MAM
Interactive Television’s Buzz Index to help advertisers make smart investment in movies
MUMBAI: Interactive Television, a unit of WPP, has launched ‘Buzz index’- a revolutionary buzz measuring tool for helping advertisers to make informed decisions for cinema advertising.
Buzz Index is a measuring tool that identifies, captures and quantifies the ‘buzz’ around a particular film across all social media platforms such as Twitter, Facebook, blogs, boards, forums, news websites, aggregation, YouTube etc. which are true enablers for an unbiased evaluation of Bollywood and arrives at a unique buzz score. The Buzz Index of a specific film is based on four identifiers – positive conversation index, star cast buzz, positive views and unique authors.
Methodology:
After combining information from all the data points mentioned above, Buzz Index arrives at a benchmark score once the model for the index is run through Interactive’s Movie Buzz Database (2015 and updated yearly).
All new releases will automatically be compared to the indexed number of 100 which is the average score or the Gold Standard for all films, primarily films that have done more than 100 crore at the box office. A film’s Buzz Index will be calculated regularly – (Week 1) 31 days before the film release, (Week-2) 24 days before the film release, (Week-3) 17 days before the Movie release and (Week-4) 10 days prior to the release.
Interactive Television CEO Ajay Mehta said “Cinema advertising peaks around 10-12 blockbuster movies and in the absence of any measure of a film’s buzz, advertisers miss out on movies which are being talked about by their consumers. Buzz Index aims to change that so that even a small movie which is creating buzz and has a possibility of opening well should come up on the radar of the advertiser. With the launch of the Buzz Index , we want to make cinema advertising data driven rather than based on subjectivities. We aim to broad base the number of movies which can attract advertisers.
The two biggest impediments to the growth of cinema advertising is monitoring and measurement. Buzz Index is our second initiative in this direction after CAM and we will be launching a lot more such initiatives in the near future to ensure that cinema advertising is transparent and accountable by being data driven and tech enabled.”
It is common knowledge that audience preferences, pre-release affinity towards certain actors and films and consumption of digital data under the guise of “fandom” are very perceptive and honest indicators of a film’s future. If campaigns can be tailor made to align perfectly with a film, it is a much stronger advertising message; one that does not fall victim to over exposure or force fit. Capturing cinema advertising by harnessing the two most important factors shaping our generation today – social media conversation and an exuberant sentiment attached to films – was essentially the need of the hour to ensure that cinema advertising gets its due.
Digital
Content India 2026 opens with a copro pitch, a spice evangelist and a £10,000 prize for Indian storytelling
Dish TV and C21Media’s three-day summit puts seven ambitious projects before an international jury, and two walk away with serious development money
MUMBAI: India’s content industry gathered in Mumbai this March for Content India 2026, a three-day summit organised by Dish TV in partnership with C21Media, and it wasted no time making a statement. The event opened with a Copro Pitch that put seven scripted and unscripted television concepts before an international panel of judges, and by the end of it, two projects had walked away with £10,000 each in marketing prize money from C21Media to support development and international promotion.
The jury, comprising Frank Spotnitz, Fiona Campbell, Rashmi Bajpai, Bal Samra and Rachel Glaister, evaluated a shortlist that ranged from a dark Mumbai comedy-drama about mental health (Dirty Minds, created by Sundar Aaron) to a Delhi coming-of-age mystery (Djinn Patrol, by Neha Sharma and Kilian Irwin), a techno-thriller about a teenage gaming prodigy (Kanpur X Satori, by Suchita Bhatia), an investigative crime drama blending mythology and modern thriller (The Age of Kali, by Shivani Bhatija), a documentary on India’s spice heritage (The Masala Quest, hosted by Sarina Kamini), a documentary on competitive gaming (Respawn: India’s Esports Revolution, by George Mangala Thomas and Sangram Mawari), and a reality-horror competition merging gaming and immersive fear (Scary Goose, by Samar Iqbal).
The session was hosted by Mayank Shekhar.
The two winners were Djinn Patrol, backed by Miura Kite, formerly of Participant Media and known for Chinatown and Keep Sweet: Pray & Obey, with Jaya Entertainment, producers of Real Kashmir Football Club, also attached; and The Masala Quest, created and hosted by Sarina Kamini, an Indian-Australian cook, author and self-described “spice evangelist.”
The summit also unveiled the Content India Trends Report, whose findings made for bracing reading. Daoud Jackson, senior analyst at OMDIA, set the tone: “By 2030, online video in India will nearly double the revenue of traditional TV, becoming the main driver of growth.” He noted that in 2025, India produced a quarter of all YouTube videos globally, overtaking the United States, while Indians collectively spend 117 years daily on YouTube and 72 years on Instagram. Traditional subscription TV is declining as free TV and connected TV gain ground, forcing broadcasters to innovate. “AI-generated content is just 2 per cent of engagement,” Jackson added, “highlighting the dominance of high-quality human content. The key for Indian media companies is scaling while monetising effectively from day one.”
Hannah Walsh, principal analyst at Ampere Analysis, added hard numbers to the picture. India produced over 24,000 titles in January 2026 alone, with 19,000 available internationally. The country now accounts for 12 per cent of Asia-Pacific content spend, up from 8 per cent in 2021, outpacing both Japan and China. Key exporters include JioStar, Zee Entertainment, Sony India, Amazon and Netflix, delivering over 7,500 Indian-produced titles abroad each year. The top importing markets are Saudi Arabia, the UAE, Egypt, the United States and the Philippines. Scripted content dominates globally at 88 per cent, with crime dramas and children’s and family titles performing particularly strongly.
Manoj Dobhal, chief executive and executive director of Dish TV India, framed the summit’s ambition squarely. “Stories don’t need translation. They need a platform, discovery, and reach, local or global,” he said. “India produces more movies than any country, our streaming platforms compete globally, and our tech and creators win international awards. Yet fragmentation slows growth. Producers, platforms, and tech move in different lanes. We need shared spaces, collaboration, and an ecosystem where ideas, technology, and people meet. That is why we built Content India.”
The data, the pitches and the prize money all pointed to the same conclusion: India is not waiting for the world to discover its stories. It is building the infrastructure to sell them.
