Dharma Cornerstone Agency (DCA), a joint collaboration between Karan Johar and Bunty Sajdeh announced the signing of social media sensation Orhan Awatramani popularly known as Orry today. The partnership will strengthen influencer marketing portfolio of DCA, adding to the existing bouquet of services of the brand.

Expressing his excitement about this collaboration, Orry remarked, "I have been working on creating a strong brand presence for myself and partnering with Dharma Cornerstone Agency is a significant milestone for me personally and professionally. I am thrilled to embark on this journey alongside Karan Johar and the incredible team at DCA. Together, we aim to push boundaries, break stereotypes, and create meaningful opportunities across various domains."

Kim Sharma, EVP - New Media, DCA shared her excitement, stating, "Orry represents the epitome of the modern-day influencer dynamic with his creativity and forward-thinking. We are delighted to welcome him to our family at DCA. This association not only strengthens our presence in influencer marketing but also fosters trust in us."

Orry’s decision to join DCA signifies a strategic move towards expanding his influence beyond the digital space. With his unique blend of creativity, authenticity, and market acumen, Orry is poised to redefine the landscape of celebrity management, bringing a fresh perspective to the industry. With this new chapter, fans can expect groundbreaking collaborations, innovative projects, and unparalleled creativity, as he continues to leave an indelible mark on the entertainment landscape.




Karan Johar’s Dharma Cornerstone Agency (DCA) ropes in Orry to strengthen influencer marketing portfolio

Orry’s decision to join DCA signifies a strategic move towards expanding his influence beyond the digital space.

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Virat Kohli is a name that resonates with cricket fans worldwide. From his audacious stroke play to his fiery on-field demeanor, Kohli has redefined the game with his sheer passion and commitment. However, Kohli’s is a story of controversy and confrontation, a narrative that has shaped his journey to greatness. Whether it's his heated exchanges with fellow cricketers or his outspoken nature off the field, controversies are no stranger to him. 

Clash with Gautam Gambhir: One of the most memorable incidents involving Virat Kohli occurred during the 2013 IPL match between Kolkata Knight Riders and Royal Challengers Bangalore. As the captain of RCB, Kohli engaged in a heated argument with Kolkata's skipper Gautam Gambhir, resulting in a tense standoff that was eventually diffused by umpires and players.

Middle Finger Incident: During his early days in international cricket, Kohli courted controversy during a tour to Australia when he was seen showing the middle finger to the Sydney crowd. Kohli later explained that his actions were in response to abusive language directed at his family, highlighting his fiercely protective nature off the field.


Outburst at Journalist: The 2015 Cricket World Cup saw Kohli embroiled in another controversy when he lashed out at a journalist whom he believed had written an unfavourable article about him and his then-girlfriend, now wife, Anushka Sharma. 

Umpiring Controversy: In a Test match against Australia in 2017, Kohli accused Australian captain Steve Smith of seeking illegal assistance from the dressing room for a review.


Sunil Gavaskar Controversy: During the 2020 IPL, Sunil Gavaskar made a comment about Kohli’s performance, suggesting that he only practiced batting during the lockdown with Anushka Sharma bowling to him. Sharma’s public response underscored the challenges of being a public figure in the age of social media scrutiny.


As Virat Kohli continues to etch his name in the annals of cricketing history, his journey serves as a reminder of the complexities of success. While controversies may have punctuated his career, they have also been a testament to his unwavering spirit and fierce determination. Kohli's story is not just about cricket; it's about resilience, passion, and the relentless pursuit of excellence. As he continues to push the boundaries of the game, Kohli remains a symbol of inspiration for aspiring cricketers and sports enthusiasts around the world. His legacy is not just in the runs he scores or the matches he wins, but in the indelible mark he leaves on the hearts of fans everywhere.


Virat Kohli: A brief history of controversies and confrontations

Microsoft owned LinkedIn was down for a brief period, impacting thousands of users on Wednesday after a brief outage.


According to outage tracking website Downdetector.com, there were 48,000 reports of outages related to LinkedIn in the US.


March 5 saw the global outage of social media platforms Facebook and Instagram. Following the outage, as per multiple reports, parent company Meta’s chief executive officer Mark Zuckerberg net worth declined by $ 2.79 billion, in a day, to hit $ 176 billion on the Bloomberg Billionaires Index.


However, he continued to maintain his position as the world’s fourth richest person.


The global outage of Meta-owned apps Facebook and Instagram sent users rushing to Twitter now known as X to check about the outage. The apps were not working for users across the globe who experienced problems with Meta's popular apps. #InstagramDown started trending.


Elon Musk, the owner of X (formerly known as Twitter) and Meta boss Mark Zuckerberg’s rival, shared a series of tweets about the outage stating, “we know why you’re all here now”.


<strong>Read More:</strong> <a href="https://www.storyboard18.com/digital/metas-facebook-instagram-down-for-thousands-of-users-worldwide-25534.htm">Elon Musk reacts to Instagram and Facebook outage</a> 

After Facebook and Instagram, LinkedIn sees brief outage

<em><strong>Note to readers: Our latest column Marketing Mocktail breaks down and explains the big ideas, new disruptions and old concepts and marketing practices that matter in the modern age.</strong></em>


The creative brief is one of the most integral parts of advertising.


Yet, of late, briefs have become griefs - sterile and unimaginative.


We keep indulging in the over optimism of giving a bland brief and hoping for exciting creative work in return. Garbage-in, garbage-out.


Putting together a good brief is a dying art which needs to be revived.


<strong>From logic to magic</strong>


A brief is the inflection point in creating advertising and communication.


It’s the point where logic (the strategy) starts turning into magic (the idea).


It’s where planning ends and creativity begins.


<strong>Re-energising the brief</strong>


Definition of the brief should read, ‘The most insightful, inspiring, and igniting point in the creation of advertising’.


<strong>Insightful -</strong> Packed with gems and nuggets that bring the strategy to life.


<strong>Inspiring -</strong> Makes the creative team go ‘Wow!’ and take ownership of the brief.


<strong>Igniting -</strong> Triggers the creative to buzz with ideas that they can’t wait to get cracking on.


In fact, a good brief is like ‘an ad for creative people’.


<strong>What makes a great brief</strong>


While most agencies have their own briefing formats, based on their conceptual frameworks and creative philosophies, the basics of a great brief remain the same.


Here are a few key ideas that can help re-energise creative briefs.


<strong>Keep it simple and sharp</strong>


Don’t try to impress with mumbo-jumbo or jargon. Make it simple.


Rather than saying, ‘Increase TOM (Top-of-mind awareness) and brand salience’, it’s much better to say, ‘Make the brand famous.’


Instead of ‘Enhance width and depth of consumption’, why not ‘Get more people to use more’.


Also, never overload - stay focused, sharp and crisp. A brief should not be more than a page or two (that’s why it is called a brief).


<strong>Pull out little nuggets</strong>


Don’t dwell on information, instead dive for gems that bring your strategy to life and tell a story. Embed your brief with evocative and powerful nuggets.


When Taj Mahal tea bags were being launched, the nugget in the brief was to position them as ‘The Walkman of Teas’ to encapsulate the mobility, convenience and modernity of the format.


When Dabur honey was being repositioned as a health food from a home remedy, the brief summed up the challenge as moving the brand from ‘the medicine chest to the dining table’.


<strong>Bring your target person to life</strong>


One of the biggest sacrileges in briefs is the vague and rather generic definition of the target audience. You really can’t get a handle of who you are talking to until you bring that person alive.


This is how a bland brief will define the target audience for Axe deo:

Young men aged 16-25, who are concerned about their appearance and how they attract the opposite sex. They buy deodorants to smell fresh and feel confident. Axe with its masculine fragrance is the perfect choice to be attractive to girls.


Here’s an inspiring definition of the Axe target person:
Imagine Benjamin… he thinks about women a lot. A lot, a lot. But he’s not dreaming of romance, he’s a dirty boy who can’t stop thinking about sex with extraordinarily welcoming women. Yet in the real world, women are a completely different country - it’s somewhere he’s never been, it may be a while before he gets to go there, and you’re guaranteed he won’t be able to speak the language when he does. 
Deep down he wishes he could just be himself around girls and that it wasn’t so complicated, that he didn’t have to try so hard. What he wants isn’t deodorant at all, but a secret babe-magnet.


Which one do you think created the ‘Axe Effect’?


<strong>Dramatise it</strong>


A brief is more than just a piece of paper. It’s a piece of theatre.


Once, a bunch of creative people were packed like sardines into a cramped car and were told they were being taken to the client’s office for a briefing. Midway, they were intercepted by the account supervisor, driving a Maruti van (a move that was engineered). 


They were immediately transferred into the more spacious confines of the van and as they sprawled themselves, someone exclaimed, “Guys, this is the brief - travel in space.” How’s that for a powerful demonstration?


Here’s what a leading creative director told me, “I once had an account executive give me a brief with a hole burnt into it. That got me curious. Then I noticed it was for a fiery hot pizza. Right there, she got me.”


It’s time we changed the way we look at briefs, because great advertising is born out of great briefs. It may be a good idea for the industry to introduce an annual award for the best briefs as an incentive to encourage and reward great briefs. 


Can we bring the glory back into briefs? Can we have more briefs than griefs?


Yes, we can!


