflection point. There’s a growing demand for transparency, smart targeting, and measurable ROI. This round of funding will accelerate not just our global expansion, but also the tech that powers sharper decision-making.”

Currently, KlugKlug counts 200 plus Indian and global brands among its clients, cutting across categories like FMCG, D2C, electronics, health, beauty, lifestyle and e-commerce.

With influencer campaigns becoming more high-stakes and ROI-focussed, Klugklug’s mission is to replace mood boards with dashboards and add a little brain to the brawn of brand advocacy. And if this new cohort of investors and advisors is anything to go by, it’s safe to say that KlugKlug just became a smarter bet on the future of marketing.

July 21, 2025
TCH 2022: Experts discuss the secret sauce of OTT storytelling to keep the audience engaged

Mumbai: The craft is constantly changing in OTT space. Every few months, the rules keep changing. The business players are still looking for the secret sauce. They are still trying to figure out and grapple with what kind of content works. How are the tastes of the audience changing? It’s highly dynamic, and to decipher this unique situation, on the sixth edition of Indiantelevision.com’s ‘The Content Hub Summit 2022,’ held in Mumbai, the media and entertainment industry experts shared their insights on the topic, “The legion of OTT content creators: Storytelling has never been on such an exciting journey.”

The session had the presence of Pratilipi Studios business head Ambesh Tiwari, Sony Pictures Entertainment head – StudioNext Indranil Chakraborty, Roy Kapur Films head-originals Jinesh Shah, ZEE5 chief content officer, Hindi Originals Nimisha Pandey, Warner Bros Discovery head of original content – South Asia Sai Abishek and Juggernaut Productions (OTT) chief executive officer Samar Khan.

The panel was moderated by Bodhitree Multimedia managing director Mautik Tolia.

The summit was presented by Viacom18, and co-powered by Applause Entertainment & IN10 Media Network. Aaj Tak Connected Stream was the association partner. Industry partners were Fremantle India, Hill+Knowlton Strategies, One Take Media, Pratilipi, Pocket FM and The Viral Fever. The Indian Motion Pictures Producers’ Association (IMPPA) was our community partner.

The discussion began with an awareness of these experts’ attempts to break into the mainstream content market. Is it through design that has been attempted to build a specialisation, or any secret sauce, or is it just an accident?

Khan noted that it was by design; “There is no secret sauce. The sauce is essentially that you really have to work hard and you have to go out there and find new stories because everybody will agree to the fact that it’s becoming difficult to find new stories because so many shows are being made, so you have to go out there and find people and say, “Give me something that is going to be a little different from what is already there, so it’s just the search for new stories that keeps me going.”

When asked for the insights and secrets of some interesting products coming out like the Swami Nithyananda Show (My Daughter Joined a Cult) and Secrets Of Sinauli, the experts said that we’re maturing in the non-fiction space.

Speaking in this context, Abishek commented that viewers are generally looking at consuming good content but also focusing on the storytelling to make it slightly more cinematic than people are used to generally consuming. “We’re attempting to marry entertainment, which has previously been considered niche, and documentary, which has, unfortunately, not been the most popular genre. Oh, it’s boring or it’s too niche or things like that!”

Continuing the conversation, Pandey expressed her thoughts when asked if there are any unique elements in a show that she looks for as the secret sauce. What are the essential ingredients required to commission a show?

She mentioned there is no secret sauce available but the four main recipes that must be followed in order to stand out from the crowd are, first and foremost, a realistic real-world setting. Second, a fascinating story without any shortcuts. Third, a real character with different shades, and finally, a strong passion to create the show.

Discussing ahead with Shah, Tolia highlighted the different formats of story-telling and its dynamics. He asked Shah, What are the lessons learned and challenges encountered during the transition to the long-form format (web-series) from the movie format?

The process started from an organic place, so the challenge was different from the television writers & film writers. As an OTT writer, we took some training sessions from experienced writers, show runners, and creators from across the world to help put a process together. It is the alignment of all the cooks (writers, show runners, and creators) that helped us in making this sauce, said Shah.

Watch the complete session on the link below:

July 19, 2022
SonyLIV’s ‘The Whistleblower’ to begin streaming on 16 Dec

Mumbai: SonyLIV has announced its latest fictional offering “The Whistleblower” that begins streaming on 16 December.

