TUESDAY, JANUARY 9, 2018 W W W. F I N A N C I A L E X P R E S S . C O M FACE OFF P3 ‘MY ROLE WILL NOT BE REPLACED’ Terry Savage discusses what’s next for him and for the Cannes Lions Festival, and what the changes will translate to IN THE NEWS Arabinda Ghosh joins dentsu X As chief strategy officer,he will report to Roopam Garg, chief client officer, dentsu X India. Ghosh will be based out of Delhi.Prior to this,he was with Kantar India. T W I T T E R : @ F E B R A N D WA G O N FA C E B O O K : F E B R A N D WA G O N BLOGGER’S PARK P2 REVIEW CORNER P3 SAMSUNG’S ASIM WARSI ON TRENDS IN 2018 THAT WILL SHAPE THE SMARTPHONE MARKET Club Mahindra fails in its effort to sell the idea of spending holidays with one's extended family The reel and ‘real’ formula As most big ticket non-fiction shows complete over 8-10 years of airing with some going even up to 15, is there enough steam left or do we see the fatigue factor seeping in? IN PERSPECTIVE Discovery brings aboard Issac John ANUPAMA MANDLOI He joins as director — marketing.Prior to this,he was with HealthifyMe,where he was VP — marketing. Thrive Global launches in India Arianna Huffington’s new media start-up will offer solutions to companies and individuals to help enhance their well-being.She stepped down as editor-in-chief of HuffPost in August,2016. Publicis Beehive gets new COO Paritosh Srivastava will lead Publicis Beehive as COO,apart from continuing as COO of Publicis Ambience.The post was vacant after Sanjit Shastri passed away in September,2017. Kanika Kalra moves to McKinsey She quit as VP — marketing,Snapdeal in December,2017 and has joined McKinsey & Co as a senior expert.Kalra had joined Snapdeal in April,2016. New look for Zee Telugu, Cinemalu In addition to a refreshed brand image for both channels from the Zee bouquet, Zee Telugu has adopted a new brand promise and identity — Aarambham Okka Aduguthone. Lowe Lintas bags creative duties of Xiaomi India The account was won following a multiagency pitch.The agency’s Bengaluru branch will handle the account. DSPORT bags PSL's broadcast rights The sports TV channel by Discovery Communications India will broadcast season two of the Poker Sports League (PSL). Emami Group has roped in Salman Khan to endorse the brand Himani Best Choice Survival of the fittest Indian Idol Bigg Boss 4.45 AVERAGE VIEWERSHIP 4.53* *ongoing (impressions per episode, in mn) 2016-17 CHANDNI.MATHUR @expressindia.com S EVENTEEN YEARS SINCE the launch of formats like Kaun Banega Crorepati (KBC),we now see non-fiction shows boast of a much larger budget than most fiction shows. In fact, viewers have also found their dose of masala entertainment through a bevy of big ticket non-fiction formats like Bigg Boss, Indian Idol, Khatron ke Khiladi,etc that have been adapted from their international counterparts. Shailesh Kapoor, founder, Ormax Media mentions,“People are more open to non-fiction content now than in the last five years. If the show runs for two or more seasons,advertiser confidence also rises.” Despite the high costs associated with reality shows (approximately `30-50 lakh perepisode)versus fiction shows (`7-9 lakh per23-minute episode),the focus of broadcasters on these has been unwavering owing to the diversity and demographics theybring to the channel.Having said that, over the years,many of these long running formats have had to take a break of ayearor more, in order to keep the freshness alive and plug the fatigue trickling in. Interestingly,most of the glitzypopular shows todayare in the singing and dancing space — take Jhalak Dikhhla Jaa, Nach Baliye, Indian Idol, The Voice, Super Dancer, Dance India Dance orSa Re Ga Ma Pa — and these are the ones that seem to immediately hit it off with the audiences as well, owing to the Bollywood connection.Hence, when one attempts to point out indigenous formats or alternative genres in the nonfiction space, we can only name a few that have successfully worked in India. BrandWagon attempts to find out what makes these formats tick and whether there is a need for newer formats. Refresh,tweak,repeat Khatron ke Khiladi Jhalak Dikhhla Jaa 5.66 5.70 Kaun Banega Crorepati 9.4 3.27 Nach Baliye 5.16 9.07 5.06 Source: BARC India, TG: HSM 2+ 2017 POPULAR NON-FICTION PROPERTIES (IN YEARS) SINGING Seasons: 20 Sa Re Ga Ma Pa ADVENTURE Seasons: 15 22 17 Roadies 15 DANCING Seasons: 8 13 Nach Baliye REALITY Seasons: 11 Bigg Boss GAME SHOW Seasons: 2 10 ka Dum COOKING Seasons: 5 Masterchef India DANCING Seasons: 3 Dance Plus Amul Sa Re Ga Ma Pa GAME SHOW Seasons: 9 Kaun Banega Crorepati SINGING Seasons: 9 Indian Idol DANCING Seasons: 9 12 Jhalak Dikhhla Jaa 11 REALITY Seasons: 7 9 7 6 India's GotTalent ADVENTURE Seasons: 8 Khatron ke Khiladi DANCING Seasons: 6 3 Dance India Dance 2 DANCING Seasons: 2 Super Dancer Given that viewers today are spoilt for choice, one must be smart enough to understand their pulse and tweak the content accordingly, states Manisha Sharma, programming head, Colors. “A show like Bigg Boss has been on for 11 seasons; it is upon us to entice the audience with fresh thoughts each time.” Last year, the show tweaked the format to include commoners and became a hit. Likewise,fora serious stunt-based showlike Khatron ke Khiladi, the channel infused some humourto bring in freshness.Another example is ZeeTVwhich brought back Sa Re Ga Ma Pa Li’l Champs after a short hiatus with a new theme in 2017 and it was amongst the best rated shows from the day of its launch.Itwas also the longest running reality show spanning nine months. Deepak Rajadhyaksha,deputybusiness head,Zee TV mentions,“Inviting fresh talent mid season was one of the innovations in the show.Initially,the planwas to run the show for three months but we had to extend it seeing the response. It became compulsive viewing.” Now, consider KBC. Running successfully for 15 years, the show hit a bump in 2015 when the format of question and answer failed to entice viewers. The show was forced to take a break for over a year and returned in 2017 with an interactive