MAM
BC Web Wise wins MSN India Cannes Cyber Lions award
BANGALORE: MSN India, the official sponsor of the Cannes Cyber Lions Awards, has announced the India winner. Chaya Brian Carvalho and her creative team including Raunaq Sikka, Ruth Dolla and Nash Paul from BC Web Wise, an Internet media solutions company, have won the Cannes Cyber Lions Awards from India.
Chaya Brian Carvalho gets an all expenses paid trip to the Cannes Cyber Lions awards ceremony.
A panel of eminent judges from the advertising industry consisting of Percept CEO Ajay Chandwani, Creative – Contract vice president Ashish Chakravarty and McCann Ericsson president Santosh Desai chose the winning entry from the large number of entries posted on www.msn.co.in/cyberlions.
“This endeavor from MSN India is an effort to give the most promising talent in the industry a unique opportunity to showcase their creativity in online advertising before a global audience. We at MSN India believe in encouraging young talent and want to communicate the power of the online space space to marketers in order to make them recognize it as a preferred medium of reaching out to the masses.” MSN India marketing & business initiatives head Rajnish said.
“It was a tough decision for all of us. The creativity was enthralling and the lateral thinking had us in a fix. However, the creative brilliance and simplicity of Chaya’s creative team won them the award”, said Santosh Desai, President, McCann Ericsson.
“We are extremely happy that MSN India took this initiative and gave people a chance to display their talents globally”, he added.
“We are delighted to have won the MSN India Cannes Cyber Lions Award. This will encourage the best creative talent in the country by giving people the opportunity to participate in the world’s most recognised and coveted advertising awards. We feel extremely proud to be the recipient of this award from India and I am looking forward to my trip to the Cannes Awards ceremony, sponsored by MSN”, BC Web Wise Pvt. Ltd. MD & CEO Chaya Brian Carvalho said.
With the objective of encouraging online advertising industry in India, MSN India invited advertisers, agencies and creative houses to post their entries for the Cannes Cyber Lions Awards Festival in March 2005. The entries were classified under four broad categories namely website, online rich, online non- rich and grand prix.
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.
