MAM
Paras promotes Life of Rich Experiences in new campaign
MUMBAI: Paras‘s history reflects back to 1960, when the procurement of milk started with 60 liters of milk. The first unit was established in 1987 under the name – VRS Foods. As of today, Paras caters to the Delhi NCR region, Uttaranchal (Rishikesh/Haridwar/Dehradun), Meerut, Aligarh, Lucknow, Kanpur and Mumbai.
As a part of strengthening its brand positioning in the market, the brand recently launched a new campaign titled ‘Jeene ka swad‘, created by Rediffusion-Y&R to bolster the image of the brand as an enabler of happy and healthy experiences in people‘s lives.
Different brands occupy different mind spaces. The brand idea for Paras comes from having a positive outlook towards life. Paras is associated with nourishment, positivity, health, and growth. The television commercial features a team of six-year-old kids who have not scored a goal, ever, in a game of soccer. However, the kids are just too happy playing the game itself to care too much. The film charmingly shows them offering excuses for why they think they have not yet scored a goal. And it ends with a female voiceover that says Jeetne mein nahin Jeene main swad hai (it‘s not winning but living well that is the real taste of life).
While ideating the commercial, Rediffusion-Y&R examined the foundations of this thought: As kids growing up in India, we are under immense pressure to perform in multiple arenas of life.Parents are also increasingly inflicting upon their children the mindset of “winning is everything.” Paras saw this as creating negativity, harming the psychology and self-esteem of younger children, creating an immense fear of failure among them. Hence, Paras as a brand wanted to push the idea of building a positive generation, where kids know how to handle both success and failure, where parents don‘t treat their kids as achievement machines. Hence, the core thought of the milk campaign was “Jitne mein nahi jeene me swaad hai.” In other words, Paras wanted to associate with the overall health and psychology of younger children.
Rediffusion-Y&R, ECD & NCD, Chraneeta Mann said, “Our task was pretty much to help Paras reinforce its status as a trusted brand for more than 50 years. We believed that this trust was earned on the basis of the years of happiness and health that Paras Dairy products helped parents achieve in the lives of their families. So, we believed that the role of Paras Dairy was significant as a source of nourishing food that provided energy, vitality, and strength. We wanted to address the health and wellbeing of families, especially children. So we chose a positive story about a world that is rich with life experiences, not a world of winners and losers. That was the genesis of the campaign idea.
“”We need to move away from the constant pressure to stay ahead and the anxiety, depression, and fear of failure that it creates among our children. Let‘s let our children just be. Healthy, happy kids,” continued Chraneeta.
The TVC primarily targets – Women aged above 35 years of age and working women who have kids. The secondary target is kids. The campaign will comprise print, outdoor, and radio adaptations as well. The brand has allocated 60 per cent of their budget on television spend in all markets. 20 per cent of the total marketing spend would be allocated to Delhi for the OOH brandings, opening up of Paras outlets and BTL activations. 20 per cent of the total spend will be allocated to Lucknow and Mumbai (10 per cent respectively) for opening up of Paras outlets and BTL activations.
The creative team for this commercial comprises of ECD and copywriter Chraneeta Mann, business head Amrita Bhadury, marketing head Sanjay Sinha and Sumit who is the brand manager.
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.
