MAM
The Moms Co. launches its first-ever digital campaign – ‘Science of Motherhood’
MUMBAI: The Moms Co. today launched its first-ever nationwide cross-platform digital campaign, ‘Science of Motherhood’, which features a narrative by founder and CEO Malika Sadani, that describes every mom’s struggle when it comes to finding the right products for her baby’s well being and how she can now take matters into her own hands. The campaign has been conceptualized by Spring Marketing Capital and directed by Sohini Dasgupta of Big Momma Productions.
Motherhood can be one emotional rollercoaster, but there is a science to it. The short film builds on this proposition and showcases how all the products of The Moms Co. are made with world-class expertise and a sharp mother’s instinct. The Moms Co. incorporates science into motherhood, by working with researchers from Australia, Switzerland and India to create the best-in-class natural products that are safe for both the mom and the baby.
The Moms Co. founder and CEO Malika Sadani said, “I’ve spent many years interacting with moms and understanding their concerns. Being a mom of two, I empathise with a mom’s journey, her problems and the reluctance to make any compromise when it comes to the safety of her child. To us, motherhood is a science governed by its own codes and rules, but it’s also an experience steeped in love and emotion. Our range of products are extensively researched and constantly improved, to keep our little ones out of harm’s way, just like mothers do and that’s what we call ‘Science of Motherhood’.”
An award-winning businesswoman, Malika Sadani realised early on that there was a gap in the Indian market for products that mothers could trust. The Moms Co. was launched in March 2017, to address the need for toxin-free and safe products for pre-natal and post-natal consumption, and baby care. In a short span, it has quickly grown to serve more than five lakh customers across 10,000 pin codes through its e-tail platforms and continues to expand its physical presence across five major metros. The Moms Co. aspires to become a Rs. 100 cr. company in the segment over the next 12-18 months. The brand recently announced a funding of USD five million from renowned investors Saama Capital, DSG Consumer Partners and others in a Series B round. The Moms Co. offers an Australia-certified product range with over 30 SKUs across hair, skin, face, pregnancy and baby care, and another 25 expected by the end of 2020.
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.