<em><strong>Anand Narasimha is a corporate turned academician with over three decades of experience spanning Brand Marketing, Advertising, Consulting, and Teaching. He writes the column Marketing Mocktail for Storyboard18. Views expressed are personal.</strong></em>



Marketing Mocktail: Brief or Grief - the creative brief explained

Most brands divide their advertising budget between creative development and media buying in a ratio of 1:10. However, when recalling famous advertising campaigns, it's likely that people remember the creative teams behind the ads, rather than the media planners and buyers who ensure that the ads reach the right audience with the right frequency.

In the past, when advertising was limited to one or two mediums such as TV and print, media planning and buying were relatively straightforward. However, with media becoming increasingly segmented, this is no longer the case. The role of media in the success of any campaign has therefore increased significantly. Without proper alignment between the creative campaign and media plan, the chances of failure are high.

Traditionally, advertising campaigns were conceptualised by establishing business objectives, which were translated into marketing objectives, and then communication objectives. Based on these, a brief was created, and the creative agency would uncover consumer/category insights and develop a core campaign idea. This idea would be presented alongside the TV commercial script, which formed the centrepiece of the campaign. The campaign idea would also be extended to other media such as print, digital, and OOH.

Although media objectives and planning would also be carried out concurrently, they were often not considered inputs or constraints for the creative agency.

Now, there are three problems that happen with this approach:

1. This leads to some campaign ideas/scripts which are not native to the primary platform as per the media plan. Because of a digital native TG, you might have a media plan which is heavily skewed towards Youtube to build awareness. And the best way to build awareness on Youtube is by using the 15-second non-skippable ad. Now if your hero creative is a 30 sec one and impossible to tell a coherent story in the 15-second cut, the campaign will fail.

2. Sometimes you have a wonderful clutter-breaking script, but it is not going to be registered by consumers when they watch it only once/twice. You might have a budget constraint which will limit the input GRPs in your markets. That would mean that at best you can optimize your plan to maximize reach at a three-plus frequency instead of 5/6. Now if your hero creative is witty/difficult to understand easily, your campaign will fail because of lack of enough number of exposure.

3. You might have a media plan which is skewed towards a certain region, but the core insight/communication might not resonate with that region. For Example, 50 percent of your sales might come from the five Southern States, but your campaign idea/core insight resonates more with the Hindi belt. If the TVC is also conceptualized in Hindi and only translated later to regional languages, the chances of the campaign failing will be higher.

All of these problems could be solved by making only a single change in the approach to rolling out a campaign. Include a tentative media strategy/plan, and the constraints that come with it as part of the brief that goes to the Planning team of the creative agency. This will ensure ideas and creative outputs which fit like a dream with our media strategy and plans.

If you want to use Meta in your media plan, your creative agency will ensure that vertical videos that seem native to the platform( Reels) are part of the creative output. If you have a reach plan to maximize reach at three plus frequencies, your creative agency will ensure that the communication is simple enough to understand in one go. If Kerala is a major market for you, your creative agency might recommend creating a separate campaign altogether conceptualized and taught in Malayalam using insights from the Kerala market.

The real magic happens when creative and media teams work together on a brief right from day one. This used to happen few decades back. Maybe it's time to go back to the same practice to ensure that brands get the highest RoI from their marketing spends.

<strong><em>The writer is the founding member and chief business officer of Atomberg. Views expressed are personal.</em></strong>

The power of collaboration: How including media planning in briefs can improve RoI

<strong>MAST</strong>

<strong>Brand:</strong> Oakley

<strong>Campaign:</strong> Be Who You Are

<strong>Agency:</strong> Brandmovers India

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Growing up, we were constantly asked to fit into the mould of societal expectations. Somewhere, amongst the increasing noise, doubts, aspirations and constant chatter, ‘being ourselves’ took a backseat. We forgot to focus on ourselves, be comfortable with making mistakes, and taking risks.

The latest commercial by Oakley stays true to its value of “Be Who You Are.” As the ad film rolls on, right from the hopes of 1.3bn people being shouldered by cricketer Rohit Sharma, to the doubts and noise surrounding him, the commercial shows how Sharma does not let the people’s uncertainties stop him from always giving his best. The ad film conveys the message of being your authentic self, and the importance of knowing “Who you are", where every frame of the film radiates courage and confidence. Overall, the ad film gets a thumbs up for its realism on a crucial subject.

<strong>MEH</strong>

<strong>Brand:</strong> NutriGlow

<strong>Campaign:</strong> NutriGlow

<strong>Agency:</strong> In-house

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For years, most of the ads that touched upon the subject of beauty have either been explanatory in nature, or had a pair of girls dancing to stress upon the brand, and convey positive effects. NutriGlow’s latest campaign follows the same unsatisfactory pattern. Actor Genelia Deshmukh along with a bunch of girls are portrayed as ‘GlowGirls’ who are moving to a beat to highlight NutriGlow’s varied range of products. However, Deshmukh, who serves as the brand ambassador for the brand and is known for her bubbly and fun loving nature could not save the commercial from being a dull and disappointing one to watch. An engaging and different storyline could have prevented a Meh.

<strong>Mast</strong> 

<strong>Brand</strong> - Thums Up

<strong>Agency</strong> - Ogilvy India

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From sitting on tree-tops, listening to radio commentary to gathering around paan shops, Indians have found many unique ways to tune in to their favourite cricket matches. Cola brand Thums Up, plans to provide cricket fans in India with a never seen before, innovative experience through in its feature. The ad featuring Jasprit Bumrah, Umran Malik and Brett Lee, showcases an option that allows you to experience watching an ICC T20 World Cup match through a camera fitted in a wicket. Fans will have to scan a QR code on the Thums Up bottle to get access to the camera feed and become part of this immersive experience. That is as close as one can get to being present at the actual game. If this works, it is bound to leave all cricket fans stumped!

<strong>Meh</strong>

<strong>Brand</strong> - Casio India

<strong>Agency</strong> - In-house

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Are you an over-thinker? Yes? Then Casio’s latest ad is definitely one for you. The film opens with a student, who asks his father to buy him a Casio calculator. When his father asks if he can get any other calculator if he doesn’t find one by Casio, the son starts to overthink a series of probable events and scenarios that might impact his life, all due to the repercussions of using an ordinary non-Casio calculator. While the concept works well on paper, the execution doesn’t translate well onto screens. A great concept, poorly planned and executed resulted in us providing this spot, a meh. 

<strong>Mast</strong>

<strong>Brand:</strong> Tata Motors

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Festive ads can seem too filmy and over the top with all the songs, dances and unnecessary drama around festivities. However, sometimes there are ads that truly have a feel good factor to it. The Durga Puja TVC from Tata Motors is a perfect example. The ad features the most celebrated actor of Bengali cinema, Prosenjit Chatterjee for the spot but not in a way you’d normally expect. His presence is subtle. His role is of the narrator who acts like a catalyst, adding a slight hint of glamour to the ad without being completely involved in it. The narrative is clean and well packaged with the integration of car features that seamlessly blend in. In true festive fashion, there is a sweet story, a great song and a product that is being rightfully celebrated. All the fun elements work perfectly in unison which makes this new TVC from Tata Motors a good one to watch. A definite Mast in our books. 

<strong>Meh</strong>

<strong>Brand:</strong> Hindware

<strong>Agency:</strong> In-house

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Hindware has a new TV campaign – ‘Go Larger Than Life’  starring actor Tamanna Bhatia and The Great Khali. This is the first ever TVC from Hindware Italian Collection since the company forayed into the tiles segment. The tiles shown in the spot look beautiful and appealing for sure but unfortunately, the same cannot be said for the spot itself. With an inane narrative and an unnecessary objectification of a tall man being compared to huge tiles is unimpressive and doesn’t leave a good lasting impression. A very poor concept and even poorer execution awards this spot a MEH 

<strong>MAST</strong>

<strong>Brand:</strong> Cadbury Dairy Milk

<strong>Campaign:</strong> Cadbury Dairy Milk Bodyguard – Kissi aur ki Khushi mein shaamil hokar dekhiye

<strong>Agency:</strong> Ogilvy India

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Tigmanshu Dhulia never fails to impress viewers with his performances. In this spot, his appearance as a politician paints him as a ‘larger than life’ character. Dhulia, who is seen making his way towards the dais along with his bodyguards amidst the cheering crowd, to celebrate the success of one of his guard’s daughters who cleared the medical entrance exam is warm and comforting to watch. He is seen feeding the daughter a piece of Cadbury Dairy Milk as a token of appreciation and celebration. The ad film stays true to its message “Kissi aur ki Khushi mein shaamil hokar dekhiye.” A ‘Mast’ watch in our opinion. 

<strong>MEH</strong>

<strong>Brand:</strong> Myntra

<strong>Campaign:</strong> Myntra Big Fashion Festival

<strong>Agency:</strong> In-house

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The absence of any fun factor for an ad that aims to be comical is very evident right from the start. The campaign, which aims to promote Myntra’s Big Fashion Festival does not really generate any curiosity to check out how interesting the fashion festival might be. Even the presence of celebrity couple Virat Kohli and  Anushka Sharma, does not seem to add any drama to the dulness. Ironically, Myntra’s idea of using ignorance to draw attention not only tanked on screen but also failed to attract audiences in real life. An interesting build up to the story along with some festive cheer to promote the fashion festival could have prevented a Meh.

