MAM
Myntra unveils latest brand campaign featuring Samantha Akkineni
Mumbai: Myntra has unveiled its latest ad films featuring its brand ambassador, Samantha Akkineni, as part of a star-studded brand campaign that was launched earlier this month. With the rollout of the new ad films, Myntra is all set to strengthen its strong connect with its consumers, influence, and accelerate the business.
Conceptualised by Brave New World, the brand campaign has been developed to reach the ever-growing community of fashion lovers from all walks of life and make fashion expertise accessible with the help of India’s most loved and popular trendsetters. The actor will appear in two ad films promoting women’s western wear and ethnic wear, largely across electronic and digital platforms in the South.
In the ad films that credit Tara D’Souzaas the creative director, viewers get to witness Samantha, as she walks them through the brand’s value propositions, with varying backgrounds and stunning looks. In addition to this, the film also highlights Myntra’s after-sales services such as exchange, returns, and refund.
“Samantha has impressed millions across the country with her talent and is the talk of the town for her acting prowess and fashion choices. Her fashion sense is something her wide fan base, particularly in the South, aspires for, and her influence over the fashion choices of the youth is unparalleled,” said Myntra, CMO, Harish Narayanan. “Being a household name in the region, Samantha will be key in bringing audiences from these regions onboard our platform. We are glad to have a star of her caliber as the face of Myntra to reinforce Myntra’s image and perception as India’s Fashion Expert.”
“I have been associated with Myntra for almost a year now and the experience has been nothing short of fulfilling,” said Samantha Akkineni. “Fashion to me is an everyday affair, so it is for a growing number of people who are looking forward to experimenting with new looks and styles more often than ever. Myntra’s know-how of the fashion needs of people and its ability to keep up with the latest trends sets it apart, making it a necessity for the fashion conscious.”
Myntra is implementing a 360-degree approach, leveraging TV, digital and social platforms to deliver campaign ad films across the nation.
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.
