Tag: Pocket Aces

  • Pocket Aces plays new card with Finnet investment

    Pocket Aces plays new card with Finnet investment

    MUMBAI: From filters to finance: Pocket Aces cashes in with Finnet. The Saregama-backed digital entertainment company has announced an investment in Finnet Media, a rising star in managing creators across finance, infotainment, and healthcare.

    Finnet, which represents more than 40 influencers including Anushka Rathod, Chandralekha, Shankar Bhalla, and Dr Pal, has worked with over 500 advertisers and built a 50-member team since its humble beginnings in Bhopal. With this deal, it now finds itself on a bigger stage, supported by one of India’s most dynamic media players.

    For Pocket Aces, the move marks a strategic expansion of its creator management arm, Clout, which already works with over 240 talents in entertainment, comedy, fashion, food, and wellness. Together with Finnet, the portfolio now stretches further into finance and health, categories booming with Gen z audiences looking for trustworthy voices.

    Finnet’s founder and CEO Ayush Shukla reflected on the journey: “I started out with no connections, no backing, just belief in creators. Today, to be invested in by Pocket Aces is validation of that belief. With this partnership, we’re set to go deeper into BFSI and health, driving trust, scale, and growth.”

    Pocket Aces co-founder and CEO Aditi Shrivastava echoed the enthusiasm, “Finnet’s creators are the voice through which millions of young Indians understand money, entrepreneurship, and wellness. We believe the creator economy will only grow bigger, shaping how people learn, shop, and engage.”

    From Filtercopy’s viral sketches to Dice Media’s hit shows and now Finnet’s finance-first storytellers, Pocket Aces seems intent on proving one thing, in India’s creator economy, the house always wins.

  • The future of original content

    The future of original content

    MUMBAI: The 9th edition of the Content Hub Summit 2025 came roaring into Mumbai this week, promising answers to a question plaguing the media world: how do you stay original when the world’s drowning in content?

    Raghav Anand, partner at Ernst & Young LLP, kicked things off with some eye-watering numbers: the Indian media and entertainment (M&E) sector is now worth Rs 2.5bn, fuelled by 1.1trn hours of content consumption. “That’s a massive amount of attention,” said Anand. But with time spent on platforms now plateauing, he warned the next battleground will be retention, not reach.

    And yet, India’s churning out a gobsmacking 200,000 hours of original content a year—leading globally in volume. TV still dominates, but OTT, film and music are closing in fast. What’s changing is how and why content is made and the growing shadow of generative AI has everyone both curious and cautious.

    Goldie Behl, founder of Rose Audio Visuals, dismissed the obsession with “originality” as misplaced. “There’s nothing truly original. Everything’s borrowed, lived, or inspired. What matters is conviction,” he said, adding that content made with honesty and emotional depth is what ultimately cuts through.

    Aditi Shrivastava, co-founder and CEO of Pocket Aces, echoed the point, emphasising that her studio’s approach is to test stories at micro-scale before scaling up. “We find communities not demographics on social platforms. We create short, relatable pieces and build from there,” she said, adding that this modular testing lets them co-create with audiences in real time.

    Saugata Mukherjee, head of content at SonyLIV, was clear-eyed about what makes content stick: identity and consistency. “We built the platform on shows rooted in Indian culture. Our audience knows what we stand for, and that’s why they return.” Originals, he said, drive both customer acquisition and retention, with long-running franchises offering a steady heartbeat.

    Tejkarran Singh Bajaj, SVP and head of originals at Jio Studios, admitted times are “exciting but very difficult”. His team resists trend-chasing and instead banks on instinct: “We don’t make franchises. We find stories worth telling, ones that feel truly Indian.” That means even adaptations are reworked with a cultural lens, not just scene-by-scene lifts.

    Anuj Gosalia, founder of Terribly Tiny Tales, described today’s attention economy as “weaponised dopamine”, calling short-form ‘TV minus minus’—and still wildly effective. “People used to mock reels and TikToks. Now every A-lister’s on them. Micro-dramas will be the same,” he predicted.

    Swati Patnaik, creative director at Applause Entertainment, argued that the secret sauce of global success is local flavour. “The more rooted the story, the more it travels,” she said. “It’s not about the plot; it’s the point of view. That’s what cuts across borders.”

    As for AI, the mood was one of cautious intrigue rather than full-blown enthusiasm. Behl questioned whether AI can ever replicate emotional depth. “When an actor cries on screen, can AI make us feel that? I’ve yet to see it,” he said.

    Still, Anand noted that GenAI is already driving 20–25 per cent cost savings and slashing production time. The challenge, then, is less whether AI will be used and more how ethically and meaningfully it will be integrated.

