MAM
Mother Dairy stirs nostalgia with Zakir Khan during lockdown
MUMBAI: Mother Dairy, the milk and milk products major in India, has associated with the famous writer, presenter, actor, and stand-up comedian Zakir Khan for their ongoing campaign ‘Rishton Ka Swad Badhaaye’.
During the current lockdown, while few are enjoying with their family and savouring home-cooked food, there are others who are not able to meet their families and missing them. Sharing this feeling of being alone, doing household work and missing ‘Maa ke Haath ka Khaana’ made with ghee and lots of love, Zakir Khan in his latest video brings forward the nostalgia of being together with his mother.
The video is a personal expression of Khan but a reflection of emotions of many away from home. Missing the flavour of food prepared by Mom, feeling guilty for not learning the household chores, and being sorry for not thanking mother for her selfless love and care, Khan takes the listeners on a heart-warming journey.
Thanking Zakir Khan for his beautiful verse, Mother Dairy Fruit & Vegetable Pvt Ltd business head – dairy products Sanjay Sharma said: “Coronavirus and lockdown are more of an emotional challenge especially for those away from home. In light of these troubled times, I am grateful to Mr. Zakir Khan for coming forward and associating with Mother Dairy. We are thankful for his expertise in communication, acting, and expression that has increased the campaign engagement significantly.”
Link: https://www.instagram.com/tv/B_PaVRCJlNT/?igshid=1709ui34a26qh
The video has been conceptualised by Mother Dairy and is being executed in co-ordination with Wavemaker India. These times of lockdown/pandemic where we are confined at our homes, we have realised the importance of being together with family more than ever. This has made us feel blessed to have such a protective yet loving childhood. Food bring everyone together and created fond memories. We wanted this thought to blend in with our core proposition ‘Rishton Ka Swaad Badaye’, and how ghee ki Khushboo reminds us of ‘Maa Ke Haath Ka Khana’ in these times.
Wavemaker CEO south Asia Ajay Gupte said, “During the current lockdown scenario while some of us may be slightly better equipped, there are many who are struggling to put together a decent meal. One of the first things we dearly miss during such tough times is 'Maa ke Haath ka Khana'. The team has beautifully captured this emotion of a mother's unconditional love with this excellent campaign for Mother Dairy. We are grateful to Mother Dairy for partnering with us and inspiring the team to come up with this idea.”
This video campaign is live on Instagram and Facebook on Mother Dairy Fresh Delights page. The success and effectiveness of the campaign are reiterated by the engagement it received in a short span, crossing 30,000 and 3 Lakh views on Facebook and Instagram respectively. The video has crossed 3.35 Lac views across all official channels and the campaign #RishtonKSwaadBadaye is trending on twitter.
Mother Dairy launched the campaign ‘Rishton Ka Swaad Badaye’ as a testament to the fact that Mother Dairy’s dairy products offer you the quintessential delightful refreshing taste that prolongs the time spent with friends and loved ones.
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.