<strong>Mast</strong>

<strong>Brand:</strong> Coca Cola

<strong>Agency:</strong> In house

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Durga Puja for Bengalis is like a five-day long party. Like any party, food and soft drinks are an important part of this celebration. So if you are telling a Durga Puja story and you add food and soft drinks to it, you definitely make for a good storyteller. This new puja anthem from Coca Cola is a perfect spot for the pre-festive weeks. Casting the OG cool guys of Bengal (read members of Bengali band Chandrabindoo) and the catchy song add to the festive mood and cheer. The ad comes with its share of glam factor too, with Bengali superstar Dev adding spark and being a part of the 39 second screenplay. Overall, Coca Cola has done a great job with capturing the mood of the Bengal market right now with everyone preparing for the upcoming celebrations. 

<strong>Meh</strong>

<strong>Brand:</strong> Pantaloons

<strong>Agency:</strong> Production: KITCHEN, Concept: Ogilvy

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Rap songs and hip/hop as a genre are very popular with millennials and Gen Z. However, when used in an ad, it resonates only if executed and performed well. Unfortunately, this new Durga Puja spot from Pantaloons banks on a below average rap jingle that pulls down the overall vibe of the piece. Moreover, the Bengali voice overs are heavily accented. It could’ve been done on purpose to go with the background score but doesn’t help the tune in any way. It stands out as  a noticeable blunder. The song, the script and overall performance of the cast makes this a wannabe number desperate for attention. We’re still on the look out for an ad that captures Gen Z mentality correctly and executes it well. 

<strong>MAST</strong>

<strong>Brand</strong> - The Body Shop

<strong>Agency</strong> - In house

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Breaking the popular notion that young citizens are becoming increasingly apathetic towards societal issues, The Body Shop launches a campaign calling upon policy makers to evaluate lowering the age of candidacy in the Lok Sabha from 25 to 21 years of age. The goal is to get greater youth representation in the Lok Sabha. To spread the message, the brands video campaign features young leaders from across the country including Sudhanshu Kaushik, founder, Young India Foundation (27), Jalandhar High Court lawyer Inderpreet Kaur (24) and Sachin Rathod, independent panch ingalangi (29) talking about their efforts in bringing change in society thereby inspiring others. The ‘Be Seen Be Heard’ initiative is being rolled out through a partnership with Young India Foundation. The WHY25 drive has been launched across India at all The Body Shop stores in September 2022 and will run till end 2024 in over 25 states with offline and online petitions to support the cause. Now, that's what you call a brand with a purpose. A mast ad, definitely a great watch. 

<strong>MEH</strong>

<strong>Brand</strong> - Levi’s India

<strong>Agency</strong> - Spring Marketing Capital

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Levi's India’s series of ads with Deepika Padukone follow a pattern that has become repetitive and boring. In the new ad Padukone is seen in a space that needs to be set up and decorated. The camera follows her doing various chores like pushing a sofa into place, sticking a poster on a wall while ambling around with her friends, etc dressed in a new baggy Levi’s jeans of course. The spot ends abruptly leaving viewers confused. While Levi's baggy collection might be in vogue, its advertising seems really last season! It’s time for a refresh. 


<strong>MAST</strong>

<strong>Brand</strong> – Bombae Fuzz Off Trimmer | Painless hair removal for women

<strong>Agency/Production House</strong> – Talented, StudioFry

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This 30 seconder is an edgy one. It’s probably the only hair removal brand that has shown body hair before women shave/wax/trim it off. Bombae says #FuzzOff to societal expectations. It shows the pain women go through to go hairless and attempts to normalise never-seen-before body hair imageries. An empowering ad that breaks boundaries. It’s a mast watch because it is changing the narrative of the category.


<strong>MEH</strong>

<strong>Brand</strong> – Manyavar | Taiyaar Hokar Aaiye

<strong>Agency</strong> - Shreyansh Innovations

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The hyperactive actor Ranveer Singh for the new commercial of Manyavar is featured as a spunky wedding photographer. For a change, he is dressed perfectly fine. However, he singles out a suit-clad ‘mausaji’ by saying he is ruining the perfect family photo in his western outfit. Okay, we get it, this was all supposed to be in good fun and maybe for the sake of advertising. However, we think the brand could have picked a better line of thought to stitch the script. After all, isn’t fashion a personal choice? Shouldn’t Singh know that better than anyone else?



Mast & Meh: Oakley, Thums Up, Tata Motors, Myntra, Levi's India

The biggest test Indian girls face in their school years is the "beauty test", says Unilever-owned beauty brand Dove in its latest campaign released on International Daughters Day 2022 (25 September). The ad has been viewed by millions of netizens, garnering over 12 million YouTube views in four days. 

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While the campaign gained appreciation for starting a conversation about deeply ingrained beauty biases, a section of audiences also criticised the company for double standards. Unilever sells Glow & Lovely (earlier called Fair & Lovely) which largely hinged its communication equating fair/light skin with success. However, in 2019  Unilever changed the product name and also its advertising strategy to be more inclusive and conscious. 

This is reflected in the new Dove ad as well. 

Made by advertising agency Ogilvy India, the ad shows how young girls are subjected to socially accepted standards of beauty which drastically impact their confidence and self-esteem. The Stop The Beauty Test 2.0 is an extension of its previous campaign that was focused on beauty judgements faced by women during marriage.  

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To be sure, Unilever said that Dove launched a study which stated that 80 percent of Indian school girls have faced unjust beauty tests as a teenager. Hence, this year the conversation has shifted focus from prospective brides to the stage where it all begins – adolescence.

 In an exclusive conversation with Storyboard18, Harman Dhillon, vice president, hair care, Unilever talks about the backlash on its new campaign, changing ideas of beauty and how Dove is striving to stay relevant among Gen Z consumers.

Edited excerpts:

<strong>There is a certain set of audience that have criticised the new campaign. How does the brand deal with the negative feedback?</strong>

Our intent with #StopTheBeautyTest campaign was clear - to make society aware of a prevailing issue faced by young girls on a daily basis. To bring about a tangible impact with the Dove Self-Esteem Project, we are training teachers to deliver educational modules around body confidence and self-esteem to young minds. Our purpose of the campaign is to create awareness regarding when these beauty biases start, and the impact it has on women. We respect everyone's point of view and hope they see that our objective is to redefine the scope of beauty - celebrating it in its authentic and diverse form.

<strong>What kind of research went behind picking the theme for this edition of the campaign?</strong>

At Dove, we’re constantly working towards making beauty a source of confidence and not anxiety. Last year, we brought to light beauty-based judgements women especially faced during marriage and the impact it had on their confidence. However, during our research we uncovered a key moment of truth wherein societal standards of beauty are imposed on women much earlier on - as young as adolescence. Capturing this sentiment, we shifted our focus on the root of the problem - moving our communication from prospective brides to teenage girls. At a time when these girls should be concentrating on education, they are being unknowingly subjected to beauty biases by society. We felt that this was a crucial stage of intervention and wanted to bring about a tangible change. Thus, with #StopTheBeautyTest 2.0, we aim to raise the self-esteem of these young girls and break through beauty led stereotypes. 

<strong>Where did the inspiration for the execution of the campaign come from?</strong>

As always, we wanted to share real stories enacted by real girls and feature the real-life implication beauty judgements have on their self-esteem. So, the brand film is a portrayal of exactly that. We want to highlight how family and peers, in the guise of guidance, are pressuring young girls to fit prescribed beauty standards and how this can lead to body image issues in their young minds - eventually stunting their confidence. The #StopTheBeautyTest movement is an attempt to bring awareness about this issue so we can stop subjecting young girls with beauty-based report cards and grading them on external appearances. The focus instead should be on building their self-esteem so that they can be comfortable in their own skin and realise their potential to the fullest. 



<blockquote>While Dove’s global markets may be slightly more evolved, we’re not far behind where customers are demanding equal representation and opportunity. Brands no longer can superficially support progressive social movement but need to be actively engaged and be true drivers of change.</blockquote>



<strong>What is Dove doing to stay relevant among the Gen Z? How do they define beauty and is it different from older consumers?</strong>

The Dove Self-Esteem Project is aimed at the Gen Z with a vision to empower 8 million young minds by 2025. As part of the initiative, we partnered with experts in the fields of psychology, health and body image to create educational modules around body confidence and self-esteem which will be delivered by teachers under the life skills curriculum. Through this we will be reaching girls and boys in grades 6, 7 and 8 in selected schools across 8 states.

The ultimate goal is to change ‘beauty’ from its conventional lens and redefine and realign what it means to be beautiful. In comparison to the older generation, the younger audience is demanding an ethical, inclusive and diverse representation of beauty in media and Dove’s Real Beauty motto stands tall to deliver on the ask - ensuring beauty is not defined by shape, size or colour but being beautiful is to be the best version of yourself.

<strong>Any unique trends in terms of advertising or consumption you are witnessing among your TG in India? How's it different from Dove's global markets?</strong>

The Indian woman has gone through a complete metamorphosis in the recent time, especially when it comes to her portrayal in advertising and media. We’ve come a long way from women being conditioned to believing their self-worth is dictated by the perception of others, to now where they are seen taking charge and having a voice of their own.  At Dove, we’re proud to have been one of the leading contributors to this change and are glad that brands across categories are following suit.

Today, our TG makes their own choice and has the spending power. Beyond expecting brands to deliver high-quality products, they also demand the brand drive a thought-provoking dialogue. While Dove’s global markets may be slightly more evolved, we’re not far behind where customers are demanding equal representation and opportunity. Brands no longer can superficially support progressive social movement but need to be actively engaged and be true drivers of change.

