MAM
Melorra’s Valentine’s campaign urges men to go beyond the traditional gift ideas
MUMBAI: Melorra, India’s fastest growing fine jewellery brand that’s making gold trendy for everyday wear has unveiled its latest Valentine’s Day campaign. Trending as #UpYourGiftingGame across all social media platforms, the campaign urges men to go beyond the traditional roses, teddy bears, and chocolates as gifts. Rather it asks them to celebrate the multifaceted persona of the women they love by gifting them something that will last more than a day!
The film featuring Swasti Kapur, Tamanna Sharma, Noyrika and Shaina shows how women are destroying the same old boring gifts that they get on Valentine’s Day every year. They demand #change and ask men to #UpTheirGame with the gifts they choose. With partner-in-crime Melorra, men can match the unique personality of their loved one by gifting them trendy and lightweight gold jewellery that lasts a lifetime just like their love.
Commenting on the same, Melorra founder and CEO Saroja Yeramilli said, “Love is an emotion that must be celebrated every day. And what better way to say, that you care, than to gift her Melorra’s lightweight and trendy gold jewellery that complements her personality and can be worn daily? Through our Valentine’s Day campaign, that is carefully crafted to connect with the millennial audience, we ask men to think beyond the regular gifts, and as a token of their love, gift her something she can wear every day. Our new collection that features trendy interpretations of heart motifs is inspired by the latest fashion trends and is made for the modern-day women. So replace the #cliched, and #untradition with jewellery that will become her go-to accessories, no matter what she wears.”
Talking about the campaign, Dentsu India Slingshot VP head of business Kunal Dubey and VP digital and marketing solutions Lucky Saini said, ” With this campaign, we wanted to break the communication codes of the category and yet deliver the brand message in a content/entertainment format. A musical treatment along with very dynamic and engaging cinematography helped us deliver a communication piece that’s not just fresh and engaging but also on point when it comes to translating brand strategy of everyday jewellery into creative execution. Initial response in terms of View through Rates is very encouraging and we hope that this campaign will lift both brand and business metrics “.
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.
