MAM
The merit of madness: how AI is changing the game in advertising
By Ritz Malik, founder, Ritz Media World.
MUMBAI: When it comes to growth in a competitive landscape, a businessman always has to be a firm believer in Darwinism. You either need to bring a better product, or a better price, or both to the table to get customers and scale. Without this value proposition, you remain unnoticed, and staying unnoticed is not something that a brand wants to do.
You have to do all this and also make sure that you stay cashflow positive at the same time. Otherwise, you’re at a real risk of becoming a large hollow balloon that your competitors are just waiting for to explode or implode under its own weight.
As we’ve entered the era of AI, the notion of a product’s efficacy, cost efficiency, marketability, workflow management, and logistics reliability has become increasingly relevant and prevalently impactful. None of this is background noise anymore. It is the difference between bleeding money on traditional media and actually engineering a profitable campaign.
For example, META’s AI Algorithm has finally given us the ability to measure the ‘CREATIVE’ for a business’s promotions. The best part is that we can do so organically. Content that is actually relevant to the target audience gets more views through reach. This tells us exactly how the audience is reacting before we even scale the budget. This is how we have been gifted the ability to provide merit to the madness of the creative process.
So, our process is as follows:
A set of creatives is built for social media
Their performance is closely monitored for reach and engagement.
Based on the best organic performance, we choose the creative.
Make micro adjustments to add a sales proposition and CTA (but keep it subtle)
Publish the modified creative as an ad.
There’s a lot that goes on in between, but this is the basic method for getting it right. And this is just the AI that’s being used by platforms across the world.
AI utilisation is something that has greatly made the creative process a lot easier. As an agency that thrives on coming up with ideas that are out of this world, we have made the most of leveraging AI to bring ideas to life without spending a fortune.
So, this way, the ability to create high-impact brand stories is no longer under the tyrannical gatekeeping of large budget organisations. It is now that merit solely falls on the storyteller.
Now, AI-powered content production and the AI algorithm on Social Media platforms are asking the question: Is your content compelling?. If yes, the audience will watch your content, share it, and engage with it.
And when it comes to keeping budgets down, we can surely say that it holds the capability to execute million-dollar shoots at a fraction of the cost.
For example, we recently came across a creative challenge by a major Real Estate Developer from Gurugram. They had signed a celebrity couple for their brand ambassadorship a few months ago. They were now about to launch their new project, but for some reason, they could not get their shoot done.
What we came up with was to use the likeness of this celebrity couple and place them throughout the project’s feature video. With the help of AI generation, we were able to rebuild a completely new feature video with their brand ambassadors in 2 days, and no additional physical shots were required.
Imagine being able to save 50-60 lakhs in production costs, 15-20 days in production time, and comfortably be ahead of schedule to launch the project.
This has changed the game entirely. With AI, you can now just acquire the likeness rights of celebrities, and you can just build environments and scenarios with them. The balance between creative and artificial intelligence isn’t a battle for control; it is simply the ultimate tool for survival and scale in a landscape that rewards the fastest and the smartest.
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.
