MAM
HDFC Bank urges customers to ‘keep their mouth shut’ to prevent frauds
Mumbai: Digital frauds have undergone a sea change since the beginning of the pandemic, and fraudsters are becoming more sophisticated to gain people’s trust. As the country marks the beginning of the International Fraud Awareness Week 2021, HDFC Bank has launched a campaign urging its customers to take a pledge to not share confidential banking information with anyone.
The second edition of its‘Mooh Band Rakho’ campaign was launched virtually by NITI Aayog special secretary K. Rajeswara Raocreate, here on Monday. The light-hearted campaign creates awareness about all kinds of frauds. The campaign reminds customers that they need not disclose sensitive bank information, and is especially targeting Senior Secondary Schools & Colleges so that the awareness is ingrained.
Additionally, the Bank will also be conducting over 2,000 workshops in the next four months across the country to help customers understand how they can safeguard themselves against financial fraud.
“Digitalisation offers customers unparalleled convenience and access to banking services, but it comes with a lot of risks of cyber frauds as well. The fraudsters are constantly on the prowl looking out for gullible customers. It is critical to be always alert and mindful,” said HDFC Bank MD and CEO Sashidhar Jagdishan. “We are delighted to launch the ‘Mooh Band Rakho’ campaign to educate people on how to keep their mouth shut about their personal and financial information and in doing so, keep their account safe.”
During the launch, the bank also elaborated on how many of these frauds are now being perpetrated during weekdays and working hours to trick customers into believing that the calls and offers are legitimate. A fraud dispute time analysis by HDFC Bank revealed that in the first three months of this financial year, 65-70 per cent of cyber frauds happened between 7 am and 7 pm. HDFC Bank’s analysis further revealed that 80-85 per cent of the affected customers were in the age group 22-50, and supposedly belonged to the more tech-savvy age bracket.
“With over 1.1 billion phones and more than 700 million internet users in India, cybersecurity is an essential service today. The cybersecurity landscape in the country is rapidly changing and there is a growing need for stronger collaboration between the public and private sectors to guard against constantly emerging threats,” said PMO national cyber security coordinator Lt Gen Rajesh Pant who was also present at the event.
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.