    India’s original content scene is at a thrilling and slightly terrifying crossroads. The audience is fragmented, hungry, and overloaded. AI is knocking. Attention spans are plummeting. But as this year’s Content Hub Summit showed, the real winners will be those who tell deeply human stories with cultural authenticity, creative courage, and a sharp eye on what viewers really want.

     

  • Content bigwigs converge in Mumbai for Indiantelevision.com’s The Content Hub

    Content bigwigs converge in Mumbai for Indiantelevision.com’s The Content Hub

    MUMBAI: The floodgates of content may be open, but India’s audience has evolved—and she’s no longer easily pleased. That’s the sharp message echoing through the plush halls of JW Marriott, Juhu on 23 July as the ninth edition of Indiantelevision.com’s The Content Hub Summit gets underway.

    The theme, The End of the Age of Innocence, captures the new reality: streamers, broadcasters, and filmmakers can no longer afford to shoot in the dark. With 47 of the industry’s sharpest minds in attendance, it’s a day packed with soul-searching, strategy, and storytelling pivots.

    The curtain-raiser is a heavyweight panel on The Future of Original Content, featuring SonyLiv’s Saugata Mukherjee, JioStudios’ Tejkarran Singh Bajaj, Rose Audiovisuals’ Goldie Behl, Pocket Aces’ Aditi Shrivastava, Applause Entertainment’s Swati Patnaik, and Terribly Tiny Tales’ Anuj Gosalia, moderated by E&Y’s Raghav Anand.

    That’s followed by a fireside chat between Prime Video’s Nikhil Madhok and Indiantelevision.com’s founder Anil Wanvari, diving deep into how platforms are rewriting playbooks.

    Next up: Mindset Change: You are not making for a single screen, a spirited panel on diversifying content, with Fremantle’s Aradhna Bhola, Applause’s Sunil Chainani, Juggernaut Productions’ Samar Khan, Sri Adhikari Brothers’ Kailash Adhikari, Marigold Studios’ Hemal Thakkar, and Balaji Telefilms’ Nitin Burman. Chairing the discussion is Bodhitree Multimedia’s Sukesh Motwani.

    JioStar’s Alok Jain is slated to stir things up with a solo presentation, Reclaiming Bold – Why Indian Entertainment Must Dare Again.

    A burning issue up next: the inconsistent fortunes of Hindi cinema at the box office. A high-stakes panel, Getting the Business Model Right, features Panorama Studios’ Abhishek Pathak, Red Chillies’ Aashish Singh, Ormax Media’s Sailesh Kapoor, Friday Filmworks’ Devendra Deshpande, and Zee Studios’ Pragati Deshmukh, with film critic Mayank Shekhar at the helm.

    Regional powerhouses take centre stage in The Rise of Regional Content, chaired by Elara Capital’s Karan Taurani. Speakers include PTC’s Rabindra Narayan, Shemaroo’s Arpit Mankar, Junglee Pictures’ Mamta Kamitkar, ETV Win’s Saikrishna Koinni, OTT Play’s Avinash Mudaliar, and Banijay Asia’s Rishi Negi.
    A rare fireside chat follows, with Banijay Asia CEO Deepak Dhar in conversation with Shekhar, setting the tone for a deeper dive into genre-bending creativity.

    That’s precisely what the next panel explores—Pushing Genre Boundaries. Writer-director Kussh S Sinha, producer-director Ravindra Gautam, Banijay’s Mrinalini Jain, Applause’s Rahul Ved Prakash, and director Vishal Furia spar with trade analyst Saurabh Varma moderating.

    The day wraps up with two back-to-back masterclasses. The first, on Rana Naidu, sees actor Sushant Singh, director Suparn Varma, and screenwriter Vaibhav Vishal join film critic Stutee Ghosh. The second, on Mandala Murders, features actor Vaani Kapoor, Netflix’s Tania Bami, and directors Gopi Puthran and Manan Rawat, with editor Swati Chopra in the chair.

    In a market where content is no longer king unless it resonates, The Content Hub Summit has one message: India’s audiences have grown up—and the industry must too.

    A cross-section of India’s content powerhouses has lined up in support of The Content Hub Summit, signalling the growing importance of storytelling as a strategic business lever.

    JioStar leads the pack as presenting partner, while Applause Entertainment and Banijay Asia have come on board as associate partners. Fremantle is the lanyard partner, ensuring high visibility with every badge flash.

    The industry partners roster reads like a who’s who of television and digital production: Contiloe Films, Sol Productions, and OTT Play have lent their support, amplifying the summit’s reach and relevance.

