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Netflix is gearing up for a significant year in 2025, with plans to increase its cash content spending to a record $18 billion. The streaming platform aims to strengthen its position as a global leader in entertainment by focusing on major content areas, live programming, and interactive entertainment, such as games. These investments are part of a broader strategy to achieve 12-14% revenue growth and improve operating margins, while also enhancing the overall user experience.

The announcement follows Netflix’s robust performance in the final quarter of 2024, as revealed in its October-December earnings report on 21st January. The company added nearly 19 million new subscribers during the holiday season, bringing its total subscriber count to over 300 million. This achievement highlights Netflix's continued ability to captivate global audiences with a diverse range of content.

Strong 2024 Performance Boosts Netflix’s Market Confidence
Netflix’s end-of-year performance was bolstered by a stellar lineup, including the much-anticipated second season of its global phenomenon, Squid Game. The dystopian Korean horror series remains Netflix’s most-watched TV show to date, drawing viewers from across the world. This content success, coupled with strategic price hikes in key markets like the United States, contributed to a 14% surge in Netflix’s stock price, which reached $993 in after-market trading.

As Netflix moves into 2025, it plans to expand its offerings beyond traditional streaming. Live events and interactive entertainment, including gaming, will play a central role in its growth strategy. These new avenues are expected to attract a wider audience and deepen engagement with existing subscribers.

Driving Innovation and Global Reach
In addition to content expansion, Netflix is investing heavily in product innovation and an enhanced user experience. These initiatives are designed to maintain its competitive edge in an increasingly crowded streaming market. By combining high-quality programming with interactive entertainment, Netflix is positioning itself to meet the evolving preferences of its global audience.

The company’s ambitious $18 billion budget reflects its commitment to long-term growth. With over 300 million subscribers and a strong market presence, Netflix is well-placed to remain a dominant force in the entertainment industry for years to come.

<a href="https://www.storyboard18.com/digital/netflix-and-prime-video-dominate-hindi-content-while-disney-hotstar-shines-in-regional-languages-54353.htm">Read More: Netflix and Prime Video dominate Hindi content, while Disney+ Hotstar shines in regional languages</a>

<a href="https://www.storyboard18.com/digital/youtube-netflix-prime-video-smash-records-in-dec-2024-fueled-by-christmas-holiday-football-54283.htm">Read More: YouTube, Netflix, Prime Video smash records in Dec 2024, fueled by Christmas holiday, football</a>

Netflix to boost content spending to $18 Billion in 2025

The Supreme Court has dismissed a PIL seeking a regulatory board for OTT and streaming platforms, citing concerns over a Netflix series. The plea argued the series distorted historical events and promoted harmful narratives, urging an autonomous body to monitor such content in India.

The Supreme Court dismissed a public interest litigation (PIL) on Friday calling for the establishment of a regulatory board to oversee and manage over-the-top (OTT) and streaming platforms in India. The petition argued that these platforms function without the same checks and balances that traditional media, such as films and television, are required to adhere to.

The PIL, filed in September of this year, referred to Netflix series IC 814:The Kandahar Hijack to highlight the need for such a regulatory mechanism as the OTT platform claimed it was based on real-life incidents.

The petitioners had urged the apex court to direct the central government "to constitute an autonomous body/board namely 'Central Board for Regulation and Monitoring of Online Video Contents' to monitor and filter the contents and regulate the videos on various platforms for viewers in India".

Moreover, Jha and Arhatia had made the ministries of Information and Broadcasting, Health and Family Welfare, Women and Child Development, Defence and the Telecom Regulatory Authority of India parties to the PIL.

"The issue pertains to the abuse of fundamental rights of equality (Article 14), freedom of expression (Article 19), thus infringing right to life of people at large (Article 21) and Article 47 mandating state to improve public health and prohibit the consumption of intoxicating drinks & drugs harmful to health," it said.

The petitioners also specified that if such a board were established, it should be led by a secretary-level IAS officer and include members from diverse fields such as the film industry, cinematography, media, defense forces, the legal profession, and academia.


