MAM
Oven Story bets high on safety and compliance as it makes pizza consumption a fulfilling affair
As India continues to open up from the pandemic-imposed lockdown, several brands are looking at meaningful ways to make a renewed entry into the lives of consumers – one that will help them make an informed decision especially on the parameters of health and hygiene. One of the early players to alter their offerings since opening up for business again, Oven Story pizza has worked up a safe and hygienic solution to enable consumers to order their favourite meal – the pizza, without worrying about safety and consumption woes.
Ordering outside food during the pandemic has become a distant dream for many with people debating and battling within themselves to deciding on the safety of even their beloved pizza. Oven Story solves this dilemma by ensuing the highest levels of safety while also providing customers with variants of its popular cheese pizzas. Apart from providing the essential safety norms of sanitization, gloves and masks, Oven Story also aces the safety aspect by providing temperature and medical certification of their staff and chefs who are making the pizza, on the app when someone places an order. This ensures that ordering and consuming a pizza from Oven Story is safe and fulfills all safety conditions.
The ad campaign has been conceptualized and executed by Publicis India. The production house for the film is Content Factory while it has been directed by Tarannum Pasricha.
Commenting on the brand campaign thought, Shoumyan Biswas, Head of Strategic Alliances, Rebel Foods said, “Our aim was to instill faith in the minds of our consumers that how Oven Story is doing its best to bring safe and quality product to its consumers. Publicis India has done complete justice to the concept and delivered a great piece of advertisement. Ajeet’s team has been stupendous in terms of conceptualization and delivery of the product.”
Sharing his views on the creative thought process and execution, Publicis India ECD, Ajeet Shukla said, “Like many things during the pandemic, ordering food is also a huge tussle between with heart and the mind, especially when it pertains to one of our favourite foods – the pizza. Oven Story offers a unique safety experience right from showcasing the temperature of the chef preparing your pizza to that of the delivery person at your doorstep. The entire journey ensures the ultimate safety to relish an Oven Story pizza and puts our hearts and mind at peace.”
The ad campaign is being promoted heavily on digital and television platforms and will air on popular entertainment, infotainment, and sporting properties over the next few weeks.
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.