    The show of strength from across the ecosystem—studios, streamers, and production houses—underscores the summit’s sharp focus on content strategy in a market where the audience is now firmly in the driver’s seat.

  • Saregama snaps up more of Pocket Aces, goes all in on youth initiative

    Saregama snaps up more of Pocket Aces, goes all in on youth initiative

    MUMBAI: Saregama has snapped up a further 36.63 per cent of Pocket Aces for a cool Rs 127.47 crore. This latest splurge, a second tranche if you will, pushes Saregama’s ownership to a dominant 90.37 per cent, leaving little room for anyone else at the digital buffet.

    The deal, finalised on 29 March  2025, sees Saregama hoovering up a veritable smorgasbord of shares, from equity to an array of convertible preference shares. Pocket Aces, boasting a digital empire of 175 million followers across its FilterCopy, Dice Media, Nutshell and Gobble channels, and a talent roster of over 215 influencers via Clout, is now firmly under Saregama’s wing. The company declared this to the BSE through a regulatory filing on Saturday. 

    Pocket Aces, with a back catalogue of over 35,000 content pieces, from digital originals  to those ubiquitous reels, is a digital goldmine for Saregama, keen to woo the 18-35 demographic.

    Pocket Aces’ financials reveal a turnover of Rs 8859.17 lakhs for FY 24, a slight dip from the previous year’s Rs 10267.93 lakhs, but Saregama is betting on synergies, not just spreadsheets. The acquisition, which includes a related party transaction with a Pocket Aces director – all done “at arm’s length”, naturally – is being touted as a strategic masterstroke.

    “This isn’t just about owning content; it’s about owning the conversation,” an industry observer chirped, with the knowledge that  Pocket Aces’ vast network can be used by Saregama to turbocharge its music library.

    With influencers, long-form content, and snackable reels all under one roof, Saregama is clearly aiming to be the king of the digital jungle.

  • Gobble and Tourism Australia Unite for a mini-series

    Gobble and Tourism Australia Unite for a mini-series

    Mumbai: Gobble and Tourism Australia have announced a collaboration on a new travel series, Unravel Australia, hosted by actor Ayush Mehra. This five-part mini series, now live on YouTube, takes viewers on an immersive journey through Australia’s stunning landscapes and uniquely Australian experiences.

    Each 8–10-minute episode of Unravel Australia offers a comprehensive look at Australia’s best kept secrets and unmissable experiences. Living his dream of exploring the ‘Land Down Under’, Ayush surfs the waves of Sydney’s Bondi Beach, explores the stunning depths of the Great Barrier Reef in Queensland, visits the iconic Melbourne Cricket Ground, gets up close and personal with kangaroos and koalas at Ballarat Wildlife Park in Victoria, sandboards down dunes in Port Stephens in New South Wales, and samples world class food and drink experiences with the celebrated Australian chef and TV personality, Andy Allen.

    Gobble’s innovative approach to delivering entertaining and meaningful content aligns with Tourism Australia’s mission to showcase the unique and unforgettable experiences that the destination has to offer Indian travellers. By combining Ayush Mehra’s engaging storytelling with the visually captivating and diverse landscapes of Australia, Unravel Australia is set to be a feast for the senses.

    Pocket Aces D2C head, Vishwanath Shetty expressed, “At Pocket Aces, we are constantly striving to create content that entertains and enriches the viewer’s experience. ‘Unravel Australia’ is a perfect example of how storytelling and visual exploration can come together to showcase a country’s cultural and natural wonders. Ayush’s enthusiasm and passion for exploration, combined with the breathtaking visuals of Australia, will undoubtedly captivate our audience. We’re proud to collaborate with Tourism Australia on this project and look forward to bringing more such exciting content to our viewers.”

    Commenting on the new series, Tourism Australia  Country Manager – India & Gulf Nishant Kashikar said, “Our key objective of the partnership with Pocket Aces and their channel Gobble was to make Australia the destination of choice for their premium audience who are seeking holiday inspiration. Australia has something for every type of traveller – from stunning landscapes and vibrant cities, to world-class cuisine, and unique wildlife experiences that are enjoyable all year round. The new series is just a glimpse into the diversity of tourism experiences that Australia has to offer.”

    “Being a part of ‘Unravel Australia’ has been nothing short of a magical adventure, all thanks to Gobble. Australia’s Southeast Coast is a treasure trove of stunning landscapes, vibrant cities, and rich culture, and I’m thrilled to be able to share these experiences with viewers back home. Every moment of this journey has been an adventure, from the thrill of surfing the waves to the serene beauty of the forests. I hope this series inspires people to explore Australia and experience the wonder of ‘The Land Down Under’ themselves,” said Ayush Mehra.

