MAM
Wondrlab wins the Anand Rathi Financial Services business
NEW DELHI: Close on the heels of its launch, communications startup Wondrlab has won the Anand Rathi Financial Services account.
In its new mandate, Wondrlab will help the Anand Rathi Group build awareness along with overall brand salience. To kickstart this partnership, Wondrlab has created an integrated digital campaign focusing on the Dream11 IPL 2020. The start-up has already generated buzz with a series of quirky IPL and topical films.
The campaign, launched to celebrate 25 years of Anand Rathi, highlights the brand’s philosophy of ‘customer-centricity’ and that ‘Every investor is different’ and needs a different plan. It does so by connecting different investor mindsets with different kinds of IPL fans. This leads to an eminently relatable series which brings alive the premise of ‘A plan for every fan’ through familiar personas ranging from the tip-believer fan, the technical analysis fan, the small-cap fan or just the endlessly hopeful fan. The digital campaign created by Wondrlab aired throughout the Dream11 IPL 2020 season on OTT platforms.
A spokesperson from the Anand Rathi Group said, “With over 25 years of experience in wealth creation, we have the expertise to customise plans for every customer, taking into account his or her needs. We wanted an agile team that could build this equity and weave in our brand’s values, but at the same time, create a campaign that would go viral with the ever-dynamic consumers. Wondrlab managed this balance perfectly. The campaign is well-crafted and delivers our key message in a new-age, quirky way.”
Wondrlab managing partner – content platform Rakesh Hinduja said, “We realised early on that a one-size-fits-all approach doesn’t work for investors because their mindsets vary with differences in personality and life stage. Drawing a parallel to different kinds of fans was an organic connection, given the IPL fever. It was a great pleasure to use our platform-first philosophy to craft films made to suit OTT platforms.”
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.
