MAM
Max Life is official life insurance partner for team RCB
NEW DELHI: Max Life Insurance Company has unveiled its latest ad campaign with Royal Challengers Bangalore. Featuring ace players of the team in a geared up avatar, the brand new television commercial (TVC) attempts to reinforce the importance of financial protection in the form of term insurance to the millennial audiences, given the uncertainties brought upon by Covid2019.
Max Life’s recent India Protection Quotient Express survey conducted in association with Kantar, revealed that only 51 per cent digitally savvy, urban Indian millennials feel financially secure during Covid2019. The survey also revealed that only 36 per cent millennials own term insurance during Covid2019. Given the uncertainties around us, term insurance is a must-have tool to ensure the financial protection of family and loved ones, making it important to fortify its awareness especially among millennials.
The zippy ad film opens up with a chat between the Royal Challengers Bangalore players. The players are seen discussing the importance of physical wellness in order to play on the front foot in the cricket field. But to ensure that one continues to play on the front foot even off-the-field, it is important to remain financially protected with a term insurance plan, the players add. Be it T20 or the year 2020, protective gear in the form of term insurance is required to safeguard loved ones against the financial risks and uncertainties of life. The ad further iterates that with Max Life’s term insurance with Covid2019 rider protection, one can continue to charge #ProtectionFrontFootPe, off the field.
The ad film ends on an encouraging note, inspired by Max Life’s flagship campaign which says – “You Are The Difference”. The same urges audiences to secure their family’s financial future because even amidst a pandemic, it is You who brings a difference to your loved ones, and they depend on you for security – both emotional and financial.
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Moreover, to help one navigate the financial perils brought upon by Covid2019, Max Life recently launched its ‘Max Life COVID-19 One Year Term Rider, a Non-Linked Non-Participating Individual Pure Risk Premium Life Insurance Rider (UIN: 104B048V01)’ with comprehensive death and diagnosis benefits. Available at an affordable premium, a single premium the Covid2019 rider is available with non-linked products to customers looking to protect themselves against the ongoing pandemic.
Max Life director and CMO Aalok Bhan said, “Over the past few months, Covid-19 has created unique circumstances for all of us. The pandemic has not only affected us mentally and physically but also brought its own set of financial challenges. At Max Life, ensuring financial protection has always been at the heart of all endeavors. Through the means of our latest ad campaign, we want to reinforce, especially to the millennial audiences, the importance of term life insurance as the most fundamental and cost-effective form of financial protection during such times. By teaming with the dynamic team of Royal Challengers Bangalore, we aim to encourage their wider millennial fanbase to safeguard their family from life’s hardships. By staying invested in a comprehensive term insurance plan one can lead through the tough times with #ProtectionFrontFootPe.”
Déjà Vu Productions director Neelay Shah said, “I found the script to be the right balance of substance and humor which helped me deliver a positive message in the execution of the creative, a first for a life insurance brand."
Adding to the launch, Sonal Dabral, who worked on the script said, “Like cricket, our lives too are full of unforeseen challenges and what better example of it than Covid-19. Reflecting on the need for greater financial preparedness to tide over times like these, Max Life’s latest campaign goes on to establish that in the game of life, it is imperative to gear up well by calculating risks, not just physical but also financial. It aims to inspire the audiences to embrace financial protection in the form of term insurance for the financial protection of loved ones during current times.”
In addition to the television commercial, the ad film is being effected via digital media. The campaign is being further leveraged across print mediums through a series of interesting visuals.
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.