  • FilterCopy and Maruti Suzuki WagonR present ‘Bada Sheher Choti Family’

    FilterCopy and Maruti Suzuki WagonR present ‘Bada Sheher Choti Family’

    Mumbai: Pocket Aces, a leading digital entertainment media company, announced a fresh new mini-series, “Bada Sheher Choti Family,” under their creative studio, FilterCopy in collaboration with Maruti Suzuki WagonR. The three-episode series, with each episode ranging from 8 to 10 minutes, offers a delightful and relatable portrayal of a middle-class family embarking on a life-changing journey.

    Bada Sheher Choti Family“, starring Nakuul Mehta and Erica Fernandes, unfolds the charming tale of Shruti, Kartik, and their adorable daughter, Navya (Navu), as they transition from their quaint hometown of Indore to the vibrant metropolis of Mumbai. Through their eyes, viewers are taken on a rollercoaster of emotions, experiencing the thrills and challenges of adapting to a new city, the quest for belonging, and the comforting embrace of unwavering family love.

    Maruti Suzuki WagonR emerges as a star in this series, epitomising the quintessential family car with its roomy design and outstanding mileage. As Kartik and his family navigate their new life in Mumbai, the car becomes a sanctuary of comfort and dependability, seamlessly integrating into their daily adventures and reinforcing the pivotal role of family values. Each episode draws perfect parallels between life and the car’s features, like the spacious seating that embraces the entire family, the intuitive auto gear shift that mirrors the evolving dynamics of family life, and the smartphone navigation system that guides them through the unfamiliar streets of Mumbai, ensuring they always find their way home.

    This collaboration between FilterCopy and Maruti Suzuki masterfully intertwines storytelling with brand synergy, crafting a heartwarming narrative that highlights the power of family and resilience. Maruti Suzuki WagonR enriches the storyline, presenting itself as the ultimate companion for families embracing the challenges of a new city.

    Pocket Aces D2C head Vishwanath Shetty expresses, “We are incredibly excited to present ‘Bada Sheher Choti Family’ on FilterCopy. Pocket Aces has always been at the forefront when it comes to D2C content, whether it’s fiction or non-fiction. As part of our strategy this year, we are focused on creating more fiction mini-series on FilterCopy, and this association with Maruti Suzuki WagonR is a significant step in that direction. This mini-series has been carefully crafted to showcase how Maruti Suzuki WagonR is the perfect fit for a family car. With its spacious design and impressive features, it complements the journey of our characters as they navigate life in a big city. We hope to continue this association with Maruti Suzuki and bring you more heartfelt stories in the future.”

    “Maruti Suzuki India Limited is proud to partner with Pocket Aces for ‘Bada Sheher Choti Family.’ This mini-series aligns perfectly with the values that Maruti Suzuki stands for – family, reliability, and resilience. Maruti Suzuki WagonR is more than just a car; it’s a trusted companion for families navigating the journey of life. We hope this series resonates with audiences and reinforces the importance of family bonds,” says Maruti Suzuki India Ltd.

  • Pocket Aces thrives at Cannes Film Festival

    Pocket Aces thrives at Cannes Film Festival

    Mumbai: Pocket Aces, acquired by Saregama India Ltd., has solidified its status as India’s foremost digital entertainment and production company with an impressive showing at this year’s Cannes Film Festival. Following their successful debut in 2022 in collaboration with the Ministry of Information and Broadcasting, Pocket Aces has made significant strides at the prestigious event even this year.

    The festival provided an unparalleled opportunity for Pocket Aces to network and collaborate with leading content houses worldwide. The producers behind IPs like Little Things, What The Folks, Operation MBBS, Adulting, Ghar Waapsi, etc., were at Cannes to build and expand IPs with global producers for a larger audience. Leveraging its substantial production capabilities, the company is now in advanced discussions with multiple international partners to create content tailored for the global market.

    Highlighting their presence at Cannes, Pocket Aces secured exclusive screenings for their three diverse and talented stars: actors- Ayush Mehra and Viraj Ghelani, and artist-cum-aspiring actor Karishma Gangwal (RJ Karishma). This accomplishment underscores the company’s dedication to the core values of art and cinema, further establishing Pocket Aces as a global content leader ready to make its mark on the international stage.

    Viraj Ghelani, set to make his regional debut with the film Jhamkudi, received an exclusive invite from Warner Bros to attend the world premiere of Chris Hemsworth’s Furiosa: A Mad Max Saga. He also attended screenings of Kevin Costner’s Horizon: An American Saga, Emma Stone’s Kinds of Kindness, and Radhika Apte’s Midnight Sister.

