The National Stock Exchange (NSE) announced it will stop issuing new futures and options contracts for Zee Entertainment once the currently available contracts expire. This means investors won't be able to enter new contracts for Zee after the existing ones reach their maturity date.

In a circular on April 16, NSE said, This is in reference to SEBI Circular Ref. No: SEBI/HO/MRD2/PoD-2/CIR/P/2023/171 dated October 16, 2023 and chapter 3.5 of Exchange circular No. NSE/FAOP/57264 dated June 23, 2023 regarding eligibility criteria of stocks.Members are requested to note that the contracts for new expiry months in the following security will not be issued on expiry of existing contract months.”

However, the existing unexpired contracts of expiry months April 2024, May 2024 and June 2024 would continue to be available for trading till their respective expiry and new strikes would also be introduced in the existing contract months.

Accordingly, no contracts shall be available for trading in the above-mentioned security with effect from June
28,2024.

NSE to stop new Zee Entertainment futures and options contracts

The existing unexpired contracts of expiry months April 2024, May 2024 and June 2024 would continue to be available for trading till their respective expiry.

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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”.


Read More: <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

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.


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.


From logic to magic


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.


Re-energising the brief


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


Insightful - Packed with gems and nuggets that bring the strategy to life.


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


Igniting - 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’.


What makes a great brief


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.


Keep it simple and sharp


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).


Pull out little nuggets


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’.


Bring your target person to life


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’?


Dramatise it


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!


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.

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.

The writer is the founding member and chief business officer of Atomberg. Views expressed are personal.

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

MAST

Brand: Oakley

Campaign: Be Who You Are

Agency: 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.

MEH

Brand: NutriGlow

Campaign: NutriGlow

Agency: 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.

Mast 

Brand - Thums Up

Agency - 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!

Meh

Brand - Casio India

Agency - 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. 

Mast

Brand: 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. 

Meh

Brand: Hindware

Agency: 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 

MAST

Brand: Cadbury Dairy Milk

Campaign: Cadbury Dairy Milk Bodyguard – Kissi aur ki Khushi mein shaamil hokar dekhiye

Agency: 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. 

MEH

Brand: Myntra

Campaign: Myntra Big Fashion Festival

Agency: 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.

Mast

Brand: Coca Cola

Agency: 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. 

Meh

Brand: Pantaloons

Agency: 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. 

MAST

Brand - The Body Shop

Agency - 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. 

MEH

Brand - Levi’s India

Agency - 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. 


MAST

Brand – Bombae Fuzz Off Trimmer | Painless hair removal for women

Agency/Production House – 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.


MEH

Brand – Manyavar | Taiyaar Hokar Aaiye

Agency - 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:

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

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.

What kind of research went behind picking the theme for this edition of the campaign?

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. 

Where did the inspiration for the execution of the campaign come from?

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>



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

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.

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?

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.

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

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. 

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

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.

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? 

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.

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.

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. 

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

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.

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

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. 

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?

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.

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

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.

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?

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

Leo Burnett and Jim Beam

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. 

Hashtag Orange and Signify India

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.

Carat India and TimesPro

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.

Bharat Media Group and Newell Brands

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.

Option Designs and CFS Vision

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.

Compiled by Kashmeera Sambamurthy

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.

Acute sleep deficit

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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Market potential

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.

Agency speak 

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

The Supreme Court on Tuesday, exempted yoga guru and Patanjali Ayurved co-founder Baba Ramdev from personally appearing for the next hearing in the misleading ads case. 

Justices Hima Kohli and Ahsanuddin Amanullah recognised the apology issued by Ramdev and Acharya Balakrishna in newspapers. The bench also observed the the apology issued earlier was too small and didn’t mention any names besides that of Patanjali Ayurved. 

The court said, "Now there appears to be marked improvement, the ads are now bigger, new ad also mentions Baba Ramdev, the language is adequate. For now, we will allow exemption only for the next date of hearing."

