MAM
Welspun launches digital campaign on water crisis
MUMBAI: Welspun India Limited’s domestic brand, Welspun, has recently launched an innovative digital campaign to raise awareness around the decreasing groundwater levels across the country. The campaign is rolled out using digital ad banners backed by unique API integration, which shows the residents, the groundwater levels in their city on a real-time basis alongside highlighting Welspun’s range of reversible bed sheets that save up to 40 per cent of water during washing.
NITI Aayog’s recent report highlights that the groundwater levels in some of the biggest Indian cities have fallen significantly. It states that the reasons for the rapidly depleting water supply across cities include increased urbanization, climate change and weak infrastructure. In the absence of proactive measures towards water conservation, 21 Indian cities are estimated to be on the brink of running out of groundwater in 2020. Taking cognizance of this, Welspun has launched an impactful campaign to shed light on the water crisis faced by the country.
The innovative ad banners are served to users showing them the real-time groundwater level of their respective cities. They are curated using a specially designed API that allows the groundwater level data to be pulled from the official source and incorporated in the banner concurrently. The banners will also display Welspun’s two-in-one bed sheets as one of the immediate solutions to conserve water thereby urging consumers to do their bit.
The campaign is currently live in Maharashtra, West Bengal, Kolkata, Kerala, Jharkhand and many more regions where the groundwater levels are severe.
Welspun India Limited CEO domestic retail business Manjari Upadhye said, “Sustainability at Welspun India is not just a component of our business philosophy, but is also an ethos embedded in every aspect of our value chain. Taking cognizance of the depleting groundwater levels across the country, we have launched a digital campaign that adopts an innovative approach to sensitize the citizens about the prevailing water crisis. The API integrated ad banners not only give a real-time update on the city’s groundwater levels but also urges people to take a small step towards water conservation by using Welspun’s two-in-one bed sheets that saves 40 per cent water while being washed.”
FoxyMoron media director Umesh Shashidharan said, “Using the API, we are making customers understand the criticality of the situation and enabling them to take action by providing a product which does make a difference. It works best for the brand as the education about the water crisis and integration of product is happening seamlessly. All this was also backed with customized and automated programmatic targeting.”
“We hope Welspun’s efforts to bring awareness, are enabling much necessary change towards water conservation,” he added.
Through this campaign, Welspun has reached more than two million users so far and is witnessing a click-through rate of 2.4 per cent, which is four times higher than 0.50 per cent industry average for mobile banners on programmatic. Users who are in the critical ground water level zone have engaged 28 per cent more than those users in moderate and good ground water level zone.
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.