    Ayush Mehra, known for his roles in Kacchey Limbu and popular OTT shows like Minus One and Call My Agent – Bollywood, attended the festival to experience the works of Indian and international filmmakers. He watched Furiosa: A Mad Max Saga, Kinds of Kindness, and Indian director Payal Kapadia’s award-winning film All We Imagine As Light.

    On the other hand, with the aspiration of becoming an actor after successfully transitioning from an RJ to portraying several characters in her sketches online, Karishma Gangwal (RJ Karishma) attended the screening of Kinds of Kindness and Horizon; An American Saga showcasing her love for cinema and art.

    On successfully aligning international and Indian film screenings for their talents, Clout Pocket Aces & Head of Strategy  Vinay Pillai said, “This experience at Cannes exemplifies our dedication to nurturing talent and supporting the art of cinema. Today, content creators, artists, and actors alike infuse the festival with dynamic, innovative energy, significantly broadening its reach and appeal. They bridge the gap between traditional media and the rapidly evolving digital landscape thanks to the digital age thereby fostering inclusive and diverse representation. Their real-time, unique coverage captivates global audiences, enhancing the festival’s visibility and relevance in our digital age. This year, with our first official selection for the Palme d’Or in 30 years with All We Imagine as Light, truly marked India’s moment at the festival. As for Pocket Aces, our presence goes beyond the glitz of the red carpet, reinforcing our vision to be at the forefront of cinematic excellence.”

    Pocket Aces co-founder and CEO, Aditi Shrivastava said, “At Pocket Aces, we believe in the power of storytelling in all its forms. Our multiple journeys to the Cannes Film Festival whether limited to just the company in its first year and now as a studio as well as a management company, is not just about brand collaborations but about celebrating and contributing to the richness of Indian and global cinema. We aspire to do bigger things in the global market and there couldn’t have been a better place to start. ”

  • The Content Hub 2024 – New Content Trends

    The Content Hub 2024 – New Content Trends

    Mumbai: The eighth edition of The Content Hub Summit delved into the ever-changing world of content creation. With the consolidation of platforms, creators face new hurdles in gaining visibility, maximizing revenue, and maintaining creative freedom. The event explored the remarkable theatrical success of Indian cinema and unraveled the secrets behind its unprecedented profits, with a critical eye towards its sustainability.

    The esteemed panel of industry leaders has shared their expertise on adapting to the shifting landscape, tackling daily challenges, and envisioning the future of production.

    The session was moderated by HitFlik film director & CCO Saurabh Varma which includes panelists: Inspire Films Ltd founder & managing director Yash A Patnaik, Dangal Play head Akshat Singhal, writer & director Soumik Sen, Geophil managing director Robin Philip, producer Monisha Singh Katial, GSEAMS producer, creator Kartk D Nishandar and Pratilipi co-founder & CEO Ranjeet Pratap Singh.

    Verma kicked off the discussion by highlighting the future trend of regional content, to which Katial emphasised its growing popularity beyond traditional markets. She noted the increasing viewership of South Indian movies in the Hindi belt, signaling a promising avenue for content creators.

    Nishandar echoed this sentiment, stating the importance of creating content within budget constraints while adapting to changing trends. Success, he argued, lies in the ability to evolve with the times and cater to shifting audience preferences.

    Singh drew parallels between his platform and a modern-day version of Disney, emphasizing the power of storytelling to transcend barriers of format, language, and geography. In a landscape inundated with content, he stressed the challenge of identifying what resonates with audiences.

    Sen stated the importance of audience engagement, stating that creativity thrives on interaction and connection with viewers. In an era of abundance, where choices abound, creators must actively seek to engage their audience rather than passively expect their attention.

    Philip shed light on the global perspective, highlighting the significance of international distribution in monetizing Indian content. He urged industry players to aggressively position themselves for global licensing opportunities, viewing it as a lucrative avenue for revenue generation.

    Singhal gave more importance to regional content as according to him, focusing more on niche content meaning where people can relate themselves in their daily life, can give an immense boost to the storytelling narrative.

    Patnaik gave succinct framework for content success: invite, engage, involve, and entertain. He told the importance of consistency, drawing parallels with the enduring popularity of US sitcoms characterized by their extensive episode count.

    The session wrapped up with each panelist expressing a high level of optimism regarding the future of content.