SC dismisses plea seeking regulatory body for OTT platforms

The Economic Offences Wing (EOW) of the Mumbai Police is reportedly investigating a complaint filed by film producer Vashu Bhagnani against Netflix and its partners. Bhagnani alleges that he was cheated concerning the rights to three films.

According to reports, Bhagnani claims that while he granted Netflix the rights to these films, he has not received the payment of Rs 47.37 crore owed to him. However, another source suggests the total amount in question is Rs 70 crore.

The complaint, which names Los Gatos Production Services India, Zoo Digital India, and several executives from both companies, focuses on the streaming video on demand (SVOD) rights for the films "Hero No. 1," "Mission Raniganj," and "Bade Miyan Chote Miyan." Bhagnani contends that despite giving Netflix the rights to these films, he has yet to receive the Rs 47.37 crore in payments.

Additionally, Bhagnani claims that his company, Pooja Entertainment, was pressured into renegotiating the terms of the deal and was forced to deliver one of the films to Zoo Digital India. He alleges that the film was leaked online before its theatrical release, causing significant financial and reputational harm.

Netflix has strongly denied the allegations. A spokesperson for the company said, "These claims are completely unfounded. In fact, it is Pooja Entertainment that owes money to Netflix." The spokesperson added, "We have a strong track record of partnering with the Indian creative community and are cooperating with the authorities to resolve this dispute."

The EOW has summoned executives from Los Gatos Production Services India for questioning and is conducting a thorough investigation. Based on the findings, the police may decide to escalate the preliminary inquiry into a formal first information report (FIR).

Mumbai EOW probing Netflix for allegedly 'cheating' producer Vashu Bhagnani

The Indian government is investigating Netflix for alleged violations related to visa issues and racial discrimination. According to a Reuters report, the email regarding the investigation was sent to the streaming platform’s former director of business and legal affairs for India.

The details of India's investigation were outlined in a July 20 email, reviewed by Reuters, which was written by a home ministry official to Netflix's former director of business and legal affairs for India, Nandini Mehta, who left the company in 2020.

"This concerns visa and tax violation issues related to Netflix's business practices in India," wrote Indian official Deepak Yadav from the Foreigners Regional Registration Office (FRRO) of the home ministry in New Delhi.

"We have received certain details regarding the company's conduct, including visa violations, illegal structures, tax evasion, and other malpractices, such as incidents of racial discrimination, that the company has allegedly engaged in while conducting its business in India," he added.

In an emailed statement, Mehta said she is pursuing a lawsuit in the U.S. against Netflix for alleged wrongful termination as well as racial and gender discrimination—charges the company denies.

Mehta stated she welcomed the Indian investigation and hopes authorities make their findings public, but did not elaborate on the government's allegations.

Yadav declined to comment, stating he was not authorized to speak to the media. The FRRO and India's home ministry did not respond to Reuters' queries.

A Netflix spokesperson said the company was "unaware of any investigation by the Indian government."

Netflix has also faced criticism in India over content deemed insensitive by some users. This month, it was forced to add new disclaimers to an Indian web series IC 814. 

Netflix under fire in India for alleged visa violations and racial discrimination

Netflix series IC-814: The Kandahar Hijack has once again fallen into a controversy, this time for allegedly violating Copyright law by using licensed content of Asian News International (ANI). 

"They have used copyright archival footage of ANI without licence, they have also used the (ANI) trademark," Sidhant Kumar, counsel for ANI, said.

"Since the series has come into such criticism, our trademark and brandname is being tarnished," Kumar said, adding that ANI wants Netflix to take down four episodes where its content has been used.

The Delhi High Court had agreed to hear the case and sought the response of Netflix, he said.

Recently, the web series was embroiled into a controversy for an alleged incorrect portrayal of the hijackers as Hindus with Hindu names when they were Muslims.

Netflix added new disclaimers to the six-episode show last week after its officials were summoned by Ministry of Information and Broadcasting. It also said the code names used in the series reflected those used during the actual event.


ANI files case against Netflix for using copyright content in IC 814 web series

Netflix is said to be gearing up to appeal the Rs 196-crore tax demand imposed by the Income Tax department for alleged tax evasion. The move follows the Dispute Resolution Panel's (DRP) recent ruling in favor of the department, upholding the tax demand raised by its international taxation wing.