<strong>How do you measure the success of a campaign now? Has the benchmark changed over the years?</strong>

Today, the success of a campaign, especially when it comes to the type of campaigns Dove has been leading, is very different from the benchmarks traditionally set in place. The impact is no longer purely number driven. The campaigns of the current era are heavily driven by the impact they have on people and the type of change we can drive through the efforts of the campaign. 

<strong>Are the days of big splash TV campaigns long gone? What works for new gen consumers?</strong>

Television is a relevant medium even now, in my opinion. There is still a large set audience in the deeper pockets of our nation who yet rely on television for entertainment as well as information. Thus, given that our target isn’t just the metro markets but pan India, TVC’s are a prime medium for us to bring our narrative alive. On the other hand, speaking about the new generation of consumers, social media has emerged as a stronger medium of communication than most others since it allows a two-way communication unlike TV. Thus, it is essential for us to keep the balance while strategising our media plan.

Exclusive: Unilever’s Harman Dhillon responds to feedback on viral Dove ad

Two years ago, YouTube introduced Shorts in India. Today, Shorts are generating 30 billion views per day, which is four times more than one year ago. Ajay Vidyasagar, Regional Director, APAC, YouTube Partnerships, says the language platter and the content genre is only growing in the market and Shorts is fueling the growth. He also talks about monetization on the platform and more. 

Edited excerpts.

<strong>Shorts completed two years in India. How has it been? And what has the growth story been like from where you started to where you are now? </strong>

YouTube as a platform is over 14 years old in India. When we got started, our primary mission was to democratize video creation. Until that point, the world really saw storytelling as being the forte of a few. Our goal was to really, truly, truly democratize this in a manner that anyone who is interested in sharing a story should be able to share it. Our role in that was to use technology to take out all the friction in the operationalization of it and help good stories to be discovered, consumed and engaged with. That is really what we’ve been able to do in scale over these many years.

YouTube Shorts was announced two years ago; we flagged that off in India. The YouTube Partner Program (YPP) program was only available and enabled for long form and mid form content.  So, we launched a YouTube Shorts fund, in which we worked closely with content creators to help them see a line of revenue for their work.

<strong>While we see a lot of entertaining content on the platform, what is the kind of interest you have seen brands? Are brands using Shorts like they are using other UGC platforms for integrations? Help us understand with some examples.</strong>

YouTube has enabled so many different formats to co-exist and speak to one another: long form videos, snappy Shorts, livestreams and deep dive podcasts. Advertisers can, therefore, choose to talk to their target audiences- in as many forms of stories, across as many devices, as many languages and as many times a day - effectively and at scale. 

YouTube Shorts are generating 30 billion views per day globally. India was the first country where we launched Shorts and we’re proud of how quickly YouTube Shorts have become popular in India. Brands are starting to see results too. For instance, Oreo, which started its very first Shorts Challenge in Tamil Nadu with 10 of our top creators in the market to launch Oreo Double Stuf during Pongal last year. With 8 million views on their content, the brand was able to build salience in the market, improving branded searches and household penetration in a key market for them. 

<strong>How important is India as a market for YouTube when it comes to Shorts? How does it compare to other markers?</strong>

We saw the great potential and engagement short form content has for today’s increasingly mobile viewer. That’s why two years ago, we introduced YouTube Shorts, first in India, to make it easier to watch and create short-form content on YouTube. It was where our journey began, and it’s encouraging to see the adoption and excitement the product brings to both creators and viewers. 

We truly believe that what moves India, has the potential to shape the world. Digital video has become a gateway to the world for millions of Indians. In particular, short form video, which is easy to consume and create, represents opportunity like no other - to be entertained and inspired, to learn and earn, to connect and grow. 

When we introduced Shorts, we knew that we were bringing an important new format for creators and that our creators are leveraging Shorts to help breathe new life into their existing channels or inform a new content and engagement strategy is testament to their creativity.

We’re constantly impressed that creators are getting really innovative with how they use the full breadth of video formats that YouTube offers to meet their personal and business goals: from growing views and subscribers, reaching out to new audiences and growing their earning potential. 

Shorts has helped capture the interest and imagination of mobile-first creators and viewers who from whom a smartphone is a window to a world of opportunity. In India, Shorts is lowering the barriers for under-represented voices to come to the fore and pursue their passions; many of whom may otherwise have not had a platform to do so. We’re seeing creators across languages, socio-economic backgrounds and even India’s hinterlands turn to Shorts to share their passions, grow their channels and build successful careers.

<strong>Shorts has introduced a new monetization format. Please help us understand how it will benefit the platform and the creators?</strong>

We recently unveiled the next chapter in rewarding creativity on the platform by expanding the platform’s monetization system, YPP, to allow more creators to join the program, introducing new ways for creators to earn revenue through Shorts, and re-imagining the music industry and creator dynamic by opening up ads monetization for those who feature music in their videos. 

Starting in early 2023, Shorts-focused creators can apply to YPP by meeting a threshold of 1000 subscribers and 10 million Shorts views over 90 days. These new partners will enjoy all the benefits YPP offers, including ads monetization across Shorts and long-form YouTube videos. This is another option to the existing criteria where long-form creators can still apply to YPP when they reach 1,000 subscribers and 4,000 watch hours. Creators can choose the one option that best fits their channel while YouTube maintains the same level of brand safety for advertisers. To support creators who are early in their YouTube journey, YouTube will also introduce a new level of YPP with lower requirements that will offer earlier access to Fan Funding features like Super Thanks, Super Chat, Super Stickers and Channel Memberships. 

To reward the new creative class, beginning in early 2023, we’ll be moving away from a fixed fund and doubling down on a unique revenue sharing model for Shorts for both current and future YPP creators. Because ads run between videos in the Shorts Feed, every month, revenue from these ads will be added together and used to reward Shorts creators and help cover costs of music licensing. From the overall amount allocated to creators, they will keep 45 percent of the revenue, distributed based on their share of total Shorts views. The revenue share remains the same, no matter if they use music or not. 

<strong>YouTube Shorts came to India at a very opportune time. It came right when UGC was becoming very popular and the market was expanding beyond metros. Throw some light on how you managed to gain footing in the Bharat market?</strong>

When you look at all of the digital platforms in the country, YouTube is fueled by voice, video and vernacular. So, because of that, the innate ability for the platform to go to every nook and corner of the country, and be understood, be loved, and be engaged, is very natural. It actually is the easiest form of communication that somebody can get on the digital connected platform.

We started off with a predominantly English language journey and then Hindi language content started to take off from India’s metro cities. If you remember, back in the day a lot of our creators were comedy centric and from urban centers.

Now in the last five to seven years, two very big things have happened with YouTube. The content creation has gone into the heartland of Hindi speaking markets. Hindi has become far more reflective of the evolving user base that has happened. Now it’s no longer a metro phenomenon.

We’re also seeing a host of other languages also doing very well on YouTube. Telugu and Tamil continue to be heavy-use cohorts for us. The richness of the language space has been unbelievable for us. From Punjabi, Haryanvi, Bhojpuri, Bengali, to Marathi, Gujarati, there is just an extraordinary breadth of languages. Shorts has helped these markets as well. We have seen extraordinary volume from these language markets.

Ours is a journey that is really about going wider and deeper and Shorts is helping us fuel that in even more in a significant manner.

<strong>Platforms that offer both long form and short format content often see the latter stealing all the limelight. Have you noticed any such pattern?</strong>

No creator says that I want to be a short-form creator or a long-form creator. They want to be storytellers and they want to express themselves and tell their stories in different forms. We might think about telling a story today that may need 10 or 20 minutes but tomorrow, we may have a story that may shine in 30 seconds.

Our role as a platform is to give a very versatile toolkit that can help a creator succeed in every format. That’s the core of what we do.  When you think about video creation, our job is to give a toolkit that helps any video creator, do what they want to do, and express themselves with the least amount of friction.  We do believe that both creators and users do not ever say that I’ll only consume a story, if it is, of this size or this form.  They actually want a powerful story. The ability to have that sort of freedom with scale and the best technology is really what we do.  That’s what we’re focused on. That’s what we’ll always be focused on.

<strong>What are your future plans for the offering? What are the top priorities when it comes to new plans for Shorts in India in FY-23?</strong>

Shorts is a natural evolution for us: YouTube Shorts is a new way to create and watch short, mobile videos. If you think about YouTube’s earliest days, we launched with a short 18-second video, ‘Me at the Zoo’. What changed since then is how easy it’s become to create and watch short-form videos. We wanted to make it even easier for people to create short videos on YouTube using their phones, so Shorts is a natural evolution for us. 

We’re building features that are unique to YouTube. We’re bringing all short-form video to YouTube, and all of YouTube to short-form video in a really significant way. There are billions of videos on YouTube - by unlocking those videos for features like remixing so people can sample from those in their own Shorts, we’re creating a real playground of creativity like never before. We have the ability to connect multiple ecosystems - YouTube as we know it today, YouTube Music, and now YouTube Shorts. You can imagine what this might look like in the future - it will allow people to connect more deeply with the content, creators, and artists they’re most interested in. This truly is just the beginning.

EXCLUSIVE: What moves India has the potential to shape the world, says YouTube's Ajay Vidyasagar

<strong>Leo Burnett and Jim Beam</strong>

Publicis Groupe-owned Leo Burnett has been appointed as the global agency-of-record (AOR) for Beam Suntory’s Jim Beam, an American brand of bourbon whiskey. The account, which was won following a multi-agency pitch, will see the agency develop a new global positioning and creative platform. This is the second time Leo Burnett has been appointed as the AOR for Jim Beam. 2016 marked the year when the agency was first selected as the AOR for the American brand. Recently, Beam Suntory announced that it would invest $400 million in renewable energy systems while boosting bourbon production. 

