MAM
Dabur Amla spreads lockdown love via campaign by Ogilvy Delhi
MUMBAI: Dabur Amla Hair Oil has created a new digital campaign around building bonds with loved ones during this lockdown.
The brand has stood for strong hair and strengthening relationships, particularly the bond shared between mother and daughter. Positivising the sentiment of being at home, the film weaves a beautiful narrative around strengthening the bond during this period. The simple execution highlights how this time at home is the time to strengthen the bond with loved ones. Caught in the daily hustle of life, we tend to take certain relationships for granted, especially our mothers. Hair oiling has always been an integral part of the Indian mother-daughter relationship. Hence, the thought ‘Apne Jadon ke saath Rishta Banao’ adds an intriguing spin to the age-old ritual-a champi.
The film positivises the sentiment around lockdown with a heart-warming story that helps connect with the consumers. Promoted on social media, this film invites viewers to participate by sharing their champi stories.
Ogilvy India-North CCO Ritu Sharda said, “Lockdown has distanced the world, and people are worried. But we chose to look at it in a slightly different manner. One which is as real as this pandemic, but positive. It didn't take us long to realise that it has finally given us something we have always longed for – a chance to spend time with our loved ones. So while the world figures out a way to get back together, we urge people to make their bond even more beautiful, by coming closer as a family and strengthening the roots. And a champi, coupled with lengthy conversations, is definitely one way to get there.”
Dabur India Ltd senior GM marketing Rajeev John says, “An age-old brand, Dabur Amla is rooted in strength. It’s a household name spanning across generations. We wanted to ensure a strong emotional connect with the consumer during these tough times. Champi-an act of love, seemed the perfect fit to reassure our consumers that Dabur Amla is as much a part of their everyday lives, even during the lockdown. Instead of being more of a product story, we felt it was key to respect the current sentiment and create a simple yet endearing film.”
Facebook – https://www.facebook.com/100548168037873/videos/183804565955216/
Instagram:https://www.instagram.com/tv/B_RcYpzhy0j/?utm_source=ig_web_copy_link
YouTube – https://youtu.be/-UWTmfBIDbM
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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.
