MAM
Pampers says ‘Good Morning Baby’ with Saatchi & Saatchi
MUMBAI: As a promotional strategy, P&G’s babycare brand has launched an initiative by the name ‘Pampers Good Morning Baby’ aimed to serve as a common platform for mothers across India to get together and share their happy morning moments with their babies.
The campaign has been conceptualised by Saatchi and Saatchi.
While the media duties for the campaign are handled by Mediacom digital agency, Quasar is responsible for the digital part.
Spread over four weeks, the campaign includes TVCs, print ads in newspapers and magazines, Facebook page with baby FM application, digital banner campaign and a Good morning Baby IVR-based phone community.
Saachi did an exploring research across India by Saatchi and Saatchi accompanied by a survey among mothers conducted by AC Neilson which formed the basis of the campaign. The results provided insight that when babies wake up happy in the mornings, the feeling transcends to the entire family and has an overall positive effect on the home environment.
This is the first time that Pampers India has attempted such a holistic campaign.
Says Pampers India brand manager Girish Kalyanaraman, “In today’s scenario, the media verticals are not independent of each other. Therefore, the challenge was to integrate the big idea across all media. We explored various ideas with Saatchi and felt that the story of joyful wake ups is integral to the brand equity because Pampers is dedicated to ensuring babies get peaceful night’s sleep which results in their healthy development”.
‘Pampers Good Morning Baby’ has been created to give a common platform for mothers across India to get together and share their happy morning moments with their babies. The proposition of the campaign is that these happy moments are possible only when the baby has had a good night sleep and Pampers is dedicated to ensuring babies get peaceful night’s sleep which results in their healthy development.?
Saatchi & Saatchi regional planning director Hari Ganesh says, “As a father, I personally feel that the happy morning wake up of my baby has a transcending effect on the entire family. My wife feels relieved to see the baby waking up happy. I get to spend quality time before I go to work. And the day begins great.”
Saatchi & Saatchi NCD Ramanuj Shastry agrees, “Every mother has her sweet nothings with her baby – that one name that she calls him, that one tickle that makes him laugh, that one smile that melts her heart and that one special song that she always sings from her heart; moments that she cherishes every day. Therefore the creative objective was to amplify such moments across media and invite mothers to join the movement”.
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.