<strong>Hashtag Orange and Signify India</strong>

Digital marketing company Hashtag Orange has won the creative mandate for Signify Innovations India, erstwhile lighting division of Philips Eindhoven of Netherlands. Their responsibility would include ideation, development, and execution of the company’s creative campaigns for both online and offline channels. As per a media report published in June, Signify was looking to grow by 18-20 percent during 2022 in India. Last month, Hashtag Orange appointed Shraddha Iyer as the branch head of its Hyderabad office. Further, the agency bagged mandates across several key accounts. They include GMR Hyderabad International Airport, Monte Carlo, Rock-It, Hype Ryno, EDGE by Pearl Academy, HOUSR co-living and Tulips Hygiene.

<strong>Carat India and TimesPro</strong>

Marketing agency Carat India has won the integrated media mandate of TimesPro, an edtech initiative of Times Group. The responsibility of the agency would include managing TimesPro's omnichannel media services, and this will be handled by the agency’s Mumbai office. The account was won following a multi-agency pitch.

<strong>Bharat Media Group and Newell Brands</strong>

Newell Brands has appointed Bharat Media Group, a 360 degree marketing agency to handle its brands - Reynolds and Sharpie's strategic and creative duties. The mandate includes co-creating the growth roadmap for both businesses in the Indian market. Three weeks ago, Bharat Media Group was appointed as the Agency-Of-Record (AOR) for Super4, Indian fantasy sports platform. The role of the agency will include overseeing the integrated strategy and media mandate which includes creative, performance and experiential marketing, media planning and buying (across medium, traditional and digital), OOH, and cinema. Bharat Media Group has recently made key hirings including Unilever’s former head of Trading and Partnerships, Rohin Desai, who joined as national buying head in August. Desai will head the group’s entire media buying activities across India. He will be based out of the Mumbai office and will report to Anand Charles, CEO, Bharat Media Group. In May, Debarghya Mitra joined as national head of planning. Mitra was VP of client services and head of South at WPP-owned Essence.

<strong>Option Designs and CFS Vision</strong>

Creative and digital marketing agency Option Designs won the creative and digital mandate of CFS Vision, an optical retail chain of Center for Sight Group of Eye Hospitals, which is backed by Mahindra Partners. Their responsibility would include developing creative digital branding strategies for the company. By 2027, CFS Vision aims to create 500 retail locations. In the coming years, the brand will also begin manufacturing frames and lenses under the Make in India initiative.

<em><strong>Compiled by Kashmeera Sambamurthy</strong></em>

Biz Moves: Bharat Media Group gets cracking; Carat India, Hashtag Orange and Option Designs win accounts

Dating app Tinder, in a recent survey, reveals that most young adults in India have little or no confidence in navigating consent and find it hard to have conversations on the subject. Amongst those surveyed in Mumbai, more than 64% of young adults are hesitant to give consent, ask for it, and to withdraw consent when dating someone.

When asked about situations when their consent was violated, 65% of young Mumbaikars chose not to speak to their date/partner about it and turned to a friend and looked for resources online, illustrating the need for continuous dialogue on this subject. In fact, 83% of these young adults in Mumbai believe that consent should be discussed more openly with partners.

The findings are based on research conducted by YouGov which surveyed  1,018  young adults (18-30 years) across  Delhi, Mumbai, Bengaluru, Pune, Kolkata, Chennai and Hyderabad.

Young Indians want to learn and discuss consent with 1 in 2 recognizing themselves as the biggest channel for normalizing conversations around consent.

Around 8 in 10 young adults in Mumbai believe that consent should be discussed more openly with partners, 76% want it to be even taught formally in schools and colleges, and 72% have taken steps to personally understand the concept of consent.

More than 7 in 10 young adults in Mumbai seek more resources and safe spaces (both physical and online) on consent to be more educated and aware in their personal settings. Amongst a broad group of stakeholders potentially responsible for normalizing conversations on consent, young people identified parents (55%), themselves (44%), and schools and colleges (39%) as the top three influencers responsible for that conversation.

Across various aspects of consent education, most of the young Mumbaikars are most interested in learning about how to give consent (44%), understanding their own boundaries and limitations (41%),  followed by how to ask for consent (40%), emphasizing the need for consent education in the city.

The survey highlights that there are a myriad of factors that prevent young adults from communicating consent or the lack thereof to their dates or partners. The most frequent reasons include: afraid of hurting the date/partner’s feelings (41%), themselves are awkward having such conversations (36%), not knowing how to say no (33%) and anxious about not being liked (30%).

Young adults in Mumbai also have clear categorisation of widely understood metaphors for warning signs.They listed top three red flags include making fun about your interests/beliefs, asking for personal/intimate pictures, and not being empathetic towards others.

Yet putting them into practice proves harder than imagined: 3 in 5 young Mumbaikars say that they would hesitate to say no to a kiss and an almost equal number say they would hesitate to dismiss intimate advances even though it might make them uncomfortable.

Young adults in Mumbai believe that consent extends beyond intimacy and includes a larger concern for privacy and emotional boundaries.
 
The survey was a part of Tinder’s effort to create awareness around the importance of consent.  The platform is bringing back ‘Let’s Talk Consent’, its initiative to encourage conversations around consent and safe dating. This year, the campaign launches with “We Need To Talk”, a short film that explores the nuances of consent in interpersonal relationships amongst young Indian adults.

This will be followed by a Consent and Safe Dating curriculum, developed by experts and available online and in person in select universities, to give young adults access to appropriate information and a safe space to have a healthy discourse on the subject.
 
''Our Let’s Talk Consent initiative aims to give young adults the tools and resources to understand how consent equates freedom in making choices, mutual agreement and normalizes open discussions on tough topics. Coupled with safety products in the app and initiatives such as these, we are committed to working towards creating a healthy dating ecosystem in the country,” says Taru Kapoor, GM, Tinder & match group, India.

Young adults don’t know how to give, ask or withdraw consent while dating, Tinder study

Sleeping disorders are so common and yet there is not enough awareness about them in India. Obstructive sleep apnea (OSA), for instance, is a disorder caused by the repetitive collapse of the upper airway during sleep which leads to difficulty in breathing while sleeping. While it's one of the most common sleeping disorders, not many people know about it.

To tap this massive gap in the market, medical equipment company ResMed India has launched a campaign featuring singer and rapper Baba Sehgal.

Created by advertising agency Bang in the Middle, ResMed’s #AwakenYourBest campaign is aimed at creating awareness on sleeping disorders like sleep apnea and emphasis on sleeping well.

In the video, Sehgal, in his quintessential rap style, is seen crooning a rap or sleep anthem that talks about taking a simple at-home test to diagnose sleep related disorders. The purpose of the campaign is to create awareness about the importance of good sleep in a full-filled manner.

“There’s a great gap when it comes to talking about sleep disorders and we wish to start the conversation and create awareness,” says Seema Arora, business head - consumer and digital, South Asia, ResMed.

<strong>Acute sleep deficit</strong>

ResMed conducted a study, speaking to over 5000 people digitally to understand the impact on sleep post-pandemic. The findings show that Indians take a long amount of time (close to 90 minutes) to fall asleep which is far higher than Japan (25 minutes), China (42 minutes) and Korea (30 minutes). The longer duration is equated with extended screen time on devices.

“Data also confirmed a severe pandemic impact on sleeping habits in India. The survey also stated that 62 percent Indians agreed that stress has impacted their sleep during the pandemic as well as post pandemic. Erratic work schedules, excessive digital exposure and unhealthy lifestyle is contributing to poor sleep quality,” shares Arora.

Although ResMed is targeting consumers aged 30-69 years residing in the top 20-25 cities, it is also looking to connect with young Indians (under 25 years) who could be potential influencers in their household.

“We do wish to speak to audiences above the age of 25 years to have the information and encourage their loved ones to take the test and check about the quality of their sleep,” says Arora.

Social media and digital platforms are the likely places where ResMed is hoping to engage with potential customers.

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<strong>Market potential</strong>

India is a huge market for ResMed. Arora quotes a Lancet Respiratory Medicine 2019 study, which states that an estimated 5.4 percent of all Indians ages 30-69 years (28.8 million) have moderate to severe sleep apnea. The level of sleep awareness continues to remain low in a country like India, with only a handful of sleep labs for a population of over 1.3 billion.

The study states that people are often unaware about sleep issues and even if diagnosed with sleep disorders, they tend to hide them. Hence, there is a need to create awareness about the importance of sleep and sleep related disorders.

“The potential in the India market is huge. 28.8 million people could be dealing with sleep apnea. Diet and workout can have a positive impact but it is not the gold treatment for a sleeping disorder. It requires a proper sleep check-up followed by a CPAP (Continuous positive airway pressure) machine to treat sleep apnea. As we start creating awareness we foresee a demand for these products,” says Arora.  

Currently, there are barely 30,000 to 35,000 odd CPAP devices which are being sold in a year. Compared to the population the penetration of these devices is still less. ResMed is looking to change that.

<strong>Agency speak</strong> 

Naresh Gupta, co-founder and CSO, Bang In The Middle says that Obstructive Sleep Apnea is a life-threatening condition and it's easy for the brands to be in the zone that is a bit scary.