piece to engage with audiences,and it propelled SonyEntertainmentTelevision (SET) to the top of the charts during the course of its airing.Ashish Golwalkar,SVP and senior creative director, Sony Entertainment Television,reveals,“KBC was almost dead in the last season and it did not work well in terms of monies or ratings.So we took a break, kept the core of the format the same and infused some fresh elements of interactivity. Strong formats don’t come with an expiry date if they are willing to change.” Forexample,Wheel ofFortune ran for30 years in the US and is still going strong as the format is relatable to people even today. ■ Continued on Page 2 A springier bounce for branded mattresses As consumers slowly become more willing to try branded mattresses, given that it is a cost-sensitive proposition, long-standing traditional players in the category are reimagining themselves SHINMIN.BALI @expressindia.com THE MATTRESS INDUSTRY in India has been moving out of the sasta-tikau selling point conversation for a while now. While branded mattresses are still some years away from acquiring the true mass consumption tag, there is a rough structure that can now be seen in the industry. As per TechSci Research, the mattress market in India stood at around $800 million in 2016. This market is anticipated to grow at a CAGR of over 5-6% during the next five years and reach around $1,100–1,200 million by 2022. With lifestyle diseases on the rise and India featuring on the list of the mostvacation-starved countries, products that fall into rejuvenating the body-mind space have ample scope to grow. Therefore, the widevarietyof mattresses are nowavailable in the market. While not a medical recourse, the category operates in a space where it can propose marked benefits to consumers to ease their daily lives. The positioning,for most of the players in the space then,is about howa great sleep THE MATTRESS MARKET IN INDIA STOOD AT $800 MILLION IN 2016 AND IS ANTICIPATED TO GROW AT A CAGR OF OVER 5-6% DURING THE NEXT FIVE YEARS TO REACH $1,100–1,200 MN BY 2022 ●●● session actively (and possibly, tangibly) bumps up the productivity of the user the following day. Consider the brand Duroflex. It currentlyhas a portfolio of five ranges namely, Energise, Duropedic, PUF and Luxury, Spring and Rubberised Coir mattresses. While some of these ranges are staple and have long existed, the branding of the others as relief providers for certain orthope- dic ailments or rejuvenators is a relatively new stance for the category as a whole. Duroflex’s overarching positioning currently is: Energise — Ready forTomorrow. Matthew Joseph, marketing director, THE EARLY 2000s saw the launch and entryof big ticket,international super formats into India starting with Who wants to be a Millionaire (Kaun Banega Crorepati) followed by music,dance,varietyentertainment, adventure and cookery formats. India had never seen entertainment so scaled up, larger than life and dialled upwith massive doses of Bollywood stars, high-pitched marketing and premium advertising.Some of these international formats tanked while some formats went on to become successful and established brands in the market. Over the years, there have been several indigenous ‘me-too’ formats as well as some smart adaptations thatsucceededinprovidingthesame shot in the arm for broadcasters but at half the cost. Regional channels cameupwiththeirlocalversionsthat were substantially cheaper. As the viewership of television gets increasingly fragmented, more and more broadcasters are feeling the pressure to reduce the cost of these big-budget non-fiction shows to justify the visiblylowerratings.As forthe international formats,the license fee and ancillary rights take away another sizeable chunk of the show budget. Eventually,it boils down to the business. There will be a few notable developments in this space: ■ There will be many more locally-created formats that are budget-friendly and still deliver the marketing and brand positioning for broadcasters ■ International format companieswill be forced to reassess pricing to survive in the high pressure and competitive market ■ The current international formats will need to evolve, innovate and bring in drastically new elements to sustain theirviewership ■ New formats will need to be highly interactive and enable digital spin-offs to bring in newviewers and thus pave the way for data mining — very crucial for any brand today ■ There will be the new nonfiction in the guise of finite, upscale and concept-driven fiction. ■ Continued on Page 2 Duroflex, says,“The first question the customer asks is usually the price. This positioning has made it easy for our retail partners to explain the products to the customers as the education in this category is very weak.” The target audience for the brand spans across NCCS A, AB and B. The brand’s products range from `800080,000 for a queen size mattress.The positioning has also opened up a new audience segment to the brand — the young population. “We were carrying the baggage of being a very old brand and the new positioning is helping ease that,” he says. Duroflex currently spends about 6-7% of its turnover towards marketing. Peps Industries, on the other hand, had started off by bringing ‘affordable luxury’ to its customers.The overall portfolio starts at `9,000 and goes up to `2.5 lakh. The brand’s portfolio is spread across nine categories with premium denim mattress offering Zenimo being the latest addition. Zenimo has been designed forthe audience in the age bracket of 35-45 years. The brand’s positioning as Live the #PepsLife is a lifestyle peg crafted to cater to the premium image the brand now has. To aid product adoption and engagement, it has a retail presencewithThe Great Sleep Store, currently at 125 in strength across the country, that allow customers to experience a wide variety of products —a luxury that multi-branded retail outlets cannot afford to any single brand. ■ Continued on Page 2
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