Produced by StudioNEXT, the series features actors Ravi Kishan, Ritwik Bhowmik and Sonali Kulkarni in leading roles. Directed by Manoj Pillai, created and written by Ajay Monga, the series also features actors Ankita Sharma, Ashish Verma, Hemant Kher, Joy Sengupta, Riddhi Khakar, Sachin Khedekar and Zakir Hussain among others in prominent roles.

The series is inspired by a series of true events across India. The show traces the journey of Dr Sanket played by Ritwik, a final year medical student who gets himself entangled in a chain of events that trigger chaos within a system. The repercussions of Sanket’s actions take a toll on his personal life and his world starts to crumble.

Directed by Manoj Pillai, created and written by Ajay Monga, the series also features actors Ankita Sharma, Ashish Verma, Hemant Kher, Joy Sengupta, Riddhi Khakar, Sachin Khedekar and Zakir Hussain among others in prominent roles. “This is my first directorial-debut and I couldn’t have asked for a story better than this,” said Manoj Pillai. “The script is new-age, pathbreaking and bold. I am elated to be backed by SonyLIV and StudioNEXT who are known to push the bar and create authentic and gripping content.”

“‘The Whistleblower’ is a fictional story but is absolutely relevant to India. We are happy to bring a power-packed narrative that has been put together by StudioNEXT, Manoj Pillai and Ajay Monga,” said Sony Pictures Networks India head – content SonyLIV and Sony Entertainment Television Ashish Golwalkar.

“At StudioNEXT, it’s our endeavour to present to our viewers ‘entertainment shows with a purpose,” said StudioNEXT head Indranil Chakraborty. “In line with this thought, we are excited to present an impactful and compelling story with ‘The Whistleblower’. With a brilliant set of actors, the series has been spearheaded by a strong team led by the creative vision of Ritesh Modi. Ajay Monga’s writing and Manoj Pillai’s direction brilliantly work together bringing alive the story with utmost authenticity.”

“‘The Whistleblower’ is a fictional story with shades of real incidents that have frequently occurred around us,” said StudioNEXT creative director Ritesh Modi. “Hence it was our priority to keep the story authentic and engaging in its narration. I am very delighted that the show stands high on parameters that makes it a compelling watch.”

“‘The Whistleblower’ is a story of a privileged medical student who takes his lifestyle and opportunities for granted,” said writer and creator Ajay Monga. “His casual approach and reckless actions result in his own moral compass of right and wrong being compromised. Later, his conscience ultimately leaves him with no option but to turn into a Whistle-blower.

“Playing a character like Sanket in ‘The Whistleblower’ has been challenging yet fulfilling,” said actor Ritwik Bhowmik. “The script and director’s vision helped me shape the character of Sanket and bring depth to it. I am grateful to SonyLIV and StudioNEXT for this career-defining opportunity.”

“Jayraj’s character has been one of the most interesting one in my career,” said actor Ravi Kishan. “The character has many layers and needed to be played with utmost conviction. I hope the viewers find it interesting and enjoy watching it as much as I enjoyed playing it.”

December 16, 2021
upGrad, Flipkart & Kia Motors come onboard as sponsors for ‘Shark Tank India’

Mumbai: Sony Entertainment Television is set to telecast “Shark Tank India” starting 20 December every Monday to Friday at 9 p.m. Produced by Studio Next, the show will see upGrad as ‘presenting’ sponsor, Flipkart as ‘co-powered by’ sponsor and Kia Motors as ‘associate’ sponsor, announced the channel in a statement.

The first edition of “Shark Tank India” will feature seven ‘Sharks’ including Ashneer Grover (BharatPe founder and managing director), Vineeta Singh (Sugar Cosmetics CEO and co-founder), Peyush Bansal (Lenskart founder and CEO), Namita Thapar (Emcure Pharmaceuticals executive director), Anupam Mittal (Shaadi.com – People Group founder and CEO), Ghazal Alagh ( Mamaearth co-founder and chief mama) and Aman Gupta (boAt co-founder and chief marketing officer). The show will be hosted by Rannvijay Singha who will act as a guide for the pitchers on the show and the audience alike.