Mukul Rohatgi, appearing for Ramdev, also said that he is filing a contempt case against the Indian Medical Association (IMA) for their remarks on the court order. 

Read More: <a href="https://www.storyboard18.com/quantum-brief/patanjali-misleading-ads-case-uttarakhand-sla-apologises-to-supreme-court-30276.htm">Patanjali misleading ads case: Uttarakhand SLA apologises to Supreme Court</a>


Earlier, the Uttarakhand State Licensing Authority (SLA) apologised to the Supreme Court for unsatisfactory action against Patanjali Ayurved in the misleading ads case, reported Bar and Bench. 

The Uttarakhand SLA has filed a criminal compliant against Baba Ramdev and Acharya Balakrishna for violating the Drugs and Magic Remedies (Objectionable Advertisements) Act, it said in an affidavit filed on Saturday. 

The Indian Medical Association had earlier, filed a plea against Patanjali Ayurved in response to an alleged smear campaign against the Covid-19 vaccination drive and other modern medicine. The affidavit was filed in response to the plea.

Patanjali misleading ads case: Baba Ramdev exempted from personal appearance in court on next hearing

The All India Digital Cable Federation (AIDCF), representing cable operators across India, has submitted a strong response to the Telecom Regulatory Authority of India's (TRAI) consultation paper on ‘Review of Regulatory Framework for Broadcasting and Cable Services’.


Among other issues discussed in the submission, AIDCF has expressed concerns on ceiling on discounts offered on bundled channels or bouquets.


The AIDCF argues that the current system, allowing broadcasters to heavily discount bundled channels compared to individual channel prices, stifles consumer choice and hurts smaller broadcasters.


The AIDCF claims broadcasters pressure cable operators to carry unpopular channels in bouquets by offering deep discounts. This forces consumers to subscribe to channels they don't want.

“Further, by providing huge discounts on the bouquets, they discourage DPOs from procuring the a-la-carte channel and further sell the channels in the form of bouquets. This way, the broadcasters push the subscription of channels which are otherwise not required by consumers just to earn advertisement revenue on such channels. Further, by providing huge discounts on the bouquet vis a vis ala-a-carte they push all such channel free of cost without paying any carriage charges,” they said in their submission. 


AIDCF has also highlighted that broadcasters avoid paying carriage fees for unpopular channels by bundling them with popular ones. This reduces revenue for cable operators.


“All this is done against the licensing framework. The license granted by Ministry of Information and Broadcasting (MIB) to the TV channel operator neither allows them to sell their channels to consumer directly nor allow the creation of bouquets. They are supposed to sell/provide each of their channels on individual (a-la-carte) basis to
the DPOs only,” reads an excerpt from their submitted comment. 

The body also advocates for proposed solutions that includes completely banning broadcasters from offering discounts on bundled channels. This would force broadcasters to lower individual channel prices, potentially making a-la-carte subscriptions more attractive.


The other solution according to AIDCF is to reduce the discount cap.


“If the authority feels that the creation of bouquets by broadcasters needs to be continued for the ease of consumer in subscription process, then the discount of 45 percent should be reduced to zero. This will help the broadcaster to reduce the ala-a-carte price by 45 percent and also provide flexibility to DPOs and consumers to opt for either a-la-carte or bouquets without being worried about the huge price difference between the two,” they said.


TRAI is currently reviewing responses to the consultation paper. The final decision will determine how cable television channels are priced and bundled in India, impacting both consumers and broadcasters.


Cable operators push back against broadcaster bundles, seek fairer pricing for consumers

Tata Sons, the holding company of the Tata Group, has increased its stake in direct-to-home (DTH) provider Tata Play by 10 percent, acquiring the shares from Singapore investment firm Temasek for approximately $100 million. As reported by ET, this move raises Tata Sons' ownership to 70 percent solidifying its control over the company.


