MAM
WPP Media and Indriya turn cinema ceilings into starry runways with ‘Aasmaniyat’
MUMBAI: Who said the sky’s the limit? WPP Media has gone above and beyond, quite literally, with a category-busting cinema ceiling activation to launch Indriya’s new diamond collection, Aasmaniyat, for Aditya Birla Jewellery.
In a dazzling first, theatre-goers in Mumbai, Delhi, and Hyderabad were treated to an overhead spectacle as cinema ceilings shimmered with celestial visuals synced to Indriya’s brand film. The campaign, timed during high-traffic screenings of Sitare Zameen Pe, was conceptualised and executed by WPP Media’s OOH Solutions and Mindshare teams, transforming auditoriums into immersive jewel boxes.
By cleverly aligning the star-studded theme of the film with its own constellation-inspired collection, Indriya delivered an unforgettable “look up and wow” moment, a bold departure from standard screen-only storytelling.
Part of a 360-degree media blitz that spans cinema, OOH, TV, and print, the campaign is set to run until early August, aiming to drive top-of-mind recall and emotional resonance for the brand.
WPP Media South Asia, client solutions, Amin Lakhani said, “This campaign shows how media can evolve when creativity, insight, and technology unite. We are constantly pushing the boundaries of what’s possible in brand storytelling, not just reaching audiences but moving them. The ‘Aasmaniyat’ activation for Indriya reflects our focus on innovation that is bold, memorable, and drives results. It’s about creating moments that matter, where media becomes a stage for emotion and impact.”
“As media consumption patterns evolve, the role of OOH has expanded from visibility to immersive storytelling. This campaign is a defining example of how we can reimagine traditional spaces like cinema halls into high-impact brand experiences. Our focus is on innovation that captures attention, creates emotional resonance, and drives measurable value. The cinema activation is not just a media first, it’s a category-defining moment that showcases what’s possible when creativity meets contextual intelligence.” said WPP Media head of media solutions, Ajay Mehta.
Indriya CMO Shantiswarup Panda added, “For the first time in the industry, a brand has leveraged the immersive power of cinema to connect with a broader audience in a truly innovative way. Inspired by the vast, mysterious beauty of the cosmos, Aasmaniyat captures celestial elegance through exquisitely crafted diamond pieces that sparkle like constellations in the night sky. And what better stage for this brilliance than a darkened cinema hall, where Indriya’s diamonds shimmer and illuminate the ceiling with every frame.”
With Aasmaniyat, Indriya isn’t just launching jewellery, it’s elevating the very stage on which it sparkles. And thanks to WPP Media’s innovation, the sky is not the limit, it’s the canvas.
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.