The Income Tax department argued that Netflix Entertainment Services (India) LLP functioned as a dependent agent permanent establishment (DAPE) of Netflix. 

The total revenue from the company's operations from April 2020 to December 2020 exceeded Rs 1,145 crore, with a profit that amounted to Rs 1,008 crore approximately. Profits clocked from Indian from operations stood at Rs 503 crore.

According to reports, Netflix proposed Rs 13.36 crore. The remaining profit, associated with operations conducted in India through a Permanent Establishment (PE) arrangement, is subject to taxation for Netflix. This amount was computed at Rs 490 crore.


Netflix could be preparing to challenge Rs 196-crore tax demand amidst dispute panel's ruling

When Alia Bhatt, Vijay Varma, Shefali Shah starrer Darlings hit Netflix, the advertising and marketing community noticed some not-so-subtle brand plugs. We spotted brand cameos from Kama Ayurveda, Milton, 24 Mantra Organic, Daawat, Tide and Eva Deo, in the movie that’s set in a lower-middle class household.

In one scene Shah is seen giving Bhatt a champi with luxury brand Kama Ayurveda’s oil. In another scene, Bhatt is seen adding a layer of Veeba’s ketchup on her pao omelet. Many viewers were left scratching their heads while making the connections. 

Sahil Batra, a marketing and growth consultant at Tenzai Systems, took to LinkedIn to write, “Kama must have thought: Alia is a perfect personality to associate ourselves with, and the audience of the show is our audience too! Looks like a perfect place to advertise ourselves. If you know Kama’s pricing, you would know how just the opposite is true.”

While one set of experts think these brand promotions were not out of place, another set has a different take.

Independent communications consultant Karthik Srinivasan says the admirers of Bhatt — who would watch the movie — are the main target audience of the brand. “Kama Ayurveda or Veeba may seem out of the reach of the lower-middle class settings of the characters seen in the movie. But it is being streamed on Netflix, the most expensive over-the-top (OTT) platform in India, with the least number of subscribers when compared to the other streaming platforms,” he explains.

Targeting and segmentation are the two factors hailed as the cornerstone of effective marketing. Lloyd Mathias, an angel investor and business strategist, observes that creating content relevant to their tastes and preferences is the most critical, irrespective of the medium of marketing.

Do consumers spot brands over popcorn?

Audiences, however, can identify brand misfits. Therefore, it is important for brands to pick the right scripts. According to Mathias, when viewers spot their favourite movie stars engaging with brands in a film, it develops a strong sense of belongingness. 

Besides films, another avenue marketers have used for decades is music to integrate their brands into. BC Web Wise’s VP - Media, Krishal Mehta, believes brand integration in music videos have wider reach. He further says, using this also pumps up the brand’s screen time presence and chances of viewers consuming that piece of content again is high.

Ajit Narayan, chief marketing officer of brand advocacy platform Socxo, says the discussion around brand mistarget is high because of the rise of digital content consumption. Viewers can go back to the content any time they want. It becomes a point of discussion of their social timelines too. Also, brands don’t plan mistargets. He explains, “One has to note that, in all media, there is wastage and spillovers. But, that does not mean the media plan was skewed to incorrect audiences. It could also happen in the case of content selection, endorsements etc.”

Tips for brands

In a hyper social world, Mathias says the key element every brand must consider is to pay attention to the content creators, and match the demographics of their product with the people consuming the content.

Srinivasan has similar views. If the content is about lower-middle class Indians, the marketers should not predict the audiences to hail from the lower-middle class background. He supports his argument by stating a few examples. The recent ad for JioMart that featured Bollywood couple Deepika Padukone and Ranveer Singh. In the commercial, Singh and Padukone express their joy in saving some money when they buy groceries on JioMart. 

Srinivasan is of the opinion that enacting such roles in advertising is a grey zone. This is because advertising mixes fictional scripts along with factual claims about products and services. “Think about Akshay Kumar playing a doctor in the PolicyBazaar ad, who is making factual claims about the service. He is clearly not a doctor. He can surely play one in a film. But in an ad where he plays a doctor, should we take the acting part lightly, but take the product claims seriously?” he questions.

