MAM
Unwanted 21 Days says no to shushing conversation around pregnancy
NEW DELHI: Contraception and family planning are conversations that happen behind closed doors and in a hushed environment – people are not comfortable talking about it in the open, let alone in front of parents and elders. However, when two individuals get married, the immediate question put up by the respective families is, “How soon will they get to see a grandchild?”
Unwanted 21 Days from Mankind Pharma decided to tackle this challenge with the launch of its latest campaign, #ShhNotOkPlease. The brand aims to normalise the conversation around contraception, family planning and raise awareness in a fun, relatable, and engaging manner. Logicserve Digital was entrusted with the campaign's execution.
Central to an Indian wedding's key events such as the engagement, sangeet (pre-wedding), wedding ceremony, and honeymoon, the musical film features relatable characters and settings. The lyrical narrative created for the video features intrusive instances of enquiries that family members make to newlyweds and their tongue-in-cheek response to such queries. The campaign is aptly titled #ShhNotOkPlease as the song, and the dance moves showcase ways to overcome the perceived taboo about family planning and child spacing.
The campaign was launched in a phased manner, wherein the pre-launch campaign featured various family members being introduced doing the ‘shh’ (shush) action. The objective was to create curiosity around the campaign and then to accelerate it with the main video.
Mankind Pharma general manager – sales & marketing Joy Chatterjee noted that there has been a sea of change post-pandemic in the way people have been using contraceptives. The moment was right to leverage this aspect of consumption, and come up with a messaging that is aimed at changing consumer behaviour. “
We believe changing consumer behaviour and having an open discussion about family planning and contraception will lead to more awareness and will result in more sales. Logicserve Digital not only understood our brief but also gauged the reason behind it, which is why they were able to articulate the messaging in a wholesome and entertaining fashion," said Chatterjee.
While the campaign has already stirred massive buzz on social media, the creators thought of further amplifying it by asking relevant regional influencers to share their 'shh' hook step to spread engagement and awareness in a fun yet catchy manner.
Logicserve Digital VP – creative Manesh Swamy said, "Typically in an Indian household family-planning discussions are not openly spoken about or even if someone initiates, it's mostly shunned. Our approach was not to be preachy but at least attempt to normalise the conversation. And with the wedding season around, we thought a song-and-dance approach would be an excellent fit to drive home the message literally.”
The campaign video was launched in Hindi and adapted in three other languages: Marathi, Bhojpuri, and Bengali. So far, the video has garnered over two million views. The reaction and feedback of the campaign is a testament to its success. The campaign goes beyond its stated objective and encourages couples to plan their lives as they wish.
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.