Following Temasek's exit, Tata Play will operate as a 70:30 joint venture between Tata and Walt Disney. Disney holds its stake through its acquisition of Star India, formerly owned by 21st Century Fox. While Tata Play's valuation has decreased from its pre-pandemic target of $3 billion to $1 billion, it remains a crucial player in the media and entertainment sector as Tata's primary consumer-facing business.


The report also mentions ongoing discussions between Tata Sons and Disney regarding the latter's potential exit from Tata Play. Both parties are reportedly exploring options for an exit through an IPO which faced postponement due to market conditions and challenges within the DTH sector. Notably, Tata Play had received approval for an IPO in May 2023 from Securities and Exchange Board of India (SEBI).


The Uttarakhand State Licensing Authority apologised to the Supreme Court for unsatisfactory action against Patanjali Ayurved in the misleading ads case, reported Bar and Bench. 

The Uttarakhand SLA has filed a criminal compliant against Baba Ramdev and Acharya Balakrishna for violating the Drugs and Magic Remedies (Objectionable Advertisements) Act, it said in an affidavit filed on Saturday. 

The Indian Medical Association had earlier, filed a plea against Patanjali Ayurved in response to an alleged smear campaign against the Covid-19 vaccination drive and other modern medicine. The affidavit was filed in response to the plea. 

The affidavit read, ”The SLA has been vigilant in its duties and has taken appropriate steps to ensure due compliance under the said Acts and Rules ... SLA also has a family to look after and therefore any observations made by this Hon’ble Court will have a detrimental effect on his career .... SLA herein is completely aware of the gravity of the situation and seriousness of the matter at hand and has always endeavored to discharge its duties to the best of his capacity and in accordance with law.”

Read More: <a href="https://www.storyboard18.com/advertising/sc-raps-uttarakhand-state-licensing-authority-in-patanjali-misleading-ads-case-28730.htm">SC raps Uttarakhand state licensing authority in Patanjali misleading ads case</a>


At the April 10 hearing in the misleading ads case, the Supreme Court pulled up Uttarakhand drug authorities, asking why no action was taken against the violations and despite clear mention of 'suggestive nature' of content in Patanjali Ayurved's advertising for its products. 

In previous hearings, the SC had pulled up the Centre and state authorities for lack of action. "We are wondering why the government chose to keep their eyes shut," the SC had said. According to the centre's response, states hold the authority to address advertisements promoting magic remedies; Nonetheless, the Centre has promptly addressed the issue in compliance with the law.

Read More: <a href="https://www.storyboard18.com/how-it-works/patanjali-misleading-ads-case-uttarakhand-state-licensing-authority-delayed-for-two-years-against-company-28432.htm">Patanjali misleading ads case: Uttarakhand state licensing authority delayed action for two years against company</a>

Balkrishna and Ramdev were present before the Court on April 10 where a bench comprising Justices Hima Kohli and Ahsanuddin Amanullah heard the matter in the case of the plea filed by the IMA against Patanjali Ayurved.

The Supreme Court while dictating the order said Uttarakhand State Licensing Authority had filed a detailed affidavit trying to explain action taken regarding objectionable ads. Justice Kohli said, "We are appalled to note that except pushing the file, nothing has been done. In 4-5 years, the State Licensing Authority remained in deep slumber." She said, "Why should we not think you are in cahoots with alleged contemnors? You are keeping your eyes shut deliberately."

Nestle India has been testing a zero-sugar variant for infant food, the company’s chairman and managing director, Suresh Narayanan told CNBC-TV18. 

Narayanan added that Nestle India is compliant with the law and has sent samples for testing to the FSSAI. 

Over the last two years, Nestle India has reduced sugar content by over 30 percent in its products, said Narayanan. 

He spoke about the nutritional value of Cerelac and assured that the product meets all the required nutrition parameters. 