If a content creator hails from a particular town or a village, a lot of his followers will also belong to that segment who consume his or her videos or content. “Therefore, it makes sense for the brand to place the product that caters to that segment,” Mathias concludes.

Decoding brands’ in-film integration strategies

Keep up with key people movements in the brand marketing ecosystem in Storyboard18’s CXO Moves. Here’s a round-up of the executives who are in, out, and in-between in the past two weeks.

<img src="https://images.storyboard18.com/storyboard18/Untitled-design-77.png" alt="" width="500" height="500" class="alignnone size-full wp-image-1573" />

Bhasker Jaiswal

Previous: Regional Lead - APAC, Publicis Media

Present: Chief Operations Officer - Media, Dentsu India

Dentsu India recently appointed Bhasker Jaiswal as the chief operations officer. In his new role, Jaiswal will lead integration, transformation and operational excellence agendas. Further, he will closely work with Dentsu India’s chief executive officer Divya Karani to deliver business transformation, set up and standardise operations and systems, govern product leadership and enable sustainable revenue growth.

Jaiswal, who has an experience of more than two decades, has worked across Career Launcher, OMD China, MediaCom India, Buena Vista Television India, etc. Few weeks back, Publicis Media won the media mandate of PepsiCo India. 

Sumeer Mathur

Previous: National Strategy Head and Managing Partner, Havas Group

Present: Chief Strategy Officer, Dentsu Creative

Dentsu Creative recently appointed Sumeer Mathur as the chief strategy officer. His mandate includes building on Dentsu Creative’s strategic capabilities in order to further enhance its work, brand management, digital and public relations. He will work closely with Dentsu Creative’s group chief creative officer, Ajay Gahlaut. Mathur started his career with Rediffusion DY&R almost two decades ago, and has worked across Lowe Lintas, Contract Advertising, JWT, DDB Mudra, Havas Group and Edelman. At the Cannes Lions International Festival of Creativity 2022, Dentsu Creative India was declared as the ‘Agency of the Year’. A month ago, Dentsu International appointed Robert Gilby as CEO of APAC region. 

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Saurabh Bajaj

Previous: Marketing Head - Dairy, Britannia Industries Limited

Present: EVP, Prepaid Marketing, Vodafone Idea

Vodafone Idea has appointed Saurabh Bajaj as the executive vice president for prepaid marketing. Bajaj, has marketing experience of more than 15 years with stints across Wipro Consumer Care & Lighting, Mondelez International and USL - Diageo. 

<img src="https://images.storyboard18.com/storyboard18/Untitled-design-78.png" alt="" width="500" height="500" class="alignnone size-full wp-image-1575" />

Adit Chouhan

Previous: General Manager Marketing, The Phoenix Mills Ltd

Present: Vice President - Business Operations, Merkle Sokrati

Dentsu-owned Merkle Sokrati, a data-driven, and technology-enabled performance marketing agency, has appointed Adit Chouhan as the vice president of business operations. Chouhan who has more than a decade experience has worked across KPMG, Laqshya Media Group, Peninsula Land Ltd, Creaticity, Modish Operandi and TCT - Digital Marketing Solutions. Apart from being an author of three marketing books, he is also the founder of World Digital Conclave, a platform that brings together digital marketers and technology enthusiasts from across the globe.

Anuj Poddar

Previous: Executive Director, Bajaj Electricals

Present: MD and CEO, Bajaj Electricals

Bajaj Electricals recently elevated Anuj Poddar to the position of managing director and chief executive officer. Poddar, who has an experience of more than two decades, has worked across KPMG and Viacom18 Media Private Limited. 

<img src="https://images.storyboard18.com/storyboard18/Untitled-design-79.png" alt="" width="500" height="500" class="alignnone size-full wp-image-1576" />

Sasha Abraham

Previous: AVP - Marketing, Disney Star

Present: Head of Brand, Plum

Plum, an employee health insurance platform has appointed Sasha Abraham as the head of brand. In her new role, Abraham will be responsible for crafting the brand strategy, driving brand awareness and affinity and spearheading thought-leadership. Abraham, who has more than a decade of work experience, has worked across Tesco, General Mills and National Football League. 