The selected applicants or the ‘Pitchers’ will find themselves face-to-face with the ‘Sharks’ or the investors who will understand, assess and make an offer based on the applicant’s final ‘pitch.’

“This revolutionary show that celebrates entrepreneurship perfectly aligns with the current sentiments across the country and we feel that there couldn’t have been a better time to launch this show,” said head content – Sony Entertainment Television and digital business Ashish Golwalkar. “Shark Tank India is an extremely relevant show for us and I believe that it has the potential to connect with the Indian audience as well.”

“At Studio Next, it’s our endeavour to present to our viewers ‘entertainment with a purpose’ and shows like KBC, Scam 1992, Dhadkan Zindaggi Kii or soon to be released Whistleblower are a testament to our efforts,” said head – Studio Next Indranil Chakraborty. “In line with this thought, we are excited to bring a show like Shark Tank India that offers a unique viewing experience to the audience not only educating them but entertaining them at the same time.”

Sony Pictures Networks India has acquired the rights for the Indian adaptation of the globally successful business reality format – “Shark Tank,” which will be aired on Sony Entertainment Television. The format has reinvigorated businesses in over 40 countries since its first launch in 2001. With over 180 seasons; winning over 30 awards globally, “Shark Tank” is the world’s top business reality show. Since its first launch in 2001, as “Tigers of Money” in Japan, created by Nippon TV the format was later adapted as “Dragon’s Den” in 2005 in the UK and the show premiered in the US as “Shark Tank” in the year 2009. The format is distributed internationally by Sony Pictures Television.

December 9, 2021
Kannada KBC to air on Colors Kannada starting 22 June

BENGALURU: Viacom18 has taken over where Star India left off – the Kannada version of Kaun Banega Crorepati – Kannadada Kotyadipathi or KK will start airing on Viacom18’s flagship Kannada GEC Colors Kannada and its HD counterpart Colors Kannada HD starting Saturday 22 June.

It’s a strategic move as far as Viacom18’s Kannada entertainment cluster head Parameshwar Bhat is concerned – Colors Kannada has a strong lineup of programmes for the week. More often than not, more than half of the programmes in Broadcast Audience Research Council of India (BARC) list of top 5 Kannada programmes in Karnataka during primetime are aired on it. Besides, on most weeks, Colors Kannada is the most watched Kannada channel based on BARC weekly data.

Bhat needed the weekend programming of his flagship channel to be strengthened – he asked for it and got the rights for KK for his channel when Star India forsake the show after a not very successful season in 2018. Colors will air 41 episodes, of which 4 have already been canned, for the clone that has been tweaked for local Kannada audiences of the globally popular Who Wants To Be A Millionaire. Colors has tweaked the fourth season of KK a bit as compared to the previous editions – besides the changes that evolved with each season, the channel has brought back Kannada film icon Puneeth Rajkumar to host the show.

Industry pundits peg the KK cost per episode at Rs 25 lakh or thereabouts. While not confirming the estimates, Bhat is confident that the show will be in the black. And he has his experience with Kannada Bigg Boss to back his confidence. “A property such as Kannadada Kotyadipathi attracts spot advertisers even during the day of the broadcast of the show,” he says. Bhat says that he is sure of them coming in, more so for the weekend, which incidentally, he feels is just an urban phenomenon. For rural folks all weekdays are the same, be they working days or weekends for the rest of the world. He has already roped in Wipro’s soap brand Santoor as presenting sponsor, Eastern Masala and detergent Rin as powered by sponsor and another soap brand – Chandrika Soap as special partner. His marketing is actively working out deals, he says.

Colors has a 360-degree marketing plan to attract eyeballs for KK with touchpoints across on-ground, outdoor, radio, print, cross channel and digital. However, outdoor and billboard promos on the 500 to 600 Karnataka State Road Transport Corporation buses have been restricted to outside Bengaluru for now. Once the show starts Bhat plans to strategically release ads across media including print. Most of the creative work has been done in-house by the channel’s own teams.

