MAM
CenturyPly and CenturyLaminates are back with CenturyPly Heroes 2023
Mumbai: Century Plyboards (India) Ltd, India’s largest manufacturer of plywood and laminate is back to celebrate the contribution of real ‘heroes of life’ and saluting their power with its annual award-winning campaign ‘CenturyPly Heroes’ 2023. Following the legacy of reiterating the commitment towards excellence that started back in 2014, this year the brand has taken a step ahead and showered tribute for heroes beyond the glory of festivity.
CenturyHeroes is a campaign undertaken annually in the hope to drive awareness and sensitivity towards causes and matters that are often ignored but integral to society. The campaign also aims to pay tribute to the trade community of carpenters, architects and interior designers for their creativity. After the success of the Alzheimer’s campaign last year, CenturyPly and CenturyLaminates are back with a campaign on Acid Attack Survivors to educate the audience about the importance of inner beauty especially when one’s outer beauty is forcefully tarnished.
Beauty encompasses more than just external appearances; it also resides within a person. This year, CenturyHeroes is dedicated to celebrating the incredible resilience of acid attack survivors, who have endured life-altering experiences that have affected their facial appearance. Despite these challenges, they embody true heroism by displaying incredible strength and showcasing their inner beauty, serving as a source of inspiration to all.
CenturyPly and CenturyLaminates align with the ethos that true beauty stems from one’s actions and character.
Approximately 250 cases of acid attacks are documented annually. Shockingly, 60 per cent of these incidents go unreported, shedding light on the scale of underreporting. Furthermore, a staggering 76 per cent of the attackers have a known connection to the victim. Despite the profound tragedies, numerous survivors of acid attacks have demonstrated incredible resilience, transforming their adversity into strength and becoming powerful sources of inspiration for those in their communities. This transformative journey is beautifully depicted in the CenturyHeroes film.
To further strengthen the campaign, CenturyPly has associated with Brave Souls Foundation and has aided in rehabilitating five acid attack survivors.
Owing from with main essence of CenturyHeroes, CenturyPly continues to pay tribute to its trade community of carpenters, architects and interior designers who are not only the creative craftsman of a home but also a source of heartwarming happiness.
Conceptualised by Wunderman Thompson and created by Visual Audio, the film depicts an emotional narrative between an acid attack survivor and a young girl who is conscious about her face.
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.
