MAM
MAA Bozell scores a hatrick with three account wins
MUMBAI: MAA Communications Bozell, Cochin has bagged both the creative and media duties for three accounts. These include Coconut Development Board, a commodity board promoting coconut cultivation, usage and consumption, Anzera Properties, a real estate developers currently launching three brands (apartments, villas, commercial complex) in Cochin and Ortho-Care Products, a part of Parathuvayalil Group which deals in ayurvedic treatment, manufacturing and marketing of Ayurvedic OTC products and orthopaedic appliances.
An official release issued by the agency states that the size of the advertising spends by the Coconut Development Board is estimated to be in the region of Rs.50-60 million while the size for both the other accounts are estimated to be Rs.10 million each.
“It was distinctive strategy and creative solutions proposed to the client that helped us win these accounts” says MAA Communications Bozell director Ravindranath.
The Coconut Development Board called for the pitch in December 2006 with the brief on how to increase the usage and consumption of coconut and coconut value added products. As per the information 14 agencies were vying for the account and finally five agencies were empanelled. The empanelled agencies included Stark Communications, Magnum, Madras Advertising and Jelitta Publicity apart from MAA Communications Bozell. MAA Communications Bozell, FCB Ulka & Madras Advertising were the incumbent agencies handling the account.
Head – Kerala Operations Jacob Thomas said, “The performance review of all the agencies in the panel was instrumental in getting us this account.”
Both Anzera Properties and Ortho-Care (P) Ltd. were looking for a marketing communication specialist who could offer 360 degree communications solutions. The brief given to the agency was to create rapid awareness and position its various brands for Anzera Properties and to launch and create a brand pull for the elastic abdomenal binder for the client Ortho-Care.
Regarding the media mix, Ravindranath said, “A decision is still to be taken on the media mix but we are in the process of finalizing the same for Anzera properties and Ortho-Care (P) Ltd., while we will be providing a media neutral solutions to the Coconut Development Board.”
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.