Company speak:

Besides strengthening the weekend slot, there are other reasons for Colors doing the show. Here’s what Viacom18 Head of regional entertainment Ravish Kumar had to say via a press release: “The language content consumers have grown enormously over the years and though their tastes vary from region to region, they all converge at family game-show formats like Who Wants To Be A Millionaire. The universality of a quiz-show brings about cohesivity in viewing making it enjoyable and enhances captive engagement. Featuring real people and stories that showcase their aspiration and reason to win a substantial sum makes for a compelling content proposition.”

Kumar further added, “Gauging the success of our previous two editions in different languages, we’re confident that Kannadada Kotyadipathi will certainly be well received by viewers as well as the advertisers on our channel, who rely on us to bring only the best of content to Kannada television.”

Elaborating further, Bhat said, “Colors Kannada leads the roster in creating and presenting pathbreaking content for its viewers, and Kannada Kotyadipathi is yet another example of our commitment to be industry leaders. We’re luring audience to a form of entertainment that keeps them engaged as well as invested. While the format of the game remains unchanged, we’re scaling up the production and sprucing our treatment to make it more delightful for viewers across genres and milieu; and are also bringing back on board the indomitable superstar Puneeth Rajkumar who will multitask as a host, a friend and a guide.”

KK is produced by Studio Next, the production house of Sony Pictures Networks. Studio Next holds the license of the format, for all Indian languages and has produced more than 1,800 episodes of the show across nine languages. The latest edition of KK will have an upgraded look and feel including an advanced set, claims a press release

Studio Next head Indranil Chakraborty said, “We are extremely happy and privileged to bring the show to the people of Karnataka with their favourite host, Puneet Rajkumar and in the leading channel, Colors Kannada. We have maintained the same ethos of the show as in other languages, followed strict and transparent process for contestant selection and delivered production quality of the highest standards. Kannada Kothyadipathi will celebrate the great leveller of our society i.e. knowledge”.

June 19, 2019
Telugu crorepati on Maa TV seals the south for Big Synergy

MUMBAI: The latest in a long line of regional language adaptations spawned by the runaway hit, Amitabh Bachchan-hosted Kaun Banega Crorepati, is the Telugu version.

Titled Meelo Evaru Koteeswarudu (MEK), the show is tentatively scheduled for a June 9 premiere on Maa TV and will be hosted by popular Telugu actor, Nagarjuna Akkineni. Slated to run for a minimum 40 episodes for now, the 90 minute show will be aired four days a week from Monday to Thursday.

Ten to fifteen people from Big Synergy, the production house for the format in India, and Maa TV, are already working on the show. Entry will be open to Telugu speaking people across India, beginning April 24. Viewers will be able to answer questions both via SMS and IVR. This is the first time that a big-ticket show is being adapted for the state of Andhra Pradesh. “We have been wanting to get into the Telugu market for the past two years, but we needed a broadcaster to take the call. Maa TV has gained number one status and they want to retain that position. Through MEK, they will be setting a benchmark in this market, and we hope it will change the dynamics of the industry,” says Big Synergy COO Indranil Chakraborty.

Currently, teams from both Maa TV and Big Synergy’s Hyderabad arm are being groomed for the show. “It is a compelling program. Our objectives are to raise the channel stature and make viewers feel good about the channel and the show,” says Maa TV group head, C Ratnakar Rao. Apparently, Gemini TV and ETV were also contenders in the race to get MEK on board but it was Maa TV which finally landed the show.

Auditions are expected to go on for almost a month in the cities of Hyderabad, Vishakhapatnam and Vijayawada and the final selection will rest with an independent jury of producers and broadcasters in the state. At least a couple of million registrations are expected for the prize money of Rs 1 crore.

It’s a big challenge for Maa TV, considering production costs of a show like MEK would be many times higher than those of normal shows. “The kind of investment that we make in Hindi is not very apt for regional markets. Regional markets are usually 40 per cent of the production cost in Hindi,” points out Chakraborty.

Sources say the production cost of MEK, which is being shot at Annapura Studios in Hyderabad coupled with the sound system and technical skills of Maa TV, could be anywhere Rs 5 to Rs 7 crore for 40 episodes. However, the production house may look at extending it depending on the dates for the Hindi KBC, which is to follow MEK. “The idea is to keep the property alive through different markets throughout the year,” adds Chakraborty.

