MAM
Team Pumpkin changes nappies and narratives for Mamypoko Bangladesh
MUMBAI: From diaper duty to digital strategy, Team Pumpkin is now parenting in pixels. The digital-first marketing agency has bagged the digital mandate for Mamypoko Pants Bangladesh, marking its newest win in the baby care aisle and extending a longstanding relationship with the Unicharm brand beyond Indian borders.
Team Pumpkin will manage Mamypoko’s digital strategy and execution across social media, influencer marketing, and performance campaigns all with the aim of making parenting a little more connected (and a lot less chaotic). The brand’s Bangladesh presence will now be helmed from the agency’s Gurgaon office, bringing a cross-border blend of insights, creativity, and cute content to the table.
Having worked on MamyPoko Pants India since 2017, Team Pumpkin already has baby-soft experience in handling the unique challenges of the category. “With the Bangladesh mandate, we’re not just replicating what worked elsewhere,” said Team Pumpkin co-founder and chief business officer Swati Nathani. “We’re building solutions that ease parenting pain points and deliver value with every scroll.”
Mamypoko Pants, a flagship offering from Japan’s Unicharm Corporation, has long enjoyed trust among young parents across Asia for its absorbent innovation and comfort-first ethos. With a growing footprint in both India and international markets, the brand is now leaning into regional relevance through digital storytelling and parent-centric content.
As the digital terrain in Bangladesh evolves, this mandate reflects how brands are investing in building genuine communities not just campaigns. For Mamypoko, that means moving beyond product talk to create content that reflects the sleepless nights, sippy cups, and small joys of real parenting. And for Team Pumpkin, it’s another nudge toward becoming the agency of choice for brands that want both strategy and soul.
Looks like this partnership is already off to a clean start.
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.