“All our consumer chats pointed towards the fact that instilling fear doesn't work as well as creating a happier curative story. Baba Sehgal has a unique style of telling the story, we merged it with an interesting way of taking the consumer on a journey with us," says Gupta.  

"The way the music flows and the way the scenes change in the commercial brought the audience into the brand fold,'' he says, adding, "The simple call to action of asking for a Home Sleep Test was made possible with the magic that was weaved through earworm quality of the music." 

ResMed has kicked off its campaign with a song and dance and the hope that its rap track can help Indians sleep well.


ResMed hopes its rap track can help Indians sleep well

Tata Play has joined hands with Amazon Prime to offer Tata Play DTH and Tata Play Binge customers multiple ways to access Prime Video’s content. 

Tata Play DTH subscribers can now choose from multiple packs starting from INR 199 per month, that offer a variety of their favourite TV channels along with Prime Lite with Tata Play. In addition, Binge subscribers can enjoy Prime Lite with Tata Play along with 30+ other popular apps at various price points. At INR 199 per month, users can subscribe to 6 OTT apps, including Prime Video, from a list of 33 apps, or can subscribe to all 33, including Prime Video at INR 349 per month.

Prime Video’s addition to the league of 30+ national, international, and regional apps on Tata Play Binge aims to further elevate content bingeing into an even more indulgent experience, all in one convenient location across languages, genres, and devices. 

Consumers can enjoy the full selection of shows and movies on Prime Video including Panchayat, Mirzapur, The Family Man, Dhootha, Inspector Rishi, Farzi, Dahaad, Made in Heaven, Indian Police Force, Suzhal – The Vortex, Dil Dosti Dilemma, Poacher, among others, blockbuster movies like Pathaan, Jailer, Ponniyin Selvan I & II, Rocky Aur Rani Kii Prem Kahaani, Tiger 3, Kantara, Mast Mein Rehne Ka, Maja Ma, Bawaal, Pippa, Captain Miller, Teri Baaton Mein Aisa Uljha Jiya, and many more, along with international series and movies like Fallout, Citadel, The Lord of The Rings: The Rings of Power, The Idea of You, The Boys, Jack Ryan, Reacher, to name a few. This is in addition to other Prime Lite benefits like, free unlimited same day delivery across 1M+ products and next day delivery across 4M+ products, prime early access & exclusive deals and 5% cashback on Amazon Pay ICICI Bank Credit Card while on shopping on Amazon.

“While on the one hand, Tata Play’s robust content distribution network will help in expanding Amazon Prime’s outreach to newer audience segments, on the other, addition of Prime Lite Membership with Tata Play will make Binge a more compelling proposition,” said Harit Nagpal, Managing Director and CEO, Tata Play, on this first-of-its-kind partnership.

“At Prime Video, our mission is to super-serve our customers with the best of entertainment, and we are constantly looking at ways to strengthen our distribution to ensure wider availability of our much-loved movies and series,” said Gaurav Gandhi, vice president, APAC & MENA, Prime Video. “The collaboration with Tata Play provides its DTH and digital customers seamless access to Prime Video’s full selection of content, as well as Prime Lite benefits like unlimited free shopping & shipping of ‘Same-day/Next-Day’ delivery, Prime exclusive deals and much more. We look forward to working with Tata Play to make premium entertainment even more accessible to customers in India.”

In addition to the above new plans, DTH customers can also subscribe to the annual subscription of Amazon Prime through Tata Play DTH at an attractive limited time introductory offer, and gain access to Prime Video, free shipping/ shopping benefits, Amazon Music, Prime Reading, Prime Gaming etc., and access through 5 devices.




Tata Play and Amazon Prime collaborate to offer Prime benefits to viewers across TV and OTT

BAJAJ, a consumer appliance brand, has released a CGI video, an extension of the ongoing multi-media campaign for its air cooler range. 

Set in Delhi's Connaught Place, the brand’s CGI ad campaign sees people shielding themselves from the scorching sun on a bustling street, stated the company. While the extreme heat drains one and all, a larger-than-life BAJAJ air cooler emerges from a billboard and delivers a strong gush of refreshingly cool air. 


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Devika Sachdev, head of advertising and brand management at Bajaj Electricals Limited says, "At BAJAJ, we are constantly striving to innovate and provide durable products that enhance the lives of our customers. But innovation doesn’t stop just at our products. Our first CGI video was crafted to captivate our online audience and resonate with today's generation in an engaging manner. Furthermore, we are actively involving our online community through a User-Generated Content (UGC) contest. We eagerly anticipate introducing more innovative and modern content strategies to further captivate and connect with our audience.”


<strong>Read More:</strong> <a href="https://www.storyboard18.com/quantum-brief/is-cgi-in-advertising-becoming-an-overkill-17098.htm">Is CGI in advertising becoming an overkill?</a> 

Bajaj rolls out a CGI video for its air coolers range

Taking cognisance of  financial frauds perpetrated through mobile phones, the Centre will soon classify pesky calls and other modes of unsolicited commercial communication as unfair trade practices. The move will make such callers and message senders criminally liable under consumer protection laws.


It is to be noted that under section 2 (28) and 2(47) of Consumer Protection Act, 2019 respectively, unwarranted or unsolicited commercial communication is misleading and unfair trade practice.


As per media reports, the Department of Consumer Affairs is working to bring out relevant guidelines in a couple of months. These will put accountability on telemarketers and their principal entities such as banks, real estate companies or any other consumer-facing business. while sending promotional or transactional messages or making such calls for customer conversion. 


These proposed guidelines will define what all would come under such fraudulent calls and the focus will be on fixing accountability and ensuring all promotional and transactional communications happen only through the authorised channels. Additionally, the norms will ensure to prohibit the communication in violation of the regulator-prescribed numbers series.
  

In February 2024, the Consumer Affairs Ministry of India formed a committee to draft guidelines to address unsolicited commercial calls. The committee then advised telemarketers from various sectors to prefix their phone numbers with the 140 number series so that consumers can identify the caller. The committee also emphasised that telemarketers should comply with the enabling provisions. 


<strong>Read More:</strong> <a href="https://www.storyboard18.com/how-it-works/government-issues-advisory-against-calls-impersonating-dot-threatening-people-to-disconnect-mobile-numbers-27703.htm">Government issues advisory against calls impersonating DoT, threatening people to disconnect mobile numbers</a> 

Unwanted calls no more! Telemarketing and fraudulent calls to incur criminal liability soon

Pee Safe, a leading personal hygiene and wellness brand, has announced the launch of PeePal, an AI-driven chatbot. PeePal not only transforms personal hygiene shopping but also educates consumers on optimal hygiene and self-care practices. By seamlessly integrating artificial intelligence (AI) and machine learning (ML), PeePal offers a transformative user experience.


According to McKinsey, AI technologies could add up to $1 trillion in value annually, with revamped customer service playing a crucial role. With the global conversational AI market growing at a CAGR of 22%, reaching nearly $14 billion by 2025, chatbots like PeePal are at the forefront of enterprise AI adoption.


Rithish Kumar, co-founder of Pee Safe, expressed his enthusiasm, saying, "PeePal is not just a shopping assistant; it's your personalised guide through our Pee Safe ecosystem. It's about making your personal care journey uniquely yours and empowering you with knowledge."


Gopal Dutt Vashisht, growth manager at Pee Safe, highlighted PeePal's personalised journey, stating, "PeePal is not just about accurate decision-making; it's a reliability revolution. While others talk about innovation, we're living it, setting a new standard in the ecosystem—transforming personal care and educating our users along the way."


PeePal chatbot provides instant responses, streamlining transactions for a seamless shopping experience. It increases website traffic as satisfied customers share positive interactions, ensuring a dynamic, customer-centric approach. 

In-store, smart shelves manage inventory and offer recommendations, while digital signage and self-checkout kiosks enhance the experience. Predictive analytics optimise stock, predict trends, and personalise marketing. Sentiment analysis monitors feedback for continuous improvement.


<strong>Read More:</strong> <a href="https://www.storyboard18.com/how-it-works/from-mithais-to-sexual-wellness-products-how-diwali-gifting-ideas-are-changing-2787.htm">From mithais to sexual wellness products: How Diwali gifting ideas are changing</a>

Pee Safe introduces PeePal, an AI chatbot, to enhance personal care shopping

With the Paris 2024 Olympic Games just around the corner, Omega welcomed Neeraj Chopra to its sporting ambassador family. To celebrate the announcement, the athlete was invited to the OMEGA boutique in Doha, Qatar ahead of his championship at the Wanda Diamond League.

Neeraj Chopra is known for his performance at the Tokyo Olympic Games. He has been selected by OMEGA for his dedication, excellence, and precision – the very same values that OMEGA strives for in its own iconic watchmaking.

Speaking on the partnership, Neeraj Chopra said, “I am very excited to be a part of such an iconic brand that plays such a huge role in timekeeping at the Olympic Games. I am looking forward to a great association with OMEGA and the upcoming spectacle in Paris.” Neeraj Chopra is the reigning Olympic champion and World champion in Men's javelin throw. He is the first Asian athlete to win an Olympic gold medal in javelin and the first Asian to win gold in his event at the World Championship.

OMEGA has been the Official Timekeeper at almost every Olympic Games since 1932. Paris 2024 will mark OMEGA’s 31st occasion as Official Timekeeper of the Olympic Games. Throughout this time, the brand has developed and introduced some of the most important timekeeping technologies in sport, while recording the dreams of the world’s best athletes.