<img src="https://images.storyboard18.com/storyboard18/Untitled-design-80.png" alt="" width="500" height="500" class="alignnone size-full wp-image-1577" />


Oindrila Roy

Previous: Head of Strategy, Essence

Present: Managing Director, Publicis Worldwide India

Publicis Worldwide India recently appointed Oindrila Roy as the managing director. Her responsibility will include working towards fostering rapid growth and publicising the agency as the preferred choice for brands and the industry. Roy, who has more than two decades of experience, has worked across JWT, Lowe Lintas, Saatchi & Saatchi, Edelweiss Tokio Life Insurance, Bright Angles Consulting LLP and Leo Burnett. Recently, Publicis Groupe-owned Leo Burnett launched LB Regional, the agency’s specialised division for brands to maximise its reach with the national audiences through understanding based on region wise insights.

Shitu Anand Patil

Previous: Co-Founder & Creative Head, Plus One Design

Present: Head of Art and Executive Creative Director, L&K Saatchi & Saatchi India

L&K Saatchi & Saatchi India has appointed Shitu Anand Patil as the head of art and executive creative director. Patil, who will be based out of Mumbai, will work toward raising the quality of art across all branches of the network, including the digital-first vertical Saatchi & Saatchi Propagate. Further, she will also lead a few key lifestyle businesses. Patil, who has more than two decades of experience, has had stints across Wipro Limited, FCB Ulka, Lowe Lintas and Publicis Ambience. 

<img src="https://images.storyboard18.com/storyboard18/Untitled-design-81.png" alt="" width="500" height="500" class="alignnone size-full wp-image-1578" />

Rohit Kapoor

Previous: Global Chief Marketing Officer, Oyo

Present: Chief Executive Officer, Swiggy

Swiggy announced the appointment of Rohit Kapoor as the chief executive officer - food marketplace. Before joining Swiggy, he was with Oyo, where he worked for close to four years first as the CEO of the company’s India and Southeast Asia operations, and later as global CMO. Having an experience of more than two decades, Kapoor has worked at McKinsey&Company, Max India Limited and Max Healthcare. Very recently, Swiggy found itself in a soup after a vegetarian Tamil lyricist took to Twitter claiming he found meat chunks in gobi manchurian. 

Satish Krishnamurthy, Ameya Kapnadak, Payal Shah, Rahul Bansal

Previous: Chief Strategy Officer, TBWA/India; Chief Marketing Officer, Artha Financial Services Ltd; Associate Strategy Director, Interbrand; Senior Consultant, Interbrand

Present: Chief Strategy Officer, Chief Growth Officer and Head of Consulting, Strategy Director and Head - Human Truths, Strategy Director and Head - Brand Economics

Interbrand recently made new appointments and elevated existing executives. Krishnamurthy, who has 21 years of experience, has worked across brand consulting, creative strategy and design thinking. Kapnadak has 25 years of experience across technology, banking and finance, automotive, consumer goods, food, fashion and retail.

Shah has more than 15 years of experience in the USA and India, and has worked across categories such as spirits, FMCG, technology and fashion. As a strategy director, her approach is to help brands rise to meaningful arenas for growth and sustainable iconic leadership. 

Bansal, who has 15 years of experience in this role, has helped with the expansion of Interbrand’s footprint in South Asia across Sri Lanka, UAE and Bangladesh. Further, he also led projects for some of the public sector units (PSUs) and private sector brands in India. 

In January, Interbrand had bagged the brand strategy mandate for ArcelorMittal Nippon Steel India - a joint venture between two global steel companies ArcelorMittal and Nippon Steel.

Sambit Dash

Previous: SVP - Brand Factory, Honasa Consumer Pvt Ltd

Present: Partner, RPSG Capital Ventures

Investment company RPSG Capital Ventures appointed Sambit Dash as a partner. Dash said, “Having worked with consumer brands throughout my career, I am always excited about solutions that lie at the intersection of consumer needs, brand propositions, and viable business models. RPSG Capital Ventures has built a strong portfolio of successful brands in various consumer verticals, and my immediate focus will be to support the portfolio companies with my experience in consumer businesses and D2C marketing.” Dash, who has an experience of more than a decade, started his career with Nestle India and led the P&L as well as marketing responsibilities for products like Nestea – Iced Tea and Nescafe. Subsequently, he headed the marketing department at Taco Bell in India and Sri Lanka. Recently, Honasa Consumer Pvt. Ltd. appointed Pratik Mukkherjee as the vice president of the Brand Factory, where he will be responsible for the launch and creation of new brands. 