  • Celebs share what drew them to romance audio series this Valentine’s Day

    Celebs share what drew them to romance audio series this Valentine’s Day

    Mumbai: While romance has always been a popular genre, Audible India’s 2023 wrap highlighted that romance and fiction stole the spotlight as one of the top three favourite genres among Indian listeners this year. This Valentine’s Day, let’s take a peek at some of the most popular titles on the service and hear what their celebrity narrators have to say about them. Get ready to be swept away by passion, drama, and love stories that captivate both hearts and minds only on Audible!

    Sasural Wonder Phool

    Written by: Malavika Asthana, Gaurav Singh, Shruti Tiwari; Starring: Varun Sharma, Sanya Malhotra

    Set in Delhi, this Audible Original follows the journey of Prashant, a young doctor from a progressive family running a sex clinic in Delhi, as he navigates the challenges of finding love. With a blend of humour, romance, and a hint of taboo, this podcast starring Sanya Malhotra and Varun Sharma, offers a refreshing take on relationships. Why wait? Dive into it right away!

    Sanya Malhotra said, “In ‘Sasural Wonder Phool’, my character Ashima gets married to a sex therapist (the inimitable Varun Sharma) who runs a sex clinic with his entire family. Need I say more? The show is bizarre, hilarious, incredibly entertaining and so different from anything I have ever done before – I just know my fans are going to love it! This has been my first brush with audio and I am hooked – I can’t wait to do more!”

    Little Things: Jab Dhruv Met Kavya

    Written by: Pocket Aces; Starring: Dhruv Sehgal, Mithila Palkar

    This is an Audible Original podcast series, where Mithila Palkar and Dhruv Sehgal take you on a tale of a beautiful love story that is defined by the little moments of serendipity. From a chance movie date that ignited the spark to shared bhaji outings that added flavour to their love story, you get to follow the timeline of their lovely moments that transformed an awkward, sensitive guy and a girl-next-door into a love-struck duo. So what are you waiting for? Here’s your cue to tune into this epic podcast.

    Mithila Palkar said, “This is a really sweet special story about how Dhruv and Kavya met, and I know fans are going to enjoy listening to it.”

    Darmiyaan

    Written by: Jaya Misra; Starring: Sriti Jha, Shabir Ahluwalia

    If you’re seeking to experience a rollercoaster journey of emotions this V-Day, Darmiyaan is definitely the ideal choice. It is an Audible Original podcast narrated by the popular duo Sriti Jha and Shabir Ahluwalia! Sakshi Dewan (Sriti Jha) is undergoing a troubled marriage, wary of the truths that her husband kept from her. The distraught Sakshi encounters Ridhaan (Shabir Ahluwalia), a young man who motivates her to discover her genuine purpose and helps her in living life on her terms. Nothing less than an epic romantic saga, tune in to Audible to discover if Sakshi will take an opportunity with the newfound connection with Ridhaan and take a chance at love.

    Ekta Kapoor said, “Conceptualizing entertainment content in audio has been an experience of a lifetime and has helped me push the creative envelope further than ever before. “‘Darmiyaan’ (and first audio show!) has everything Balaji fans love – love, unbelievable scandals, shocking twists and much, much more. I’m sure listeners are going to love it, and become audiophiles for life!”

    Permanent Roommates: He Said, She Said

    Written by: The Viral Fever; Starring: Sumeet Vyas, Nidhi Singh

    Experience the rollercoaster of love with Permanent Roommates: He Said, She Said, a beautiful 20-episode series perfect for this Valentine’s Day! Follow the journey of Mikesh and Tanya as they navigate the highs and lows of living together, from house-hunting woes to the complexities of marriage, showing you a glimpse into the realities of modern relationships. Tune in for a charming exploration of everyday life and love that’s sure to resonate with couples celebrating the season of romance.

    Sumeet Vyas stated, “I was ecstatic when I got the call that we would be doing something new with Permanent Roommates. Mikesh and Tanya are both very close to my heart and it’s amazing to be able to portray them in a new format. Audio is such a powerful tool for storytelling and I’m so excited for everyone who has loved and supported Permanent Roommates to experience new moments in such a relatable and engaging way.”

    The Last Girl to Fall in Love (English and Hindi)

    Written by: Durjoy Datta; Starring: Prateik Babbar, Rasika Dugal (English) and Anupriya Goenka, Akshay Oberoi (Hindi)

    The story, set in a world that is a rip-off of the earlier patriarchal system in Durjoy’s previous work, ‘The Last Boy to Fall in Love,’ flips the narrative on the meaning of culture. Women write the rules, while men follow them. In this podcast, you will witness a boy named Amartya who meets a girl named Erika in a world on the brink of extinction due to the Kali virus. Whether their meeting is a coincidence or something else, amidst this chaos, a love story unfolds between them. The question is, can love that blossoms suddenly amidst destruction, along with the strange coincidence of hope and revenge, turn into a complete love story? To find out, listen to it on Audible!

