MAM
Don’t settle, says Jeep as it drops a new beat in their campaign – “Under the Hood” by Digitas India
MUMBAI: When it comes to selecting a vehicle, consumers are often left in the dark with features being the only differentiator between a good SUV and a great one. To bridge the gap, the 75+ year-old legend – Jeep, tapped into an upcoming trend in Indian music, hip hop, to create its latest and most-upbeat campaign – Under the Hood, to talk about the features that make the Jeep Compass a legend.
The digital campaign, that has been conceptualized and executed by Digitas India, comprises a series of seven short videos that promote unique aspects of the Jeep Compass and how it stands apart from the clutter. Set against intriguing animations, the video rap series simplifies complex engineering concepts to entertain and educate viewers on every feature that a great SUV must have. Urging viewers to look beyond nomenclatures and labels, the series aims to create a new generation of informed customers through head-bobbing rhythm and rhymes.
Released across multiple social platforms, the music videos have garnered over 7.6million views and still going strong.
Commenting on the latest communication series, Rahul Pansare, Head of Marketing & PR, Jeep India said: “The SUV category is cluttered and they all look the same. But, that’s not us. Our objective is to bring the best product to those who’re looking for the real deal. The real deal is in the performance & capability which is not visible from the outside. Jeep Compass is different from within. With this campaign, we want to define what an SUV really means. All we want is for customers to look under the hood and take an informed decision when buying an SUV.”
Adding his views, Mark Mcdonald, EVP & Head of Creative, Digitas India said: “With a legendary brand like Jeep, our effort has always been to create content that’s authentic, relevant and inspires consumers to step into the Jeep lifestyle. With Under The Hood, the challenge was two-fold – create an interesting story from something that’s traditionally been a jargon-filled communication in the category; and then tell that story in a unique and interesting way. The Under The Hood campaign managed to do both in a refreshing and engaging way. Using rap and hip-hop, one of the hottest music genres in India right now, helped take the message far beyond just auto enthusiasts to a much wider age group and audience.”
The team behind the campaign included upcoming rap artists Illa Straight, who has performed in India and the United States and opened for global stars like Akon and Flo Rida,and,Deane Sequeira, one of India’s budding rapper, and songwriters.
On the unique opportunity that was presented by this digital campaign,Priyanka Prashar Narula, Co-Founder & Creative Producerat Isana Productions Inc. commented: “It was one of the most exciting projects for our team at Isana. Marrying contemporary rap with edgy visuals was a thrilling experience!We had a roll shooting this one, and are greatly proud of our association with Digitas India & Jeep.”
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.