Myleeta AgaWilliams

Previous: Director, Content - SEA and Australia, Netflix

Present: Chief Executive Officer - International, upGrad

Edtech unicorn upGrad appointed Myleeta AgaWilliams as the chief executive officer - international, where she will spearhead growth across the regions of APAC, EMEA and the US. Further, she will leverage her experience in scaling businesses through strategic interventions across content and global distribution for broadcast and streaming media. AgaWilliams, who has more than two decades of experience, has worked across UTV, Discovery Communications, BBC Worldwide India, Sony Pictures Network India and BBC Studios etc. During the first two quarters of the year, Netflix lost more than one million subscribers. Further, Netflix also announced that in early 2023, it will introduce a ‘cheaper-ad supported tier’. The company had earlier also announced a partnership with Microsoft to sell and power its ads.

Shubham Khurana

Previous: Client Partner, Facebook India

Present: Brand Head, Cleartrip

Global online travel company Cleartrip, which is owned by Flipkart in India, has appointed Shubham Khurana as the brand head. In the new role, his responsibilities will include augmenting Cleartrip’s brand presence across the country and expanding in the newer markets. Khurana has previously worked at Unilever for five years, and Treebo Hotels where he served as the director of brand marketing.

Nikhil Madhok

Previous: Executive Vice President, Disney+ Hotstar

Present: Not known

Nikhil Madhok, who served as the executive vice president at Disney + Hotstar has put in his papers. During his stint at Disney+ Hotstar, he was behind the conceptualisation and launch of the platform’s entry into original content titled Hotstar Specials. Madhok, who has an experience of two decades, has worked across Unilever, Turner, Star India, Discovery Inc and Star TV Network etc.

CXO Moves: Dentsu gets two execs from rival networks; Swiggy, upGrad, Vi, RPSG hire

How many brands do you use? How many are ones you truly care for? From these, for how many can you recall advertising? I am sure the answer would be a single digit. But there will be many more brands which you can identify, at a glance, without any other prompting. Just their design, packaging, colour, smell etc will pop them up in your memory. That is important.

We have never lived in a time so full of brands and commercial stimuli. Already in our daily lives – on TV, radio, magazines, and billboards–digital marketing has brought them to every moment of our lives. But are we building stronger brands? Many argue that this is not the case. Brand Darwinism has peaked. Why is much forgotten and only so little remembered? In an over communicated society too much is being said and not enough is being repeated. At their core, brands are about trust. You don’t demand trust, you earn it through your actions. Being the same at all times is a big factor in trustworthiness.

Via evolution, we are all descended from people who relied on short cut decision making. In the early human period, one may guesstimate that less than 10% of information required for decision making would be available. Hence ‘fight or flee’ type reflexive decisions looked out for markers and signs which were extrapolated with lifesaving consequences.

The reason successful brands are vivid in people’s minds is thanks to distinctive assets. They must remain constant. This could be one big anchoring hook or many small ones sticking on to the consumer mind like Velcro. The ‘distinctiveness’ provides a reason to recall and that is a big battle won where marketing is concerned. Distinctive assets help create and consolidate a brand image and make it more desirable and remembered positively in the market. They work as mental triggers, reminding people of a brand and all its attributes and associations.

Distinctive assets are elements that trigger the memory of a brand in the consumers’ minds without mentioning its name. They can be something you see, read, hear, touch, or feel, and immediately reminds you of a brand. The barebones definitional criteria for a distinctive asset would be anything that strengthens at least one brand element in the public’s imagination.

Think slogans, colours, logos, fonts, music, sound-effects, visual effects, scents, packaging, product shape, characters, ambassadors or celebrities.

