MAM
Nokia, Tata remain India’s most trusted brands; Anna Hazare is top personality
BANGALORE: Nokia and Tata have retained their position as the top two trusted brands in India this year, according to a recent brand study.
Anna Hazare has surged, gaining the nation’s trust ahead of Sachin Tendulkar, Salman Khan, Amitabh Bachchan and Aamir Khan who feature in that order.
According to the second edition of Brand Trust Report (BTR) released by The Comniscient Group’s Trust Research Advisory (TRA), Sony has slipped two positions to become the fifth most trusted brand, while LG and Samsung have moved up to the third and fourth positions.
The BTR India Report 2012 lists India’s 1000 most trusted brands. There are 22 personalities listed in BTR.
Reliance has slipped from its number six position last year to No.10, while Bajaj at No.7 has eased out Titan from the top 10 positions. LIC and Airtel have retained their last year’s positions of eighth and ninth ranks respectively.
TRA CEO N Chandramouli said, “In life, without trust, there is nothing. Each time a human engages with anything, the basis for all decisions is trust. Be it brands, other humans, or just ideas, one will react to them on the basis of the trust it generates. Last year was tumultuous for several brands, but those which focused on trust, have gained market-share, revenues and profits. On the other hand, the brands which have focused only on the latter, have invariably lost both. Focus on building trust and all else will follow automatically.”
Most Trusted leaders in some other categories are Armani in Branded Fashion, DLF in Construction, NIIT in Education, ONGC in Energy, PVR in Entertainment, Pepsi in F&B, Dabur in Healthcare, Taj Hotels in Hospitality, Google in Internet, ACC in Manufacturing, Thomas Cook in Services, Being Human in Social Sector, Hewlett Packard in Technology, and Air India in Airlines.
The BTR is an attempt to understand and simplify concepts related to Brand Trust – it tries to help decipher, analyse and measure trust as the basis for all human-based engagements and interactions.
The research has been carried out using TRA’s proprietary Trust Matrix comprising 61 different ingredients or components of trust. The research has been conducted with 2,718 ‘influencer’ respondents from 15 cities in India and is based on more than two million data points from 12,000 hours of research, said TRA.
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.
