MAM
Zee Khana Khazana rolls out its first campaign ‘Kal kya banaoon?’
MUMBAI: Zee Khana Khazana is launching its new ad campaign aiming to reinforce its positioning through its tagline ‘Ab Khana Sawal Nahi, Lajawab Hai!’
Titled ‘Kal kya banaoon?’ the thought behind the TVC captures the mindset of every housewife, which is full of questions when it comes to making the everyday meal. The TVC shows a day in the life of a housewife who battles with the question ‘kal kya Banaoon’ all day, without getting an answer from anyone. Finally, she finds the answer in her own living room, with Zee Khana Khazana.
Mansi Parekh will be seen as portraying the role of the worried Indian housewife, with ‘kal kya banaoon’ thought always on her mind.
In the first phase the TVC will be available on DTH platforms, Digital and Social media and across Zee network channels. The ad film has been created by Scarecrow Communications.
Zee Khana Khazana business head Amit Nair told Indiantelevision.com that the channel plans to continue to spend about 20 per cent of its marketing budget on digital media. “Brand activations, TV and Digital are the key mediums we will rely on. As it’s a niche channel with a focused target audience, the concentration is more on women specific radio time bands and integrations, digital advertising on women specific portals, concentration on social media and onground activations in a big way.”
The ad will also travel to Multiplexes and other networks in the second phase. Zee Khana Khazana is currently available at Rs 30 per month on Dish TV, Videocon D2h and on digital cable. It will soon be available on other DTH platforms, the company said.
On digital, the channel had done brand campaigns on the top ad networks and Google, YouTube.
Talking about BTL activities Nair said, “We just concluded the four city BTL activity called Super cook that had a grand finale at Inorbit Malad on the 29 March. Through this activity winners in the four cities will get a chance to come onto our show ‘Ab Har Koi Chef’ and cook with our super chef ‘Chef Jolly Singh’. We are also planning to concentrate a lot on BTL activations like contest and workshops in malls, special workshop for women in societies, tie ups with different events conducted by parallel brands etc in the future.”
The ads will be running the TVC across the network on all national channels excluding regional ones. The channel will also air the TVC on the HD channel of Zee and Zee Cinema.
The TVC is directed by Radhakrishna Jagarlamudi. Meanwhile, it is produced by Satish Fenn of Ever After.
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.