These elements, when associated with a brand, create a picture in people’s heads. When they are reinforced enough by consistent and coherent communication, they “stick” to the memory. Thus, distinctive assets can be easily accessed among other memories with just a small trigger.

But it is not a coincidence that these elements stick to the memory. We are talking about branding work here but with a deep scientific basis.

Antonio Damasio, professor of neuroscience at the University of Southern California, and the head of the Brain and Creativity Institute in his book, ‘Self Comes to Mind’, distinguishes between "emotions" and "feelings," stating that emotions are the unconscious, physiological responses in your body, and feelings are the mental perceptions of those physiological changes. Damasio is one of the world’s most preeminent neuroscientist whose view on emotions, consciousness, and decision-making are ground breaking. His book, Descartes' Error, shed light onto the ideas that rationality and emotions weren't opposites, but actually worked together and required each other. Damasio’s concept of Soma or a group of somatic markers is relevant to brand assets. Dr. Robert Heath writes in his book Seducing the Subconscious how "subconscious associative conditioning" is the method by which these associations get connected to brands.

When applied to brands, we see how every small encounter with a brand or even things associated with it influence our somatic marker for the brand. They emerge in our conscious minds prior to purchasing decisions. More than the conscious message, think also of shaping all the subconscious associations with the brand.

That is already enough to reach distinction. From there, it is possible to establish a deeper connection with consumers, stir their emotions, and make a difference in their lives.

People expect brands to contribute to the quality of their life and their well-being. Therefore, they are willing to create positive connections with brands. And a brand is nothing more than the set of experiences that the consumer has with it. These are associations of thoughts, feelings, perceptions, and sensations provoked by the outside world that are put together in people’s heads, forming the brand image.

Distinctive assets help to compose this experience and activate them in the memory of consumers. When hearing the set score of a brand signature tune, all past experiences are triggered in the memory and the relationship with the brand is strengthened. Distinctive assets remain there, stored in the memory. All it takes is an input – a chord from a soundtrack or the colour combination of a logo – to trigger brand recall instantly.

Distinctive assets make brands much more recognizable by the public. You don’t even need to mention its name for it to be remembered.

This recognition is important because it helps consolidate the brand image and build awareness.

It is interesting to think of distinctive assets in international marketing, especially since many of these elements work regardless of the language spoken. An image, a sound, or a character, for example, can be recognized anywhere in the world.

But this memory does not just bring that brand element to mind. With it, also comes everything that is associated with the brand, such as perceptions, opinions, and sensations that have been stored in your memory through previous experiences. Of course, this presumes a bedrock of subliminal positive experiences and associations.

It may be that distinctive assets trigger a memory of the positive feeling that using the product has already provided. But it may also be that the consumer connects it with memories that are not directly related to the brand but their life experiences - affective memories and create stronger ties with people’s emotions.

The vast majority of brands don't get to be loved. We feel slightly positively or negatively toward it, so we buy it or we don't. Research shows that we tend to narrow down our choices even in very high involvement categories like buying a car or a house. We fix a set of options and then choose from those. It's often our general gut feeling that gets those options put into the consideration set in the first place. The brand's somatic marker gives it a fighting chance to be considered. If you are in the subconscious mind, you will pop up when the decision funnels begin to get firmed up.
<blockquote>So, for most brands, rather than building a conscious feeling of "brand love”, unconscious recognition is a better bet.</blockquote>
Distinctive assets help to put these brands in a special place in your memory to be remembered when the time comes to make a purchase decision. This hopper from awareness to consideration is crucial. 

- Being unique - the element must be unique, original and differentiated, to highlight and evoke the brand and not its competitors.
- Being well-known - the element must be recognized by most of the public to be understood as a representation of the brand.

The Ehrenberg-Bass Institute proposes a methodology to identify the potential of distinctive assets, which consists of the following steps:

 - An in-depth study of the brand elements: survey the brand elements to analyze, test, and measure their strength.</li>
 - Research to collect data about the consumer experience and identify how connected the brand and its elements are in their perception.
 - Interpret users’ responses and identify how to use the elements in your brand communication.

