MAM
Ogilvy unveils new campaign ‘Pulsar unleashing its Mania’ for Bajaj Pulsar
Mumbai: Bajaj Pulsar has launched its latest motorcycle, the Pulsar N160, with the most sedate advertisement on television.
The ad is an extremely clever way of getting a nod of approval from audiences, who often sat up and took note of “Pulsar unleashing its Mania” on national television.
In all its glory, and absolutely unlike the Pulsar advertising of two decades ago, this video showcased a stationary motorcycle. The intrigue comes from one clear instruction: scan the QR code on screen to watch the most thrilling Pulsar video ever!
The QR takes the viewer to YouTube, where the real advertisement will be played for the true enthusiast. The rider is seen on the all-new Pulsar N160, displaying breath-taking riding control while performing jaw-dropping stunts set in a city maze, all happening to the beats of an addictive music track.
Furthermore, this QR code has been seen all over many Indian cities and towns—in public spaces, public transport, youth-centric spaces, from college notice boards to cafes and so on. Essentially, branding the most mundane and boring pieces of our day as opportunities to become the most thrilling moments of the day.
Speaking on the campaign and how they were convinced that this is “the” way, Bajaj Auto head of marketing Narayan Sundararaman said, “Brand Pulsar is all about action and thrill. For its new avatar as the Pulsar N160, we had to deliver a communication package that would talk about the category-first feature of Dual Channel ABS. In this cluttered media environment, we thought our best chance would be to involve the viewer and nudge them towards a thrilling film… Do they want to watch an ‘uncensored’ ad of eye-popping motorcycle action? It’s great to see that the answer is a resounding yes!”
Speaking on the collaboration with Bajaj, Ogilvy chief creative officer Sukesh Nayak said, “Pulsar is the most thrilling motorcycle on the road, so we took its communication a notch higher on thrill. How? We got their attention twice! We made an ad in an ad. First, we made a censored Pulsar ad for TV and released it with a QR code. The film invites die-hard Pulsar fans to scan and watch the most exciting ‘Uncensored Pulsar ad’ of all time. The ‘Uncensored Pulsar QR code’ will make not just the TV ad but every ad thrilling – newspaper, outdoor, and even posters. Let the thrill take over.”
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.
