MAM
Porter launches its first brand campaign, ‘Delivery Hai? Ho Jayega’
Mumbai: Porter has introduced its first brand campaign, “Delivery Hai? Ho Jayega,” which addresses issues with item shipping and guarantees its top-notch service for the convenience of customers.
The “Delivery Hai? Ho Jayega” campaign is focused on Porter’s dedication to reliability, superior products, and a wide range of services.
Conceptualised and created by 22feet tribal worldwide and produced by Equinox production, the campaign will be promoted across digital and social platforms, as well as through OOH and truck/auto advertising, as well as some future print media promotion.
The campaign highlights consumers’ heartfelt experiences using Porter’s service to send anything, anywhere, at any time with just two words of assurance: #HoJayega. It is intended for people in the 25 to 60 age range, SMEs, microbusinesses, and owners or key decision-makers of logistics needs.
Porter will also run a campaign extension titled “Heroes of Ho Jayega,” which will highlight notable driver-partners for their tremendous support and professionalism.
The digital film illustrates a typical delivery scenario with traditional consumer groups. The film emphasises that whether it’s a single spoon or a whole set of utensils, a teddy bear on a scooter, or the scooter itself, buying anything without hesitation comes with Porter’s service.
With this development, Porter hopes to draw attention to its sizable fleet of vehicles, which includes two-wheelers and light commercial vehicles (LCVs), establish the brand as an integrated delivery solution, and position itself as a one-stop delivery shop for its clients.
Porter co-founder & CEO Pranav Goel said, “It has been eight years since we started our journey to ensure seamless delivery for our consumers. Starting off with just trucks, we have expanded our mode of delivery with tempos, two-wheelers, and EVs. Our promise to all our consumers is simple: with Porter, you can deliver anything, anywhere, anytime. Porter hai, ho jayega!”
22feet Tribal Worldwide national creative director Vishnu Srivatsav added, “We wanted to show Porter’s capabilities, its ubiquity, and its range. We were sure that this film should be unique, entertaining, and fun-filled rather than a typical product film. Hence, we thought of creating this film as an entertaining one with an embedded brand promise. Ho Jayega is a simple yet powerful promise that very much lives in culture, and more than anything else, this as an expression best captured Porter’s intent.”
Porter has served more than 80 lakh customers by offering them simple delivery solutions and a guaranteed affordable, secure, and hassle-free service. Entrepreneurs and individuals dealing with heavy items such as mattresses as well as delicate items such as ceramic and glass products can rely on Porter’s service to deliver the consignment.
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.