Read More: <a href="https://www.storyboard18.com/how-it-works/nestle-baby-foods-controversy-we-never-compromise-on-the-nutritional-quality-of-our-products-says-nestle-india-29463.htm">Nestle baby foods controversy: We never compromise on the nutritional quality of our products, says Nestle India</a>


Tests on Cerelac products available in India showed an average of over 2.7g of added sugar per serving. 

Public Eye said that Cerelac wheat-based cereals, made for six month old infants that are sold by Nestle in Germany, France and the UK, do not contain any additional sugar. On the other hand, the same product sold in Ethiopia contains more than 5g per serving and in Thailand, contains 6 grams per serving.

In India, Cerelac is the highest selling cereal-based product meant for infants. In 2022, Cerelac sales of Nestle India surpassed $250 million. Cerelac has a worldwide sales of $1 billion.

Read More: <a href="https://www.storyboard18.com/quantum-brief/nestle-india-sales-crossed-rs-5000-crore-march-quarter-29942.htm">Nestle India sales crossed Rs 5,000 crore in March quarter</a>


Similarly, tests on Nido brand products, with global retail sales exceeding $1 billion, exhibited considerable variation in sugar levels across countries.

The Central Consumer Protection Authority (CCPA) has asked food regulator FSSAI to investigate the allegations against Nestle of adding higher quantities of sugar to baby products in India as compared to other countries, as per news reports. 

It was reported that the FSSAI was examining the report published by Swiss investigative organisation Public Eye and would present the report to a scientific panel.

Nestle baby food controversy: Suresh Narayanan says Nestle India is testing a zero-sugar variant for infant food

The UK's Financial Times has struck a strategic partnership and licensing agreement with Microsoft-backed OpenAI to enhance ChatGPT with attributed content, help improve its models’ usefulness by incorporating FT journalism, and collaborate on developing new AI products and features for FT readers, the Financial Times and OpenAI shared about the latest media tie-up. 

ChatGPT users will be able to see select attributed summaries, quotes and rich links to FT journalism in response to relevant queries, the report added. 

While the financial terms of the agreement were not disclosed, this latest expansion of media partnerships follows similar deals by OpenAI over the past few months with the Associated Press, global news publisher Axel Springer, France's Le Monde and Spain-based Prisa Media. This week, Axel Springer SE and Microsoft Corp. announced an expanded, multifaceted partnership across advertising, AI, content and cloud computing. The cooperation aims to leverage cutting-edge innovation to support independent journalism around the world, Microsoft said in a statement.

FT Group CEO John Ridding said the agreement recognises "the value of our award-winning journalism and will give us early insights into how content is surfaced through AI," adding that "this partnership will help to keep us at the forefront of developments in how people access and use information.” 

Ridding added, “Apart from the benefits to the FT, there are broader implications for the industry. It’s right, of course, that AI platforms pay publishers for the use of their material. OpenAI understands the importance of transparency, attribution, and compensation – all essential for us. At the same time, it’s clearly in the interests of users that these products contain reliable sources.” 

Brad Lightcap, COO of OpenAI, said, “Our partnership and ongoing dialogue with the FT is about finding creative and productive ways for AI to empower news organisations and journalists, and enrich the ChatGPT experience with real-time, world-class journalism for millions of people around the world.” 

"We're keen to explore the practical outcomes regarding news sources and AI through this partnership,” said Ridding. He added, "As with any transformative technology, there is potential for significant advancements and major challenges, but what’s never possible is turning back time. It’s important for us to represent quality journalism as these products take shape – with the appropriate safeguards in place to protect the FT’s content and brand." 

<a href="https://www.storyboard18.com/digital/axel-springer-and-microsoft-expand-partnership-across-advertising-ai-content-and-azure-services%e2%80%af-30248.htm">Read more: Axel Springer and Microsoft expand partnership across advertising, AI, content and Azure services</a>

OpenAI to use Financial Times content to train AI models in latest media partnership

Axel Springer SE and Microsoft Corp. have announced an expanded, multifaceted partnership across advertising, AI, content and cloud computing. The cooperation aims to leverage cutting-edge innovation to support independent journalism around the world, Microsoft said in a statement. 

