MAM
#MediaMinds2| Advertisers must make ethical call on pandering to sensationalism: Vikram Sakhuja
NEW DELHI: Publishers of today are under more extensive scrutiny than ever. Consumers are far more aware and aren’t hesitant to question the sensationalism that they are peddling in the name of information and entertainment. Even some of the brands, globally, have started taking cognisance of the matter and have started pulling away ad monies from certain platforms like Facebook for hate speech and problematic content. This has given rise to an interesting discussion in the media and marketing ecosphere around what roles can advertisers play to curb this issue.
Madison Media & OOH group CEO Vikram Sakhuja, addressing the question in Media Minds season two, shared that there are two ways to look at the current scenario from an advertisers’ standpoint: brand health and ethics.
Comparing the situation to when he started his career with P&G in the late-80s, he stated that at that time the debate was about quantity v/s quality, which was also based on the core idea of the environment in which an ad is seen.
“When Aaj Tak started, advertisers used to think that most ads on the channel are of undergarments and whether it’s suitable for my brand health to be visible there. At that point in time, the school of proper marketing told me if a consumer is seeing a particular programming, then they are there for a reason. And if they see your ad, it shouldn’t be a problem. In the case of P&G, in the early 90s, the quantity was always more important than quality.”
He adds that while in today’s time that quality vs quantity debate has got blurred because of tools like social media where ads are no longer seen as an interruption, but there is another debate that has started around what sort of content is surrounding a brand’s ad or branded content. “It is actually very important to actually raise this question even from a brand health standpoint,” he said.
Addressing the situation from an ethical standpoint, he shares that advertisers have to make the call around whether they want to pander to sensationalism or fake news.
“Even though it has, maybe, nothing to do with the brand ad that is placed next to it, the reason this sensationalising (happens) is because advertisers are going to come because of more eyeballs. So, if you take an ethical position on that and say, even if the eyeballs come there, I will not pander to that kind of sensationalism, it will, in fact, dry up the oxygen in that room, rather than give them more oxygen. Then you are actually disincentivising those same publishers from trying to take that strategy to monetise their business,” he added.
He said that as an agency head he will warn the advertiser if there is inflammatory content on a certain publisher’s channel or website, but he will leave the final decision on the brand head.
Apart from this, Sakhuja talked about his favourite subject – data, the need for a unified metric system in marketing and his plans for his agency going ahead.
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.
