MAM
Parle-G’s latest ‘G Mane Genius’ TV campaign harps on inculcating values in children
Mumbai: Parle Products, one of the leading biscuit brands in India has released its latest TV Campaign for its flagship product – Parle G. This TV Campaign is part of their brand’s G Maane Genius positioning. In 2022, Parle-G revealed an innovative version of its ‘G Maane Genius’ campaign. The proposition was elevated by touching upon the emotional quotient in children. The innate empathy of young children, devoid of personal benefit was the lynchpin of the campaign.
Riding on the back of that campaign’s success, Parle has come out with a series of bite-sized films with the same messaging. The new set of five films created by Thought Blurb Communications has been carefully created to evoke the same emotion without the luxury of elaborate storytelling. The new 15-second format manages to balance the emotion elicited by the proposition with daily situations with children at home and play. The emphasis is on their interaction with parents, loved ones and friends.
1. Dadaji:
2. Musical Chairs:
3. Puppet Show:
4. Science Project:
5. Toy Store:
The series of films takes simple uncomplicated scenarios to demonstrate a child’s compassion. These are situations that a child may easily find themselves. The intuitive need to help others is encompassed in the signature thought, ‘Genius wohi, jo auron ke khushi mein paye apni khushi’.
The simplicity of the films is key to the campaign’s effectiveness. These are situations that every child would have faced. The portrayal of sensitivity in the protagonist child is not shown as a moral lesson or a teachable moment. In fact, the protagonists are neither good, nor bad. The statement ‘Genius wohi, jo auron ke khushi mein paye apni khushi’ clearly defines the brand’s definition of a genius, in any child. These are the values that the ads seek to inculcate in children without speaking from a pulpit.
For the parent in the room, the message is clear. Parle-G stands for a feeling of empathy and sacrifice in children. These attributes are the sublimation of uncorrupted compassion and the need to protect, help and make others happy. The shorter version of the campaign brings a new dimension to the concept of ‘genius’ and makes it an everyday demonstration of emotion in its purest form.
“The core values expressed in this campaign are quite strong. Young children around the world have an effortless capacity for empathy, which gives them a facility for goodness born out of innocence. We equate this to a higher intelligence relatable to genius,” said Parle marketing – VP Mayank Shah. “We needed to see if the idea had legs to travel through different formats and media.” It was a challenge thrown to the advertising agency which Thought Blurb gladly accepted.
Thought Blurb Communications founder & CCO Vinod Kunj spoke about his team’s approach to the campaign. “We immediately realized that we needed to throw out all our pre-conceived notions of scripting. The short format gave us little time to establish relationships and situations. The establishing shots would have to portray the conflict and solutions presented simply. Nothing overly convoluted would work.”
Thought Blurb Communications national creative director Renu Somani explained, “Emotions are not slaves to duration. We rejected the concept of shorter edits of the master films and created fresh masters in the short format. Each story is born from the need for 15-second stories and not pared down versions of the longer ones.”
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.