Axel Springer is a media and technology company and active in more than 40 countries. Its portfolio features diverse media brands including BILD, WELT, BUSINESS INSIDER, POLITICO and classifieds portals (The Stepstone Group and AVIV Group). The company has successfully transformed from a traditional print media company to Europe’s leading digital publisher. The company is headquartered in Berlin and employs more than 18,000 people worldwide.

The partnership with Microsoft will expand and deepen the existing cooperation. The existing adtech collaboration will be expanded to encompass POLITICO. Building on a mutual commitment to the principles and potential of responsible AI, both companies will partner to develop new AI-driven experiences for their users. In addition, Microsoft Start-MSN users will have access to more premium content from Axel Springer’s news brands, and Axel Springer will migrate its SAP solutions to Microsoft Azure.

“In this new era of AI, partnerships are critical to preserving and promoting independent journalism while ensuring a thriving media landscape,” said Mathias Döpfner, CEO of Axel Springer. “We’re optimistic about the future of journalism and the opportunities we can unlock through this expanded partnership with Microsoft.”

“This new generation of AI is transforming nearly every aspect of work and life, including how people search for and consume content online,” said Satya Nadella, chairman and CEO of Microsoft. “Our expanded partnership with Axel Springer brings together their leadership in digital publishing with the full power of the Microsoft Cloud — including our ad solutions — to build innovative AI-driven experiences and create new opportunity for advertisers and users.”

Key elements of the partnership

Extending adtech collaboration to the U.S.: Axel Springer will adopt Microsoft Advertising as its ad server solution, expanding its existing partnership from Europe to the U.S. POLITICO will integrate Microsoft Advertising technology as a comprehensive solution enhanced by Axel Springer’s adtech management and optimization layer AdLib. POLITICO will also be integrated into the Microsoft Advertising Network, allowing advertisers to reach a broader audience.

Powering new AI experiences and monetization: Axel Springer will partner with Microsoft to pilot new innovative AI-driven chat experiences to better inform and engage their users with Axel Springer’s journalistic content. The cooperation will further fuel Axel Springer’s ventures in AI, building on projects such as the AI assistant Hey_, powered among others by Azure OpenAI Service. In addition, Axel Springer will leverage Microsoft Advertising’s Chat Ads API for generative AI monetization.

Enhanced content offerings through Microsoft Start-MSN: Axel Springer is expanding its Microsoft Start-MSN partnership to provide users with access to more premium content from leading journalistic brands such as Business Insider, POLITICO, BILD and WELT, reaching millions of users across devices and markets.

Microsoft Azure expansion: In addition to extending its use of Azure AI capabilities for AI innovation, the digital publisher will also transform and migrate its SAP solutions to Microsoft Azure, the trusted and secure cloud platform, to enhance scalability, reliability and performance across its digital infrastructure.

<a href="https://www.storyboard18.com/digital/openai-to-use-financial-times-content-to-train-ai-models-in-latest-media-partnership-30255.htm">Read more: OpenAI to use Financial Times content to train AI models in latest media partnership</a>

Last week Meta-owned WhatsApp said that if the government asks it to break end-to-end encryption then WhatsApp will exit India. However, that’s not the only thing the government wants WhatsApp to follow. 

The Indian government said that WhatsApp and Facebook cannot claim to protect users' privacy while monetising their data for business purposes. This was told by The Ministry of Electronics and Information Technology (MeitY) in an affidavit filed with the Delhi High Court. The Ministry filed it in opposition to a petition filed by WhatsApp and Facebook challenging newly amended IT Rules, reported moneycontrol. 

The affidavit said that WhatsApp infringed upon the fundamental rights of Indian users by preventing them access to dispute resolution mechanisms within the country. The Ministry argued that WhatsApp’s actions violate user rights, citing clauses related to Dispute Resolution and Governing Law. 

