Fiction
Paree’s integration with Pyar Tune Kya Kiya aims to set a progressive narrative
NEW DELHI: While most youth-focused brands now prefer to market themselves digitally, where most of their core audience is, homegrown sanitary pad maker Paree is counting on a TV show to strike a chord with its TG. The young brand has recently partnered with Zing’s popular TV show Pyar Tune Kya Kiya’s (PTKK) season 11 as presenting sponsors.
In conversation with Indiantelevision.com, Paree founder and CEO Sahil Dharia asserted that TV is far from being ruled out in any brand’s marketing mix. “Digital, no doubt, is a great alternative medium to reach the younger generation but it will never get as big as TV. We see if an association can help us in reaching around 10 crore women or not before we make any marketing decision, and this certainly does.”
Paree GM – marketing Samta Datta stated that the brand wanted to solidify its foundation with the core TG, and the show is in complete synergy with that.
However, it doesn’t mean that Paree is shying off from going digital for its promotions. “Paree is going to be a digitally-enabled brand but this particular show has a great outreach amongst the gen-Z, who are the decision-makers. Also, it will be running on Zee5 as well, taking us to the digital audience too,” Dharia added.
Pyar Tune Kya Kiya is one of the most popular shows on Zing and has been running for the past six years. Currently, in its season 11, the show explores the theme of confusion in love with complicated twists, starring actors like Arijit Taneja, Ketki Kadam, Eisha Singh, Charlie Chauhan, and many others. Apart from Paree, the show is co-powered by Yamaha Fascino 125 Fi, Vicks Cough drops, and has Philips Trimmer as grooming partner and Godrej Protek as associate sponsor.
As the presenting sponsor for the show, Paree has done a total of five brand integrations across five episodes. Each episode will have a minimum of 2.5 minute-long interaction around the brand.
Datta explained, “Our idea was not to get viewing minutes or just plaster our product on-screen. We wanted to start active conversations with this integration. So, you will see our product as a part of the narrative within the show wherein young couples, friends, and parents will be seen talking about it.”
Dharia mentioned that the representation is a step-ahead from the age-old anathemas that surround menstruation and sanitary pads. “We have shown a couple talking about PMS that mostly becomes a taboo topic within young partners. We have shown a guy buying Paree pads for his girlfriend, and many such instances to set the ball rolling towards a progressive society.”
Discussing the overall marketing plan for the brand, Dharia shared that they are currently spending heavily on their marketing initiatives as they want to reach out to the maximum audience. While TV and digital take the biggest portions of their budgets, print also plays a key role in promoting topics like menstrual hygiene.
“Our aim is to grow from the existing three per cent market share that we have today and we want to be on the top of the mind of the users. More than five to 10 per cent of our revenues are reserved for marketing activities. So, we try to remain on-air always. We are very much satisfied with the voice share that we have on television right now. We are active both during the prime time and RODPs spot,” he signed off saying.
MUMBAI: On Christmas morning, whilst most of Mumbai slept off festive cheer, Satyam Tripathi’s heart gave out. 25 December proved cruelly ironic for a man who’d spent his career crafting drama—this time, there would be no second take. He was only 57.
Tripathi was a scriptwriter’s scriptwriter. Within India’s chaotic television industry, where writers are treated rather like spare parts, he’d carved out something rare: respect. For years, he sat on the executive committee of the Screen Writers Association, helping transform along with other leaders, what was once a talking shop into an organisation with teeth. When writers’ rights were little more than punchlines, Tripathi helped pen a different ending.
His credits read like a greatest hits of Indian telly: Hitler Didi, 12/24 Karol Bagh, Ek Mutthi Aasman, Parvarrish Kuchh Khattee Kuchh Meethi. Millions laughed, cried and switched channels to his work. He also championed the association’s Screen Writing Awards, ensuring that good writing didn’t go unnoticed in an industry obsessed with ratings and revenue.
Those who knew him speak of an affable soul, generous with time and advice. In a cut-throat business, Tripathi was that rarest of creatures: genuinely helpful.
His remains were cremated the same evening in the presence of industry associates and friends. The credits rolled quickly. But his final script—a better deal for India’s writers—continues to play out. That’s the sort of ending he’d have appreciated.
(Scriptwriters, producers and friends will be getting together to honour Satyam Kumud Tripathi’s memory and to hold a prayer meeting on 29 December. The location: Shri Guru Singh Sabha Gurudwara, 4 Bungalows, Andheri West, Mumbai. The time: between 3:30 PM and 5:00 PM.)