Align the distinctive assets with the essence of the brand
<blockquote>Whatever element you choose to use as your distinctive asset needs to be aligned with the essence of your brand to be coherent.</blockquote>
Keep communication consistent

Create consistent communication to consolidate distinctive assets in people’s minds. Repeat repeat repeat.

Memory is built from reinforcement and insistence, with consistency across all content and brand channels.

Bring to mind Netflix’s “ta-dum”, Tiffany’s patent colour ,The Michelin Man, Coca Cola’s Red or the Nike swoosh. Then think if you recall anything more. Do you need to?

I rest my case.

Shubhranshu Singh is vice president, marketing - domestic &amp; IB, CVBU, Tata Motors. He writes Simply Speaking, a weekly column on Storyboard18. Views expressed are personal.

Simply Speaking: A brand mosaic and the little things that make it

Varsha Ojha

Previous: Head of Marketing and Digital, Radio City and Mid-Day

Present: Head of Marketing and Communications, Shemaroo

Varsha Ojha recently replaced Rahul Mishra—Head - Web3.0 Initiatives—as media player Shemaroo Entertainment’s head of marketing. Ojha, who comes with two decades of experience in the field of media, will be responsible for driving every aspect of brand strategy and digital of Shemaroo in her new role.

Rohit Suri

Previous: Chief Human Resources Officer, Dentsu International

Present: Head of Talent, Netflix India

Dentsu International’s former chief human resources officer, Rohit Suri, whose stint lasted for 10 months, made a move to Netflix India as the head of talent for the streaming giant . He will report to Sergio Ezama, chief human resource officer of Netflix India.

Saibal Biswas

Previous: Vice President, Marketing and Growth, International markets - Disney + Hotstar

Present: Head of Marketing, MediBuddy

Saibal Biswas has joined MediBuddy, a cashless healthcare provider, as the head of marketing. His new role will see him play a key part in the leadership team and spearhead the marketing efforts at MediBuddy and drive growth as the company expands its footprints at a pan India level. At Disney+Hotstar, Biswas was instrumental in building brand awareness for Hotstar amongst the Indian diaspora.

Tom Thomas

Previous: CMS IT Services, Aujas Cybersecurity, and HCL Technologies

Present: Head of Marketing and Branding, Equiniti

British outsourcing financial and administrative services business, Equiniti (EQ) recently appointed Tom Thomas as the head of marketing and branding for the India operations. Thomas will lead EQ India’s branding push and he will also head the operations team that supports EQ’s global marketing.

Rakesh Raju

Previous: Senior Group Brand Manager, Cavinkare

Present: Director, Brand Marketing, upGrad

Rakesh Raju joined online higher education platform upGrad as the director of brand marketing. At Cavinkare, he led the haircare portfolio and the e-commerce business. Along with that, he was involved in building new products in the personal care category.

Arghya Chakravarty

Previous: Executive Vice President - Ad Sales, Entertainment Business, Disney Star India.

Present: Not known

Arghya Chakravarty who served as an executive vice president at Disney Star India and looked after ad sales and entertainment business has put in his papers. His next move remains unknown and as per his LinkedIn profile, he will be on a two-week break. He has also been a part of PepsiCo India as the executive director - sales, beverages.

Amrutha Nair

Previous: SVP - Product and Revenue Strategy, Regional, Kids, Infotainment and Youth, Disney Star India

Present: Head - Ad sales – Hindi and English Entertainment, and SVP - Product and Revenue Strategy, Regional, Kids, Infotainment and Youth, Disney 
Star India

Amrutha Nair, who served as the senior vice president - product and revenue strategy, regional, kids, infotainment and youth at Disney Star India, has been elevated to head the ad sales for Hindi and English entertainment. She takes over from Arghya Chakravarty, who recently quit.

Ankur Garg

Previous: Group Creative Director, Dentsu Impact

Present: Not known

Ankur Garg, who served as the group creative director at Dentsu Impact, creative arm of Dentsu Aegis Network (DAN), has decided to move on. Garg was associated with the agency for a decade and started his career with the agency as a creative supervisor, working his way up to senior creative director before taking up the mandate of being the group creative director. He comes with an experience of more than 16 years in advertising.


Compiled by Kashmeera Sambamurthy

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