MAM
Love Depot launches digital campaign to deliver every desire
Mumbai: Love Depot, a leading sexual wellness superstore in India, owned by legacy healthcare brand TTK Healthcare, unveils its latest campaign accentuating the brand’s three customer-focused values which are – making products available across all demographics of pleasure seekers, improving accessibility by ensuring choice of delivery, privacy during the shopping journey and lastly, suiting all pockets with affordable and luxe range of products.
Showcasing diverse demographic profiles and narratives, the campaign consists of four films featuring Love Depot as a brand that promotes inclusivity, by offering something for everyone, irrespective of where they are in the journey of exploring pleasure. Owing to the conservative opinions surrounding this segment, the campaign also intends to bring a shift in the mindset of audiences while reassuring them of seamlessly meeting the objective of ‘Every Desire Delivered.’ The innovative campaign cleverly portrays the emotions of delight when people discover that their desires will be delivered promptly.
Commenting on the launch of the campaign, TTK Healthcare head of digital & e-commerce Arjun Siva shared, “The pleasure product consumer is not an outlier, restricted to a particular niche segment, geography or even age group. I am thrilled to share the launch of our latest campaign with films that showcase ‘everyday’ people, across all age groups, living ‘everyday’ lives – because this is who our audience is. We aim to break stereotypes and normalize conversations around pleasure because we believe this is the key to opening minds and unlocking growth in the category.
Our films’ protagonists demonstrate a gleeful delight, which actually mirrors (with some creative license) the reactions we have seen in real life, to our offerings. Our objective with this campaign was to create a relatable, endearing communication that establishes Love Depot as the Ultimate Pleasure Destination, and we feel these films have achieved that. We are certain that audiences will love and appreciate the films as well.”
Love Depot has a huge lineup of products, housing national and international brands, providing limitless options for customers to fulfill their pleasure desires. Further, with special attention on privacy the brand follows a discreet packaging protocol, without any logos information or indication on the labels. Additionally, a self-pick facility is also available to customers for them to have complete control on their purchases. With products starting at an affordable price of Rs 499/- there is something for each budget type.
https://www.youtube.com/playlist?list=PLMVTZv0ia2ZSxomLRiVtq392WusbpLxNV
The campaign will be run across Meta platforms such as Instagram and Facebook, alongside the Google platform – YouTube to ensure sustained communication and reach out to the masses effectively.
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.