 

Omega ropes in Neeraj Chopra as brand ambassador ahead of Paris Olympics

Carat, the media agency from dentsu India, has been awarded the television media mandate for Waaree Energies Limited, with the aim to amplify its brand presence.

As per the mandate, Carat will oversee the brand's television media across India exclusively. They will also support in strategizing and planning other traditional media and buying for print, radio, and digital. Furthermore, OOH (Out-of-home) will be executed by Posterscope, the OOH specialist agency from dentsu India. Carat aims to enhance the brand's visibility across diverse media channels through its data-driven capabilities.

According to Nilesh Malani, Chief Marketing Officer, Waaree Energies Limited, “Selection of Carat as our media partner is a choice intended to amplify our brand's impact and to contribute towards promotion of sustainable advancements in India. We have confidence in Carat India's ability to create imaginative and visually appealing campaigns that will help us connect with our target audience, thereby reinforcing our commitment to expediting the clean energy transition in India and facilitating positive transformations for a more environmentally friendly future.”

Anita Kotwani, CEO, Media, South Asia, dentsu, said, “It is an absolute privilege and honour to join hands with Waaree Energies Limited and contribute to their growth journey in India. This partnership marks a pivotal moment, where our expertise and dedication merge with Waaree Energies Limited’s vision and ambition. Together, we believe that we are poised to achieve milestones and drive growth, emphasizing our commitment to delivering quality in every aspect of our collaboration.”

Sanchayeeta Verma, CEO, Carat India, expressed enthusiasm, stating, “Waaree Energies Limited is one of India’s largest manufacturer of solar PV modules and a global player. We believe that it has an important role towards India’s net zero goals. At Carat, we are deeply committed to this as it is a vital priority in dentsu’s Business to Business to Society B2B2S goals. Moreover, we believe that our expertise will be pivotal in realizing Waaree Energies Limited's vision: delivering cost-effective sustainable energy solutions across the market. We are extremely delighted to come on board as ‘Partners on Record’ of Waaree Energies Limited.”

The collaboration between Waaree Energies Limited and Carat India underscores Waaree Energies Limited's commitment to advancing sustainability and contributing towards a cleaner future.









Carat wins television media mandate for Waaree Energies Limited

The government is planning to enforce mandatory anti-fake review norms for e-commerce companies to safeguard consumer interests. The Consumer Affairs Department is considering to notify the Quality Control Order (QCO) for online consumer reviews after a voluntary push failed to effectively curb fake reviews.


The department had issued quality norms for e-tailers a year ago, prohibiting them from publishing paid reviews and demanding disclosure of such promotional contents.


"Some entities claim that they are complying with it. But fake reviews are still getting published. We are consulting with the stakeholders this week. We want to make these standards mandatory to protect consumer interest," said Consumer Affairs Secretary, Nidhi Khare.


The Bureau of Indian Standards (BIS) has come up with draft norms for "Online Consumer Reviews" and circulated it among stakeholders. The draft QCO specifies that all organisations (termed as review administrator) managing and publishing online consumer reviews shall comply with the norms. They must ensure that only "genuine" reviews get published and they won't publish any "fake or false" consumer reviews online.


As per draft norms, entities shall not publish reviews that have been purchased and/or written by individuals employed for that purpose or the supplier or by a third party. They can't reward or incentivise consumers based on the content of the review submitted. "The organisation shall not edit reviews to alter their message. The organisation shall not prevent or discourage people from submitting negative reviews," it added.


<strong>Read More:</strong> <a href="https://www.storyboard18.com/brand-makers/nidhi-khare-to-be-consumer-affairs-secretary-takes-over-from-rohit-kumar-singh-25475.htm">Nidhi Khare to be Consumer Affairs secretary; takes over from Rohit Kumar Singh</a> 

If capitalism had its version of Agitprop, its two main heroes would be PowerPoint and Excel.


They would be celebrated as tools that revolutionised and transformed business management. Without a doubt, they have had a massive impact. Whether as carriers of prior information, facilitators of analysis or creators of meta thinking, they established themselves as the ‘always on’ tools especially for those who were set to climb the ladder fast. 


This impact helped create, sustain and grow the mystique of the business mandarin. In myriad ways, they were invaluable to the ‘behind-the-curtain’ players who formed the establishment glue, the grout in the interdepartmental tiles as also to those who did customer facing razzle dazzle. In terms of packaging and distribution - PowerPoint and Excel came to hold sway.


But, are they fit for purpose and has this impact only been positive?


PowerPoint is more fundamentally flawed. It is a poor tool and has made both medium and message shrink. Intrinsically, it isn’t suited for what it is meant to accomplish in terms of clear, engaging, sharp communication. Sharp imagery, a few bullet points and a narrative often trumps thorough analysis and case supporting documentation. It is used indiscriminately for big bold ideas as well as the minutiae. It only follows a sequential, linear narrative. 


Could a general plan battle with PowerPoint inputs? Could an advocate convincingly argue with it in a court of law? Is it telescopic or microscopic in its net effect?


When done differently, it often gives rise to another issue, namely over stuffed presentations. But saying “apologies for a busy slide” is all it takes to brush away the illegible density. 


I have seen multiple slides in one or beastly innovations such as one slide with multiple links that go to other slides only to return to the nominal single slide.


The very ephemeral nature of such an arrayed display - boring or bedazzling - as it may be means that each slide appears for a few seconds before a puzzled, distracted or engaged audience. The etiquette of posing questions together at the end means the ‘peak end effect’ inevitably takes hold. Often, all you remember is the high point and the conclusion.


The celebration of PowerPoint is however a symptom and not the cause. 


Reductive, shorthand summarisation has become the preferred mode for collective discussions. There is not much bandwidth for detailing. An impactful image becomes a substitute for a cogent argument rather than a support for it. I am all for visually attractive, clutter breaking and compelling imagery but must the horse ride the man? Truly, does a picture say more than a thousand words? When the need for quantitative substantiation is felt, numbers march into the cramped space and infographics take pride of place. But it’s self-selection of data that happens most of all. People choose to see what they want to see.  


PowerPoint is a great tool for advocacy but not critical analysis. 

The recipe has become more important than the dish.


There is also the futility of the pre read. PowerPoints are often circulated prior to meetings and distributed far and wide. Hence there is an urge to be armed with additional content to drive specific agendas during meetings. 


A simple litmus test is whether a presentation is self-explanatory without the presenter. I am not disputing the critical role of the narrative, but every presenter wants attention and that leads to message mutation.


The detailing must be to a level of sufficiency. Brevity is the soul of the nitwit.


If you make PowerPoint presentation an end rather than the means, you will end up making a puréed mess of your ideas, and you have no choice in the matter.


Let me now deal with Excel. I believe Excel is the single most transforming element of what has made modern business what it is. It was like a cannon to the ramparts of feudal management. It blew old style marketing and creative industries to bits. 


It all started with the advent of the spreadsheet. This came in the early 1980s shortly after the introduction and widespread adoption of the IBM PC: VisiCalc, followed by Lotus 1-2-3, and then, of course, Microsoft Excel as a part of MS Office. 


<strong>Working a spreadsheet made business a malleable reality. It visually gave birth to the bottom line.</strong> Change the numbers up and the bottom line changed from red to green. <strong>Whereas real business was dealing with frictional ground realities, excel made every scenario a gamed outcome. If it could be on excel, what prevented it from being real on ground?</strong> 


‘Go to market’ strategy became subservient to excel. 


<strong>Old style business began to look sloppy, wasteful and plain.</strong> 


<strong>‘Excel men’ derived power from mathematical certainty whereas creative business was messy, loud and chaotic in comparison.</strong>


<strong>Power shifted towards formality and reserve. Men became cooler than the air conditioning. You counted only if you could be counted to deliver the numbers in the cells.</strong>


<strong>Financial engineering became the domain of the high-flying manager. Convening rights and allocation of resources got determined via outcomes from the spreadsheet. Excel made effects and countereffects easy to visualise and all fantasies seemed within grasp.</strong>


A patina of seriousness was acquired by the excel man. He was seen as wise and careful -someone sober, clinical, precise, and forever ready. He held the cards and didn’t need to show his hand. 


This ex parte advisory had a lugubrious air, implied authority and was blessed with Delphic certainty. It was inherently at conflict with the hopeful, familial charters of old business. 


<strong>Excel created a vehicle for defining value. It made the old corps tetchy. But they had no option but to lump it. Any large corporation is a confederacy of noncooperative parts. The excel yoke put everyone in one line. </strong>


<strong>For all its intentionality, the ‘excel projection’ gave its controllers a certain degree of ritual deniability.</strong> After all they just ran the numbers. If the targets were not achieved, the line managers and operators were to be held accountable. 


<strong>With excel power, even the sub-rosa parts of business became a sound and light show - dynamic, dramatic and dangerous. The consumer reality became subservient to higher order lines like technology, supply and cost.</strong>
 

<strong>Marketing and management now suddenly demanded a different type of  temperament. Without the excel seal of approval you were only a poet.</strong> 


By the 90s, the old order was being swept away as the millennium melted away into a sunset. Absolute novices, powered with the right to analyse and manipulate numbers—took over unassailable, solid, and essential brands. 


It was a revolution: new against old, analytical stars against storytellers, financial visionaries against business as usual. True or not, that’s how it was framed. Brand building, which used to be an institutionalised, specialized, creative, viscous activity—became everyone’s playing field. 


