MAM
Policybazaar.com launches new TVC focusing on health insurance
NEW DELHI: Policybazaar.com today launched a new television commercial campaign that will air from tomorrow focusing on the health insurance sector to make a correct decision on the policy consumers choose.
The company which has been assisting consumers to make a correct financial decision for the last five years now aims to revolutionise the concept of health insurance by educating the consumer on the benefits of comparing coverage’s between various health insurance plans.
The storyline and concept behind the theme is “comparing better than repenting” which highlights the benefits of comparing health plans before making a purchase decision. The main objective of the campaign is to provide a holistic approach to the consumers for comparing the benefits related to health insurance policies like any other insurance scheme to get the best package that meets the consumer’s health and financial needs.
Brand at Policybazaar.com associate VP Anuj Bhagia said, “Our campaigns are aimed at creating awareness among consumers, enabling them to make an informed decision. While our previous campaign spoke about comparing car insurance policies to gain maximum benefits and rebates, the new campaign highlights the need to consider a health insurance plan that covers you for any unfortunate contingency. The theme of the campaign is that personal well-being should not be compromised in the name of ignorance.”
Metal Communications cretive VP Siddharth Prasad said, “People do not know how to go about buying health insurance or what to look for in a policy. This TVC shows the dramatic awakening of a young man’s common sense in this respect. It’s set in a theatre, where the brand’s protagonist interrupts the movie to shock him out of his apathy and show him how to choose a health policy.”
The theme of the campaign revolves around a couple in a movie theatre watching a horror movie, where they have a brief conversation about their health insurance policy. The wife who is seen to be not much interested in the movie tries to engage her husband in a conversation regarding health insurance policy. The husband on the other hand who is engrossed in the movie becomes disinterested but is enlightened by the main character “Maa” (mother) advising him to compare the insurances for better benefits before purchasing it.
TVC Credits:
Client : Policybazaar.com
Brand Team : Anuj Bhagia, Associate Vice President, Brand, Policybazaar.com
Agency : Metal Communications
Creative Chief : Narayan Kumar
VP, Creative : Siddharth Prasad
Business Handling : Ambarish Ray
Production House : Soda Films
Director : Jayant Rohatgi
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.
