MAM
Ogilvy partners India govt in war against COVID-19
MUMBAI: Ogilvy India has created a distinctive and engaging anti-COVID-19 campaign for the government of India, under the title, ‘Mask Force’. It involves some of India’s most loved and celebrated cricketers talking to the nation, starting with captain Virat Kohli and concluding with Sachin Tendulkar. The lineup also includes women cricketing stars such as Harmanpreet Kaur, Smriti Mandhana and Mithali Raj.
The cricketers, in their short message, make a point that while India has great cricketing teams, the time has come to form a formidable team of 1.3 billion Indians called ‘Mask Force’. A force that is very easy for every Indian to join and defeat the spreading Coronavirus. Simply by making our own masks at home and always ensuring that we do not step out of our home without wearing our masks. Each cricketer leads the way by pulling up their unique mask after inspiring the country to do the same.
https://www.youtube.com/watch?v=e1y5giXt2AA
BCCI was instrumental in getting together the cricketers required for the campaign. Given the popularity of cricket in India, where it is informally referred to as the ‘national religion’, it was no surprise that the video is being loved and shared with immense swiftness.
Ogilvy CCO worldwide and executive chairman India Piyush Pandey said: “For decades now, we at Ogilvy have stepped up to stand by our country’s needs through our CSR, be it for polio eradication, literacy, fighting crimes against women and many more causes. So as soon as the government of India approached us for our effectiveness in spreading messages to the masses, we wholeheartedly jumped in to do our bit. I believed that ‘Mask Force’ would be a likeable term that could be used to galvanise the whole country, hence decided to name this program ‘Mask Force’.”
Ogilvy has also said that this is the first in the Mask Force series of exercises it is partnering the government on, in India’s war against Covid-19.
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.