The Ministry emphasised the importance of implementing the IT Rules 2021. It said that failure to implement would hamper law enforcement agencies’ in tracking down fake messages that could lead to societal unrest. The government made it clear that all social media platforms need to be accountable to both users and the laws of the countries in which they operate.

The Ministry specified that the new IT Rules align globally accepted norms regarding the responsibilities of intermediaries in the digital sphere. The government argues that even if a platform doesn't create harmful content, it can still be held responsible for failing to remove it if it violates local laws. The rules emphasise a concept of "secondary liability" for social media companies.




WhatsApp vs Indian Govt: What does the Indian Government want from WhatsApp?

Snap Inc. announced financial results for the quarter ended March 31, 2024. “The value we provide our community and advertising partners has translated into improved financial performance,” said Evan Spiegel, CEO. “Our large, growing, and hard-to-reach community, brand-safe environment, and full-funnel advertising solutions have made us an increasingly important partner for businesses of all sizes.”

Q1 2024 Financial Summary

Revenue was $1,195 million, compared to $989 million in the prior year, an increase of 21% year-over-year.
Net loss was $305 million, compared to $329 million in the prior year.
Adjusted EBITDA was $46 million, compared to $1 million in the prior year.
Operating cash flow was $88 million, compared to $151 million in the prior year.
Free Cash Flow was $38 million, compared to $103 million in the prior year.

Q1 2024 Summary & Key Highlights

Snap Inc said it grew and deepened its engagement with its community. It's DAUs were 422 million in Q1 2024, an increase of 39 million, or 10%, year-over-year. Total time spent watching Spotlight content increased more than 125% year-over-year. The growth in the Snap Star program has been an important driver of engagement in North America, with total time spent watching Stories from Snap Stars growing more than 55% year-over-year in North America. "We onboarded over 1,500 Snap Stars in Q1, which has helped generate quarter-over-quarter growth in Story posts, Spotlight posts, and Stories time spent for Snap Stars globally. We introduced new tools to help our community make more creative Snaps, including new Creative Templates, the ability to post longer videos, and access to AI-powered AR Lens creation," the company shared. 

Stating that Snap Inc is focused on accelerating and diversifying its revenue growth, the company said that Snapchat+ subscribers more than tripled year-over-year, surpassing 9 million subscribers in Q1. The number of small and medium sized advertisers on Snapchat increased 85% year-over-year. Ongoing momentum with our 7-0 Pixel Purchase optimization model led to a more than 75% increase in purchase related conversions year-over-year.

"We launched a new and improved version of Conversions API (CAPI) available to all advertisers that offers easier set up with reduced integration times. We partnered with Snowflake to enable advertisers to easily implement our CAPI solutions without needing to build a bespoke back-end integration. Our improvements to CAPI and improved collaboration with advertisers has resulted in CAPI integrations growing approximately 300% year-over-year in Q1 2024," Snap Inc stated. 

The company launched Sponsored AR Filters, its new AR ad offering that expands advertisers’ reach via the Snapchat Camera and enables Snapchatters to overlay sponsored AR content on their Snaps after a photo or video is captured. It also announced partnerships with Traackr, Lumen Research, OMD, Amplified Intelligence, and Fospha to empower advertisers with more campaign tools and insights.

Snap announced two new brand safety solutions for advertisers: a third-party measurement product in partnership with Integral Ad Science, a leading global media measurement and optimization platform, to provide advertisers with increased transparency across their Snapchat campaigns, and a first-party tool that allows advertisers greater control over where their ads appear.

