MAM
Millennial Influencers turn to OkCupid to ‘Find Their Kind’
MUMBAI: OkCupid asks real people to talk about real things. The international dating app’s first brand campaign in India – #FindMyKind – has endeavoured to start conversations about personal choice and self-acceptance amongst Indian millennials to cater to their changing preferences. The campaign went live in August with leading influencers sharing their ‘Find My Kind’ stories driving home conversation about the path they have chosen and the relationship they seek. Users followed in their footsteps with posts of their own, generating over 5 Million impressions
The campaign caters to the requirement of a generation that knows what they want and are not willing to compromise on their dreams. When it comes to the kind of relationship they want, young Indians want to make their choice and do not let family members, relatives, acquaintances and friends' preferences override their needs.
On social media, the campaign has urged influencers from all walks of life to communicate who they truly are and who their kind is in a relationship. Captured beautifully in pictures and their post, influencers talk about their journey to becoming who they are and the kind of person they would want to be with in their life – someone who understands and accepts them for who they are. They spoke about their individual choices from their love for art, baking, photography to their passion for motorcycling or about someone who would understand how career oriented and eccentric they are. After all, they believe in keepin’ it real!
Not only does the campaign capture the essence of OkCupid, it also perfectly encompasses the goal of the campaign which is reiterated by Melissa Hobley, Global CMO, OkCupid, who says, “OkCupid celebrates people who are expressing their own preferences and the willingness of living on their own terms with the intent that feels right. Through our first ever brand campaign in India, we tap into the desire of single Indians to exercise their right to choose their own partner. Considering that's one of the most significant decisions you'll ever make, we think finding someone who is YOUR kind is of utmost importance! Find My Kind celebrates people who are looking for something real, and won't compromise or adjust to suit other people's expectations.”
The idea is to encourage people to stop settling for a compromise in the most important decisions in life. Influencers have spoken their heart out about the type of person they are and what they seek in their partner. Overall, it is a celebration of individuals who push back against everybody else’s expectation of their life and relationship. The posts capture what this generation wants in a serious relationship why encouraging others to be equally fearless.
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.