Not only will the Telugu version retain the essence of the Hindi version, things like customizing questions for the Telugu audience and playing the short film about the contestant before the game begins will be part of MEK as well.

Maa TV is presently scouting for advertisers for the game show. “We have made good investments in Meelo Evaru Koteeswarudu and we hope to break even. I am sure the advertisers see potential in the show and our channel,” says Rao. Though Maa TV has appealed against the ad cap regulation, it will still comply with the rule. The ad rev market of Andhra Pradesh in 2013 was Rs 1030 crore making it the second biggest in the south after Tamil Nadu. In terms of viewership share of regional channels too, Telugu stood second at 24 per cent after Tamil with 27 per cent.

As for visibility, a full-fledged marketing campaign will hit the state mid-May, around the time shooting begins. Orchard Advertising has been assigned the task of creatives while planning is being done by Maa TV itself.

The Telugu adaptation comes after KBC has already been adapted in the remaining three major markets in south India i.e. Tamil Nadu, Karnataka and Kerala. These apart, there are Marathi, Bhojpuri and Bengali versions of the show as well.

April 21, 2014
Regional audiences are not second class

MUMBAI: Two big regional broadcasters and two big production houses got together to discuss ‘TV content ecosystem: Adapting and amalgamating the regional and the national’ at FICCI Frames 2014. The session started with a keynote by Asianet Managing director K Madhavan and was followed by a discussion among panelists that included Viacom18 regional channels EVP Anuj Poddar, Fremantle India MD Anupama Mandloi and BIG Synergy COO Indranil Chakraborty on the opportunities in the regional entertainment space. The discussion was anchored by indiantelevision.com Founder, CEO and editor-in-chief Anil Wanvari.

Madhavan started off by predicting that in three years, the ad revenue coming from regional channels will be equal to that of the national channels. He also highlighted that the biggest problem for regional broadcasters is carriage fees.

“The regional market is about Rs 5,000 crore in terms of advertising revenue and we are the second largest in ad revenue as well as viewership after the Hindi GEC genre,” said Poddar. He also stated that there is a misconception that regional means language while it actually is a reflection of the culture. “Even Hindi television has its stories based on regions – for instance Ballika Vadhu was based in Rajasthan but adapted for national Hindi television.”

Chakraborty said BIG Synergy entered the regional space five years ago and found that the regional audience was considered as second class as against the Hindi GEC audience. But that mindset is changing. “The word ‘adaptation’ is wrong. You need to redefine content to make it relevant to that audience,” he said.

He said he was happy that regional viewership that TV channels generate is getting its due in terms of ad rupees. “Earlier, regional TV channels had higher share of the overall national viewership but the advertising expenditure on them was much less than that share. In 2013, ad expenditure on regional has gone up and and share of viewership is matching with share of advertising if you check out the latest Ficci report.”

Added Poddar: “This change clearly shows that advertisers and media agencies have understood the value of regional television and are willing to pay more for air time as they get targeted viewers. Even the coming elections are seeing a large amount of political advertising expenditure being shifted towards regional TV.”

Regional channels seem to have taken the 12 minute ad cap very happily. “Sun raised its ad rates by 60 per cent and we (Asianet) raised it by about 20 per cent,” said Madhavan. He revealed that while earlier the ad rates of regional channels were one tenth of a national (read Hindi GEC) player, today they are up to about 25 per cent.

The good part about regional television is that budgets for shows are rising, explained Chakraborty. An example of this is the regional adaptation of Kaun Banega Crorepati, which saw its budget going up 10 times as compared to what was being invested in other regional non-fiction shows. This happened at a time when the Hindi version was being subject to budget cuts.

As far as regional contributing to national and vice-versa in terms of show concepts, formats and storylines is concerned, Wanvari cited several instances where this has taken place in the Indian context.

Said he: “Dance India Dance that super franchise from the Zee Entertainment stable began from Dance Bangla Dance produced for Bengali audiences. Today it has spawned several sub-franchises – Dance India Dance Lil Champs, Dance India Dance Super Moms, Dance Maharashtra Dance. Similarly with Big Boss which began on Colors and has since then been produced on its sister ETV channels in Bengali and Kannda. KBC gave birth to editions on Tamil, Telugu, Malayalam on the Star network even as it aired in Hindi on Sony Entertainment TV and in Marathi on ETV Marathi. Ballika Vadhu was remade by the Network 18 group in Tamil, Telugu and Kannada, even as Uttaran has been remade in Marathi.”