Snap is also investing in its augmented reality platform. "We continue to invest in Generative AI models and automation for the creation of ML and AI Lenses, which contributed to the number of ML and AI Lenses viewed by Snapchatters increasing by more than 50% year-over-year.
We invested in relationship-centered AR Formats that drove outsized sharing among US Snapchatters including “Friend Lenses” that feature friends in Quizzes and other experiences, and “Q&A Lenses” that prompt Snapchatters to send fun text and image responses to their Friends.
We implemented an improved AR Carousel ranking model that refreshes AR lenses more frequently, making it easier to discover new Lenses, driving a more than 50% increase in the number of new Lenses seen in the carousel by Snapchatters since launch." 

Snap integrated a new AI Assistant in Lens Studio that answers developer questions based on its documentation and tutorials to guide developers and help build Lenses more easily. It also launched a new Compression tool in Lens Studio to easily reduce the size of assets and optimize Lenses in order to improve the Lens creation experience on Snapchat. Other launches include an Animation Curve Editor in Lens Studio, a new interface for developers to edit animations inside Lens Studio — the first of many foundational animation tools coming soon, Snap stated. At Super Bowl LVIII, the NFL integrated Snapchat's Camera Kit technology at Allegiant Stadium in Las Vegas — the first time a Super Bowl host stadium has integrated Snap Inc's technology. 

Q2 2024 Outlook

Snap Inc shared in a statement, "As we enter Q2, we anticipate continued growth of our global community, and as a result, our Q2 guidance is built on the assumption that DAU will be approximately 431 million in Q2. We are focused on executing against our roadmap to deliver improvements to our DR advertising platform to drive improved results for our advertising partners and accelerate topline growth. Our Q2 guidance range for revenue is $1,225 million to $1,255 million, implying year-over-year revenue growth of 15% to 18%. Given the revenue range above, and our investment plans for the quarter ahead, we estimate that Adjusted EBITDA will be between $15 million and $45 million in Q2."

Snap's DAUs increased 10 percent YoY to 422 million; Q1 2024 revenue increased to $1,195 million

Anil Kumar Lahoti, chairman of the Telecom Regulatory Authority of India on Thursday, said that the regulatory body will finalise the National Broadcast Policy by the end of May. 

Lahoti said that the regulatory body’s goal is to ensure that all stakeholders in the industry get a level playing field. He added that there should be no barriers to entry and discrimination towards new entrants and different players. 

The TRAI’s goal is to ensure that the consumer gets a good quality product at an affordable price, with convenience to avail the same. 

Speaking at Asia Video Industry Association’s (AVIA) Future of Video India conference, Lahoti emphasised the importance of the National Broadcast Policy saying that a pre-consultation was done before the main consultation as well. 

The last date given by the TRAI for receiving comments is April 30. Considering that this will only be an input to the Ministry of Information and Broadcasting (MIB), the TRAI has said that there will be opportunity for counter comments. 

Lahoti further stated that the TRAI will finalise the inputs once the comments come in since they have a target for completion by the end of May. Post this, it will be sent to the MIB around the first week of June. 

Sanjay Jaju, secretary, Information and Broadcasting too added that the Bill aims to streamline regulatory processes, and ensure that there is a balanced playing field for different service providers. 

He also said that through Bill, provisions for emerging technologies will be introduced, while keeping in mind the differences in the technologies, business models and issues that citizens might have related to various stakeholders. 

Jaju also added that the MIB sees the India’s media and entertainment industry achieving a market size of $100 billion. The industry is currently valued at around $28-30 billion. He said that this vision is anchored on initiatives aimed at increasing innovation, growth and making the most out of the new opportunities in the sector. 

<a href="https://www.storyboard18.com/how-it-works/trai-chairman-anil-kumar-lahoti-spotlights-regional-contents-reach-and-importance-says-tv-will-grow-25663.htm">Read more: TRAI’s Anil Kumar Lahoti: TV will grow, mobile is not replacing TV</a>

NSE to stop new Zee Entertainment futures and options contracts

The existing unexpired contracts of expiry months April 2024, May 2024 and June 2024 would continue to be available for trading till their respective expiry.

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