MAM
Eggoz Nutrition unveils its ‘Extra In The Ordinary’ campaign
Mumbai: Eggoz Nutrition, a Gurgaon-based consumer-oriented and integrated farmer egg brand has launched a new campaign called ‘Extra In The Ordinary.’ Produced by Some Place Nice, the campaign was launched online, utilising a combination of static and video assets to reach the target demographic and increase brand awareness.
“Eggoz realises the potential of growing demand for UV sanitised eggs in India and, the brand has created its ‘Extra In The Ordinary’ campaign intending to introduce the Eggoz brand proposition and raise awareness about it,” the company said in a statement.
The integrated marketing campaign includes four video assets, each demonstrating how a daily dose of Eggoz Nutrition gives ordinary people the additional skills they need to become #ExtraInTheOrdinary. These four videos depict four distinct scenarios with family, teenagers, fitness, and female-centric screenplays, all emphasising attaining modest but surprising goals to create the ‘Extra In The Ordinary’ feel. Eggoz has a targeted approach to reach their desired TG with a mix of mediums, said the statement.
The campaign is streaming across OTT platforms such as Disney+ Hotstar, SonyLiv, India vs South Africa ODI series, YouTube, Facebook, Instagram, Google Display Network and impact properties like Inshorts and Truecaller amongst others.
The campaign highlights how Eggoz goes above and beyond for their customers by delivering super fresh eggs from farms to their plates following eleven safety checks including UV-sanitisation and ensuring an extensively researched quality hen feed to ensure the customer gets a consistent, tasty and nutritious quantity of protein with every egg.
“This campaign promotes the company’s strengths as a consumer-focused and integrated farmer egg brand in India, as well as its objective of providing chemical-free, completely integrated eggs from farmers around the country,” stated Eggoz co-founder Abhishek Negi. “This campaign will serve to raise awareness about Eggoz ‘s world-class services and explain how, as a brand, we are prepared to assist India in its further growth. Our goal with this integrated brand campaign is to establish our brand image and offering among current and potential customers.”
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.