Wanvari pointed out that the reverse has also happened with shows from regional television being adapted to Hindi TV. “The Telugu soap Shravanti came on air as Dil Se Di Dua Saubhagayvati Bhava; Tami serial Kolangal was remade as Maayke Se Bandhi Dor; Tamil soap Thirumathi Selvam gave birth to the long running Pavitra Rishta; Idhayam turned into Dil Se Diya Vachan; Telugu show Ratha Samptamai resurfaced as Rakht Sambandh; Bengali series Khela as Badalte Rishtey Ki Dastaan and then of course the Ravi Ojha produced super successful show Sasural Genda Phool which emerged from the Bengali series Ogo Bodho Sundari,” highlighted Wanvari.

He went on to further state that Star India has been working on reaching out its Hindi productions to regional audiences, by dubbing shows such as Satyamev Jayate, Mahabharat and Mahadev in other languages such as Tamil, Telugu, Bengali, Marathi, and Malayalam and airing them on its regional language channels under the Asianet group and Star Pravah.

“Taking a national product to regional is called revenue optimisation,” said Chakraborty talking about dubbing of national shows to regional languages.”For an adapted show to work it needs to be locally adapted to suit the culture. “

Poddar emphasised that it is not enough to dub regional shows, regional adaptations of Hindi national shows requires a lot of research and localisation to suit cultural tastes and emotions. “When we had to remake Ballika Vadhu which is about a child bride for our Kannada channel, we looked around for a district in Karnataka where child marriage is prevalent and based our story there as the rest of the state does not have it as a practice as it is in Rajasthan. Also the pacing of the storyline in the Kannada version was faster. Similarly, for the Marathi adaptation of KBC we went for a couple participant concept in the show and had Sachin Khedakar host it. “

Chakraborty highlighted that there are benefits which accrue from Hindi show adaptations to regional languages and the other way around too. “Initially, we had to instill best practices and skillsets we had picked up while producing the Hindi version when we decided to go regional. Now the best practices and skillsets we got while producing the regional shows are being brought to Mumbai and instilled in our crew while producing the Hindi version.”

Fremantle Media India MD Anupama Mandloi confessed that her production house – which produces the successful formats Indian Idol and India’s Got Talent – has not yet taken the plunge into regional television but it is something which would be of great interest to her. “We have the experience of producing an international format and localising it in several countries, languages, cultures,” she said. “And we have done it successfully. We would like to make some further inroads in regional television soon.”

Madhavan added that Star Plus’ show Satyamev Jayate had realised the potential of regional which is why it was dubbed in so many languages and regional stars were roped in to promote it. He pointed out that Mahabharat dubbed in different languages has not proved as popular as Mahadev. But he revealed that even then the show has been a profit generator for his network.

“Simulcast is driven by commercial imperatives as a business model,” said Poddar.

When prompted by Wanvari as to why don’t regional channels add subtitles to their shows, he said it is an option he is willing to consider.

March 13, 2014
L&K bags creative biz of Club Mahindra

MUMBAI: L&K India has won the creative duties for Mahindra Holidays & Resorts India‘s flagship brand – Club Mahindra with immediate effect.

The agency will be looking after brand marketing and resort marketing.

The Mumbai office of the agency will handle the account.

According to the sources, the business size will be more than Rs 40 crore.

The incumbent agency on the account was Interface Communications. It was a multi-agency pitch. The agency pitch took place two months back.

Speaking on the appointment Mahindra Holidays chief marketing officer Indranil Chakraborty said, “A true creative partner for us would be the one that can level up to the unique challenges our business faces and we finally decided on Law and Kenneth.”

Law and Kenneth Communications (India) CEO and managing partner Anil S Nair says, “It‘s an honour to be the chosen one for Club Mahindra, to partner them in their next phase of growth. The Club Mahindra team has some exciting plans ahead and we are eagerly looking forward to doing some great work on the brand.”

May 20, 2013