MAM
Michelin focuses on road safety in its campaign #SafeOnMichelin
Michelin is running the #SafeOnMichelin campaign that focuses on the on-road safety of vehicles. The brand in its unique initiative has partnered with several Youtubers to highlight the benefits of using Michelin tyres which have a good grip, a better quality of raw materials as well a shorter breaking time. #SafeOnMichelin is successfully being conducted on both Twitter and YouTube.
Breaking Down the Details
The campaign has one contest and one candid review part. The contest seeks the viewers of popular YouTube videos such as those of Gagan Choudhary, JS Films, Jatt Prabhjot, MSK etc. The audience is asked to guess the names of different cities shown in the mystery box. The participants are asked to tweet or comment on the name of the correct city in the video using #SafeOnMichelin and follow #MichelinIndia’ Twitter for the results.
The second part of the campaign spreads awareness about the safety induced by using premium quality tyres like Michelin’s. Overall, the campaign has been able to pique the interest of Twitterati. The hashtag #SafeOnMichelin had been trending for multiple days
The YouTubers Speak
MONTY VLOGS explained the various types of tyres available at a Michelin store in detail. This included all types of vehicles including four-wheelers, the types of tyres were categorised and mentioned as per the thickness and type of vehicle i.e., XUV, SUV etc.
The highlight of Michelin tyres according to the dealer in the video is that they are made up of purely premium quality. The tyres also give additional safety to the car, an above-average lifespan (25% higher than ordinary tyres), offer lower rolling resistance and shorter stopping distance. He also clearly described how the cost/km for an ordinary tyre and Michelin tyre comes to the same. This means at the same cost/KM, Michelin offers safer rides.
Popular travel vlogger, Jatt Prabhjot unveiled the contest as a part of his vlog. He unveiled the mystery box and urged his followers to comment and grab exciting prizes. His video attracted over a million views forecasting a deeply interested audience. YouTube blogger MSK with 2.5M too included the mystery box puzzle in his video. To which he added a hint that he visits the place in his videos, often.
Both parts of the contest are amazing to draw the attention of consumers as well as boost their confidence in the product by getting unsolicited reviews from famous bloggers. The hashtag trended for various days on Twitter and reached over 10 million people on Facebook too.
Abhishek Joshi, the head of digital marketing at Michelin, was recently also listed in 40 under 40 marketers and is the curator of a popular blog (Dog with Blog) aimed at finding homes for stray dogs.
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.
