MAM
McCann takes forward Greenlam Laminate’s message of beauty
Mumbai: Greenlam Laminates has created a new campaign, taking forward the idea of “Zamaane ko Sajana hai”.
The campaign – ‘Mahaul Sundar toh Khayal Sundar’ – plans to bring the message in a more interesting and engaging manner to the masses. In keeping with the brief given by the client, the TVC created by McCann depicts social evils and day to day happenings in a more positive manner.
MWG India CEO and chief creative officer Prasoon Joshi says, “This is a special client who allows space for such creative flights for the brand. This ad is a satire and creative take by the brand, which exaggerates how a product like Greenlam transforms not only your physical being but also transforms your state of mind and thinking. The script carefully takes care of striking a balance between cynicism and humour. Music enhances it to make you really think and question… And it was as usual enriching to work with Ram.”
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The cue for the creative was taken from the New York metro case study. A research done in New York highlighted the fact that keeping the surroundings and environment clean reduced the crime rates drastically as compared to unkempt and filthy environment.
Hence, the agency took the social angle but by sticking to the brief of –‘When your environment is beautiful it results in getting positive thoughts.’
On the campaign, Greenlam Laminates marketing and communications vice president Alex Joseph says, “Greenlam Laminates has taken a leap forward from its last year’s ‘Zamane ko Sajana hai’ campaign which goes on to evoke beautiful, positive and refreshing thoughts amongst the masses. Our belief that beautiful surroundings lead to happy thoughts has been highlighted in the TVC in a satire manner. We intend to touch the human hearts with emotions of happiness and comfort, thus instilling the need of a beautiful ambience.”
A complete 360 degree media campaign is planned for the campaign. The TVC was aired on 70 channels. Prior to the TVC, the teasers were used in print media where half page jackets in almost all leading publications informed the readers on ‘changing india’. RJ’s in various FM channels asked their listeners to be tuned in to their favorite channel to witness ‘changing india’. A complete online campaign also ran informing the surfers about the change.
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.
