MAM
Docflix – a cure for the infodemic plaguing the medical fraternity?
Mumbai: Leading pharma company Mankind Pharma has launched an OTT platform called Docflix exclusively for doctors, paramedics and aspiring doctors.
The platform is launched by the newly set up digital team at Mankind under the guidance of Mankind Pharma head of digital Rinkesh Shah. The new team brings in a plethora of experience in the health care professional (HCP) engagement space and has observed the growth of the medical professional’s space in India and Asia in the last decade.
In conversation with Indiantelevision.com Mankind Pharma senior president, sales and marketing Sanjay Koul speaks about OTT platform Docflix which only targets the medical fraternity.
Koul told, “Mankind Pharma has hired a team of alumni of the National Institute of Design to ensure the best representation of data and figures, directors, and script writers who can weave science into a story to deliver the message in a fun and engaging way.”
“It is a new age OTT platform with a wide range of scientific content tailored to various practice needs of doctors. Design, story, and convenience are three strong pillars of the platform that will deliver unique, authentic, and reliable scientific content,” he added.
Sharing the vision behind Docflix, Koul said, Docflix is a manifestation of Mankind’s understanding of the new definition of learning and is meant to be a platform that will not only present the best of medical science but also delve into the art behind the science.
“With Docflix, we envision a new age global knowledge platform that will be a humble partner in the learning journey of all our doctors,” he said.
Sharing details about the content line up on Docflix, he said that the platform will have twenty different shows on varied subjects, a few shows include Science Simplified, Legend Inside The White Coat, Stitch In Time, Cardio Unflip, Digital For Doctors, Medico-Legal Cases In India, and Vantage Point among others.
Explaining where Docflix stands in the age of Netflix and Amazon Prime Video, he said, there is currently no video-only platform for doctors globally at scale. Docflix is one of .
Not just on OTT platforms, there’s a lot of informative content available across video sharing platform YouTube as well. Sharing how Docflix will make a difference, Koul noted, “Content for doctors today is just delivering science. A doctor is a student all life. It’s important to make the content which is short, has a story and is engaging; however, very little content covers these parts. Docflix will fill this gap for the medical fraternity.”
According to him, it’s not the OTT platforms but YouTube channels, global players like learning platform Osmosis, clinical news platforms Medscape and M3 that are the real competitors of Docflix.
On being asked if he really thinks that while people are already bombarded with a lot of content, Docflix will really make a difference? He answered, “The new world brings a problem called infodemics. Means, we have a lot of information but there’s a dearth of reliable, relevant, and palatable content. Plus, the convenience of accessing this on a high-tech platform is a necessity today for doctors which is missing.”
“We are the ones breaking the saturation and the need for this is very high,” he highlighted.
Talking about the marketing strategy for Docflix, he said, “We are looking at unique never tried mediums to market Docflix. Other than the large field force of Mankind, we will use all digital and social media promotional channels.”
“We also have AI-based automation engines to personalise communication with customers,” he noted.
However, the platform is not going to have any advertisers unlike most OTT platforms. “We at Mankind are committed to supporting doctors in their knowledge and learning journey and thereby aid them in taking their clinical decisions faster. We are currently not taking any advertisers onboard,” said Koul.
He concluded, Docflix will feature a three-level subscription model and none of them is paid. The subscriptions are based on different levels of the learning journeys of doctors. It’s a free platform for doctors.
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.
