Digital
Terribly Tiny Tales & Philips Airfryer celebrate love in #MakeNotBuy IG film
Mumbai: It’s that time of the year, when cupid weaves love in mysterious ways. With Valentine’s day 2024 around the corner, Terribly Tiny Tales, India’s most revered storytelling platform, renowned for its heartwarming narratives centered around love and relationships, unveils an IG film titled #MakeNotBuy with the Philips Airfryer, featuring newlyweds Mukti Mohan and Kunal Thakur, urging viewers to express their affection by preparing a romantic homemade meal for their partners this Valentine’s Day. The campaign beautifully portrays the idea that homemade gestures of love are irreplaceable, whether it’s cooking a favorite meal from scratch, baking cookies with care, or crafting a handmade card.
In our chaos-driven lives, we have almost forgotten to pause and reflect to embrace the simple pleasures of life. What alone happened to the charming old-school romance? The tiny acts of love, little surprises and intimate home dates over lavish outdoor spreads! High on nostalgia, the ad campaign is crafted to celebrate Valentine’s Day 2024 with a romantic culinary gesture with the help of a Philips AirFryer, to pleasantly surprise your better half and strengthen your bond. The essence of the love campaign is to add an extra layer of love, warmth and personalization to Valentine’s Day 2024, igniting passion and affection in your relationship. It encourages viewers to rekindle the romance this Valentine’s day by cooking a hearty homemade meal for your partner. The IG film features the recently married dance icon and actress Mukti Mohan and Indian Actor & Model Kunal Kapoor, for the first time as newlyweds, adding more authenticity and depth to the narrative.
Cooking for your partner is perhaps the most underrated expression of love, that can revive bonds and add a fresh perspective to your relationship. The #MakeNotBuy campaign by TTT, for Valentine’s Day 2024, is crafted with love compelling audiences to ditch that elaborate outdoor dinner this Valentine’s and instead opt to cook for your special ones. Picture your loved ones’ faces lit up with that simple bowl of their favorite comfort food, laced with a homemade aromatic coffee.
TTT CEO Anuj Gosalia, “ TTT has always celebrated the idea of romance and enduring relationships with every campaign. The #MakeNoBuy campaign for Valentine’s Day 2024, in collaboration with Philips AirFryer, celebrates the nuances of love and highlights the power of simplicity and warmth, in expressing love to your partners. With this campaign, we aim to inspire individuals to rediscover the joy of making for their loved ones, transcending beyond the conventional notions of romance. The campaign celebrates the charm of old school romance, and encourages viewers to go the old-fashioned way this Valentine’s. We believe that cooking for your partner, a seemingly ordinary act, holds immense power in conveying affection and strengthening bonds. We are certain that the campaign will be a success in stirring affection amongst partners and will encourage them to experiment with cooking. There couldn’t be a better collaboration than with Philips Air Fryer for the campaign to endorse this property, to weave a magical narrative that resonates deeply with our audiences.”
Versuni India chief marketing officer Pooja Baid, shared her excitement, stating, ” At Versuni, we believe in the power of love and its seamless connection with the culinary world. The #MakeNotBuy campaign is not just about flavors; it’s a celebration of the heartfelt moments we create through the joy of cooking. The overwhelming response to our #TasteOfLove campaign last year was truly heartening. This year, we are bringing it back with even more passion and creativity. Our goal is to reach a wider audience, spreading the message that a thoughtful, homemade gesture can create lasting memories. With Versuni’s exceptional range of domestic appliances, we empower consumers to make this Valentine’s Day and the entire month of love extraordinary.”
This Valentine’s Day is all about #MakeNotBuy. Here’s hoping we all wake up to baked muffins and coffee with our special one this Valentine’s.
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.