    Durjoy Datta said, “Writing for the audio medium has been an incredible experience and it’s surreal to see how characters are brought to life solely through voices and sound. Prateik Babbar, Rasika Dugal, Anupriya Goenka and Akshay Oberoi have narrated the books and have brought my vision to life so beautifully!”

  • IBS: Tapping into the D2C Opportunity

    IBS: Tapping into the D2C Opportunity

    Mumbai: The India Brand Summit held on 28 November 2023 at The Lalit Mumbai, convened leaders, marketers, entrepreneurs, and experts to explore current trends, challenges, and opportunities in the dynamic brands and marketing arena.

    The session delved into: Is D2C the correct way for businesses? How bright is the future? The session offers an in-depth exploration of the brands choosing the way of D2C and how that decision has impacted the success journey and contributed to their successful brand building.

    The key highlights of this session were: Brands are turning to D2C for rapid revenue growth and enhanced customer loyalty. This shift, crucial in price-sensitive markets like India, overcomes distribution challenges. D2C not only bridges gaps but also utilizes data for personalized user journeys, ensuring quicker and more efficient consumer connections.

    The panel was moderated by Boston Consulting Group partner and associate director Jyoti Narula Ranjan and had panelists including

    Candere By Kalyan Jewellers head of marketing, brand experience & data Akshay Matkar, NIVEA India digital precision marketing manager Tanvi Amladi, Pocket Aces business head Vishwanath Shetty, Kaya VP & head of marketing Samyukta Ganesh Iyer.

    The session began with Ranjan asking, “How do you as a brand, map the consumer journeys in this omni-channel D2C world? There is an aspect of marketing to these users in this digital world and there is a method of mapping the consumer journeys.”

    Amladi answered, “ I think one for us was to really acknowledge that today consumer journeys are not linear. So we know consumers are exposed to so many different touchpoints, especially in a category like skincare. I think the first step for us when we talked about customer journey was to really acknowledge that fact and say then therefore What are these different ways in which I can reach my consumer? The second thing was actually understanding the consumer and therefore just making sense of who she is because we knew weren’t talking to someone who is just 18 to 22. That is someone who is just displaying a certain specific life she would within that she’s doing so many different things. She comes in with different, she’s at different stages in her skincare journey. So speaking, again specifically to the category that we play in, it was very important for us to even understand what is her category entry point. When she gets into skin care. Someone’s getting into it, at the age of 18, by the time she’s 22, she’s already super evolved in her journey. Someone is getting introduced to it only at the age of 25, maybe when she’s a little bit into her career. So, for us just understanding all these little nuances around how the consumer comes into the category and how kind of she plays around with it, in different in different ways. That was the starting point and that’s always been kind of the anchor around which we build a lot of what we do at NIVEA.

    Commenting on the same, Ranjan said, “I think one thing which is probably coming out stronger is how over the long term period there were a lot of micro-moments that you’re probably capturing in how these consumers are entering the purchase journey or just the brand interaction journey.”

    She then asked Matkar, “It would be very interesting to see how really as a brand to thrive in an environment where consumers are doing this omni channel touch point. How do the marketing teams really thrive using agile methodologies, both on preparing the back end, and getting the right touchpoints in place? How do you make that happen at the backend because one is knowing the consumer, but then how do you capture that touchpoint in a digital-first world?”

    Matker replied, “I’ll break it into two parts. Part A is, how you look at the consumer area. So in our case, since we have an online store and also offline store. We look at it in four parts. Part A is, that the user has discovered the product online and purchased it offline. Part B is, consumers have discovered the product online and purchase is also happening online. Third and fourth is user has discovered the product offline and purchased it offline and the user has discovered the product offline and made the purchase online. So these are the four different types of consumer journeys that we look at. Hence our entire marketing spends, the teams, the way we operate, it shifted. We started our offline reading journey in 2022. Prior to that, it was completely online. What we do is, we have something created called our entire data warehouse, and we have something called a CDP like many brands do. The main problem in the digital space is that it’s not about collecting the data, it’s about how accurately your data you’re collecting and what are the data losses that are happening. So because we have multiple systems, we have CRM, we have a communication platform, we have personalisation tools, we have recommendation tool and then so many data points that we need to collect, we need to process and then we need to look at different data and based on that how do we actually split the entire marketing spends. So looking this journey into four halfs has helped us to make informed decision on which channel we need to invest more. Though, I think we can see that, our data pointers like 70 per cent of the consumers are discovering the product online. So though our CPA on the retail side would be lower, but our investments should be on the higher side on the digital space.”

