MAM
IDBI Federal launches OOH campaign to promote Childsurance
MUMBAI: IDBI Federal Life Insurance has launched its humorous, yet hard-hitting, outdoor campaign to promote its child plans’ category – Childsurance. The outdoor campaign, which will span across 105 cities and towns, adds a bit of fun element to drive home a point.
Explaining the objective of this campaign, IDBI Federal Life Insurance chief strategy and marketing officer Aneesh Khanna said, “The angry baby photos attract your attention and lead you to an important message – children will not look this cute when they are 18 if their dreams are not fulfilled for lack of financial planning. With the cost of education ballooning year after year, it is important that young parents systematically plan for the future needs of their little ones.”
“The best part about this campaign is that while it gives young parents a gentle nudge, it does that by bringing a smile on their faces. Our insurance solutions for children effectively address most of the concerns related to securing their future. We think it’s a clutter breaking idea and takes a complete departure from regular advertising featuring babies,” Khanna added.
Ogilvy & Mather, Mumbai senior creative directors Amitabh Agnihotri and Sameer Sojwal have designed the campaign.
Agnihotri said, “There couldn’t be a more arresting idea than using babies to grab the attention of young parents. The category of insurance is inundated with emotional appeals, advertising that literally pleas for better financial planning. We were clear that we had to stay away from the clutter and create something absolutely fresh. The most fun part of the campaign was shooting with the babies and getting their cute-angry expressions.”
Sojwal added, “Financial planning for a child’s future is probably the most important message to convey to young parents; dealing with the wrath of a child’s failed future can be a daunting experience. This is the reality of life, but humorously put through the Childsurance campaign.”
Social Street executed the campaign in 105 cities, with more than 900 billboards pan India in Phase I.
Social Street founding partner and chairman, Pratap Bose said, “The Childsurance campaign from IDBI Federal is indeed an intriguing one, as the cute angry babies immediately draw your attention. Large scale formats in the OOH space, enables the imagery of the visual to be disproportionately large, so as to draw attention and drive home the point that your child’s insurance is certainly not something that you can take for granted.’’
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.