He who had the excel sheet controlled the dream. Financing something, anything, became the central economic activity.


Whilst the marketing culture at large was being dumbed down, the excel culture was getting smarter, more competitive, oppressive and, adamant in its pursuit of the ‘excel outcomes’.


From being the core of a business, the brand became a great abstraction. Businesses could be broken up, sold in parts, merged and dissolved.


A page of PowerPoint and a sheet of excel was all that mattered. 


<em><strong>Shubhranshu Singh is VP and CMO, Tata Motors CVBU. He writes Simply Speaking, a special column on Storyboard18. Views expressed are personal.</strong></em>


<strong>Read More:</strong> <a href="https://www.storyboard18.com/brand-makers/i-am-more-hungry-for-artificial-imagination-than-for-artificial-intelligence-shubhranshu-singh-21029.htm">I am more hungry for artificial imagination, than for artificial intelligence: Shubhranshu Singh</a> 

Excel - That is the powerpoint of it: Read Shubhranshu Singh's take on how Excel forever changed business and marketing

In the past 17 years of working in the digital marketing industry, I see it all the time: marketing fatigue and marketer fatigue. Marketer’s fatigue is a result of having to keep up with an ever-evolving industry, an industry that constantly demands creativity and the pressure to meet deadlines and keep up with the latest technology. Marketers' fatigue can easily be overcome with doable solutions that are as basic, such as self-care, streamlining the work process, creating a supportive work culture, and taking much-needed breaks to recharge.  

But how does one overcome marketing fatigue? 

Consumers are faced with information overload, and this constant barrage of messages and ads has a predictable effect: indifference. It’s a constant battle to find the balance and figure out how much is too much. What is the tipping point where your audience moves from interest to indifference?  

Here are some insights I've gleaned from the trenches: 

Let's start with understanding why marketing fatigue kicks in to begin with. 

Customers today are a discerning lot. They no longer buy into invasive marketing techniques. What adds to the fatigue is repetitive marketing campaigns as well. Drip campaigns and repetitive and invasive ads can sometimes be annoying and lead to some speedy ‘blocks’ and ‘unsubscribes.’ The classic signs of marketing fatigue include lower click-through rates, a drop in engagement, fewer impressions, and a higher bounce rate.  

Combating fatigue requires a shift in mindset. We must move from pushing messages at customers to creating content that resonates and sparks a connection. This sounds pretty basic, right? It is. We are not reinventing the wheel here; we are just trying to get a finger on the pulse of our audience.  Here are some strategies to consider: 

<strong>Set Boundaries:</strong> It's important to respect your audience’s preferences. Let your audience control the frequency and type of messages that they receive. Make it easy for people to opt-out or unsubscribe to content that they are no longer interested in. And then respect that decision! 

<strong>Personalize the Experience:</strong> Nothing feels better than being spoken to personally or reading content that you feel has been written only for you. How do you do this? Start by segmenting your audience. Divide your contacts into groups based on shared interests and behaviors. You can do this using different data points like demographics, purchase history, website behavior, and more- this can help you tailor your message. The more relevant your message, the less likely it is to cause fatigue. 

<strong>Prioritize Your Campaigns:</strong> While marketing campaigns are always meticulously planned, you can use a content calendar to avoid overwhelming your audience with too many messages at once. Once you do this, use A/B testing to find the optimal frequency for different segments. Prioritize important messages like product launches and avoid sending less critical content at the same time. 

<strong>Relevant & Non-Intrusive Content: </strong>Avoid bombarding customers with ads and craft messages that are timely, relevant, and respectful of their time. This means understanding their needs and creating content that resonates with them.  

<strong>Conversational Marketing: </strong>Instead of a one-way street of messages, encourage two-way communication. This can be done through interactive content, polls, or social media engagement to build relationships and trust. 

<strong>Marketing & Sales Alignment:</strong> Marketing and Sales need to work together. They should monitor engagement levels and adjust messaging frequency accordingly to avoid overwhelming potential customers. 

<strong>Data-Driven Optimization:</strong> Continually test different marketing tactics, analyze customer behavior, and adapt your approach based on the insights. Utilize data and predictive analytics to personalize the customer journey. A/B testing allows you to refine your approach continually. Track metrics, analyze results, and adapt your content and strategy based on what resonates with your audience. Data-driven marketing campaigns can generate 5x higher ROI (Forrester Research). 

In conclusion, combating marketing fatigue isn't about flashy gimmicks or chasing the latest tech trend. It's about a fundamental shift in perspective. Marketers must become storytellers, crafting content that resonates with a discerning audience. By prioritizing relevance, fostering two-way communication, and leveraging data to personalize the customer journey, we can reignite engagement and turn fatigued indifference into brand loyalty. Remember, marketing is a conversation, not a monologue. Let's listen to our audience and craft messages that matter, transforming marketing fatigue into a catalyst for deeper customer connection. 

<strong>The column is written by Prashant Puri, Co-Founder & CEO, AdLift, a global digital marketing agency. Views expressed are personal.</strong>

Combating marketing fatigue and reigniting customer engagement

The Cannes Lions International Festival of Creativity has announced Unilever as the 2024 Creative Marketer of the Year. The honorary accolade is presented to a marketer that has amassed a body of iconic, Lion-winning work over a sustained period of time, with Unilever establishing a reputation for producing brave, creative and innovative marketing solutions.

Unilever was last honoured as Creative Marketer of the Year in 2010 and in the following years has amassed hundreds of Lions. At last year’s Cannes Lions, Unilever was awarded Lions across a number of its brands including Dove, Hellmann’s, Dirt Is Good (known as Persil, Skip and OMO), Magnum, Vaseline, Marmite and Pot Noodle.

In 2023, Unilever’s largest brand, Dove, was awarded the Media Lions Grand Prix for its ‘#TurnYourBack’ campaign by Ogilvy, London / DAVID, Madrid. ‘#TurnYourBack’ was deemed by Media Lions Jury President, Christian Juhl, to be “a timely example of how our industry can use the power of media to protect young people and empower them to reject the pressure they feel to conform to artificial standards and be confident in their true, unfiltered selves.”

Dove’s inclusive beauty mission was first launched through its 2004 campaign ‘Real Beauty’, which celebrates 20 years this year. Since then, the brand has been a trailblazer in demonstrating how marketing can drive impressive commercial results. Building on this platform in 2013, the ‘Dove Real Beauty Sketches’ campaign set out to give striking proof that women are more beautiful than they think – picking up 16 Lions, including the highly coveted Dan Wieden Titanium Lion Grand Prix as well as the Gold Creative Effectiveness Lion the following year.

Today, Dove is a €6bn brand that continues to champion real-world change for DEI, including through the introduction of the CROWN Act in the US which makes race-based hair discrimination illegal. First passed into law in 2019, there are now 24 states with legislation in place.

Unilever brand Hellmann’s also continues to stand out in culture through the brand’s ‘Make Taste, Not Waste’ creative platform, highlighting its long-standing mission to help people tackle food waste in the kitchen, most recently with the help of ‘Mayo Cat’ at the Big Game. With the same humorous tone, Hellmann’s ‘Mayo McHack’ campaign taught Brits how to ‘hack’ the missing mayo item on a famous restaurant chain’s menu, picking up two Silver Lions in PR and Brand Experience & Activation last year.

These Award-winning campaigns are testament to the company’s commitment to creativity, underpinned by its marketing philosophy, ‘Get on the Frontline’, and delivered by its Creative Excellence program focused on effectiveness education, increasing creative ambition, nurturing creative talent, and eliminating barriers to creativity. This dedicated programme is championed by Unilever’s Creative Council, which brings together its Chief Marketing Officers and creative agency leaders and is chaired by Unilever’s Chief Growth & Marketing Officer, Esi Eggleston Bracey.

About Unilever’s award, Simon Cook, CEO, LIONS, said: “This award is about recognising and celebrating those brands that are consistently delivering work that raises the bar for creative excellence across the global creative communications industry. Unilever is pushing the creative boundaries consistently and continuously across a wide range of brands from different markets, in collaboration with a breadth of agency partners, demonstrating a clear understanding and commitment to the power of creativity as a driver for progress and growth. Congratulations on this much deserved win.”

Esi Eggleston Bracey, Chief Growth and Marketing Officer, Unilever, commented: “Thank you, Cannes Lions, for recognizing our brand leaders and agency partners who are always pushing creative boundaries. Our commitment to bold, brave, and more creative marketing is unwavering. Creativity that starts with inspiration, connects to commerce at every moment and resonates with people to build desirable and unmissably superior brands. It is a huge honor to accept this award on behalf of our exceptional team that truly grasps the power of human connection to serve people and grow our brands.”

The Creative Marketer of the Year award was Introduced in 1992, with past recipients including AB InBev, Apple, Burger King, Coca-Cola, Google, Heineken, IKEA, Mars, McDonald's, Samsung and Microsoft, each of which have demonstrated that consistent and world-class creativity underpinned by a culture of creativity drives business performance – and have won multiple Lions at the Festival as a result.

Esi Eggleston Bracey will deliver Wednesday’s opening keynote during Cannes Lions and will collect this Award on behalf of Unilever at the final Awards Show of the Festival on Friday 21 June. 

Karan Johar’s Dharma Cornerstone Agency (DCA) ropes in Orry to strengthen influencer marketing portfolio

Orry’s decision to join DCA signifies a strategic move towards expanding his influence beyond the digital space.

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