    Thereafter bringing Iyer into the conversation next, Ranjan asked, “How did you help these (Baskin Robbins & Kaya) brands find out the value proposition to the right consumer set mapping? And how did you really use digital media to drive this omnichannel existence for the brand?”

    Iyer said, “One big thing I think we were discussing just before the panel right now in terms of saying that, today every brand, small, big otherwise needs to have a very strong presence both online and offline. So it’s no longer about whether I’m a D2C brand, or whether I have an offline brand. Everyone’s omnichannel today. Brands that were born on D2C have now started opening up stores offline in order to give consumers the experience that they’ve been craving because they don’t get that online. And vice versa, the convenience, the comfort of calling for things online is why even the large brands who registered for the longest time today are all there. A great case study would be what happened with CPR in, when we actually did one of the first collabs, that we drove with Swiggy where we actually did a 50/50 partnership in terms of making the ads, making all of the media buys including Hotstar Integration. For the very first time, two brands, one aggregator brand and one brand actually came together and it hit the nail on many boxes because one, a brand like Baskin-Robbins, which had been there in the Indian market for 26 years at that point in time, globally for 75 years, suddenly became relevant to millennials who had kind of played back to us saying ‘it’s my childhood friend, it’s a brand that I grew up having as a kid with my parents. After dinner, we would go for a walk, go to the nearest Baskin-Robbins parlor, and pick from their 31 flavours. But today it was not the brand of choice for millennials so there was a definite issue there. For Swiggy, they wanted a premium ice cream brand on their platform. So it kind of hit the nail on many, many boxes there. Second, it had also become irrelevant to the male audiences, perhaps because of the color pink it had become little alienating to the audience, that ice cream as a category is fairly gender agnostic otherwise. Third, there was also a problem of the brand not being easily available because ice cream, as a category, was not something that people were calling for online. So going live on IPL being there from, the first match to the last match, we did this fantastic innovation with Hotstar as well where you could just call for the ice cream while the gamification was happening. It has changed the landscape because suddenly the brand became relevant. The brand had fresh fruit ice cream flavors like Naturals and Ibaco and it also helped everybody. As I was saying it was a much larger connect because suddenly during the lockdown the brand was available and that would have never happened. I mean we could have never forced on. So I think why D2C matters, it kind of answers the question of the topic today, the brand is then available. Any brand of your choice is then available at your fingertips.”

    Thereafter Ranjan asked Shetty, “What is the mantra for getting content right on social marketing and how do you advise brands to leverage content social media influencer marketing for building brands having that direct connect?”

    Shetty replied, ”I feel knowing your customer is very important. Where is the customer? Are they on Instagram or are they on Facebook or on LinkedIn, That’s also really, really important. So content is a huge bucket where you can bifurcate its basis where your audience is. Interestingly, when the influencer wave started post-COVID. I think there was good traction initially. I remember basically when we started Skinsi which was direct competition to Kaya then and we largely were D2C, so we provided clinical services at home. So for us, I still remember we did drop challenge which was one of the first campaigns that I did for Skinsi back then and this was I think Woman’s Day. So there was a clear trend that we saw, globally whatever works on TikTok on Insta, in a week’s time it is to travel to India. So you always want to make your UGC content a success and everyone starts digging into what should we do. While it was very simple for what we saw, we executed in 10 days and we spent barely around 10-12 lacs. Interestingly, we didn’t get a lot of leads in such, but the consideration and the conversion doubled our business. So, I think influencer marketing is not just a big mark in a box, but you need to be very, very sure what will work for your brand and how your audience will take it and if you make it a very inclusive community campaign, budget doesn’t matter. It will work for your brand. So that’s influencer marketing and working and you don’t have to spend crores, but you can still leverage it using international trends or global trends. Indianise it, take one or two good influencer and make a UGC content, do a tactical campaign, and kick-off. So that’s how influencer marketing has really helped especially for a skincare category. So I think that’s a great example. But now what has happened is a lot of these influencers also don’t want to be called influencers, they want to be called creators. So if you go back to the influencers, tell them, ‘You know what here is a reel, a post, do one story, one reel’, they’ll charge you a bomb but instead if an Instagram influencer wants to do a podcast series on Spotify and as a brand you help him to do that, he will come at 1/3 the cost and he will do value ads like no one’s business. So when you start connecting with the creator, help him in his journey, is when the brand grows and then the creator will be happy to push extra stuff from his side.”