MAM
JK Cement bats for inclusive society in latest ad
MUMBAI: Cement brand JK Cement has launched a new digital social media campaign titled ‘Yeh Yaarana Pucca Hai’ in a bid to raise awareness about the importance of an inclusive society. The ad-film is part of a bigger initiative, ‘Banaye Har Raah Aasaan’ under which JK Cement has also built 251 ramps in one single day in schools across Jaipur, Rajasthan on 5 August 2021.
The six-minute-long film, directed by Jay Bhansali takes an emotional route to deliver a strong message on the need to create an inclusive infrastructure for differently-enabled students and access quality education to all children by providing them with equal opportunities. Through this campaign, JK Cement makes an appeal to society that every child has the right to education and as responsible citizens, we should always aim to ensure that. The video, in the end, also talks about how JK Cement is leading from the front by “walking the talk”.
Conceptualised by Purple Focus, the story talks about a few school children and their bond of friendship among them. It depicts how these children put their efforts, despite not getting any financial support, to create a wheel-chair accessible ramp in the school for their state-level cyclist friend who met with an accident and would not be able to walk for the next few months and therefore is unable to attend school.
JK Cement COO (Grey Business), Rajnish Kapur said, “Our late CMD, Yadupati Singhania was a visionary and believed that to be leaders, we have to be ‘first into the future”. It is his humble thoughts, humility, and compassion that made JK Cement one of the most trusted brands in the country today. The campaign ‘Banaye Har Raah Aasaan’ is a way to give back to society and our social media film, Yeh Yaarana Pucca Hai, talks about why it is important to take our thoughts and journey forward.
JK Cement president marketing (Grey Business), Pushp Raj Singh said, “Through this new social media campaign, we wanted to highlight how each one of us can make a difference and with all our forces combined, we can drive meaningful and lasting positive change. JK Cement has always believed in creating strong foundations and truly believes that the youth of the country is our future. Hence, with our commitment to strength, consistency, and durability, we are building an inclusive and better society for all.”
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.
