MAM
Big Trunk Communications wins digital mandate for Akshaya Motors
MUMBAI: Akshaya Motors has roped in Big Trunk Communications for the digital transformation of the brand. Akshaya Motors has been one of India’s largest automotive retail chains in the luxury cars segment and the most trusted authorised dealers of Mercedes Benz in South India. Following a multi-agency pitch, Akshaya Motors has appointed Big Trunk Communications to handle its strategic and digital duties.
Big Trunk Communications, an award-winning, Mumbai-based independent creative digital agency, will now be managing the digital mandate for ‘Akshaya Motors’ which is inclusive of digital strategy, social page management, digital media planning and buying along with creating an innovative content strategy. The agency aces in conceptualizing and executing 360-degree digital marketing campaigns. Since its inception, Big Trunk Communications has managed to set benchmarks across product categories such as luxury retail, fashion & clothing, food & beverages, education, media and entertainment, realty, BFSI, e-commerce and pharma over the years.
Big Trunk Communications, Akshaya Motors CEO Vikas MJ said, “In recent times, Digital is the way to know your potential customers and connect with them. We are extremely pleased to partner with Big Trunk Communications. It is our endeavour to expand our digital presence through innovative use of the medium that will resonate strongly with today’s digital consumer. Their team presented an extensive market analysis with valuable insights that can add a new dimension to our marketing strategies in the current context as well as the future. We were impressed by the way they maintained transparency during our discourse. We believe that a young and enthusiastic team would be able to execute and achieve the desired goals.”
Commenting on this association, Big Trunk Communications CEO Akhil Nair commented, “It’s exciting to be the official digital partners of Akshaya Motors. They have epitomized consistency and excellence in terms of their services and already are the No.1 dealers in South India for Mercedes Benz. The idea is to leverage our expertise in executing ingenious digital campaigns for enhancing their online presence and thus taking the brand to new heights. We plan to integrate innovation, content, and media, to deliver out-of-the-box ideas and develop a connect between the brand and its target group. We’re pleased to achieve yet another milestone in the Luxury Retail segment and look forward to long term association.”
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.
