MAM
Truebil celebrated Father’s Day with a refreshing take on the father-child dynamics through its campaign #PapaKiPriority
MUMBAI: Fathers play a very important role in our lives, shaping the very person that we become. From being our first superhero and pampering us with all that we wished for to reprimanding us when we did wrong and giving us valuable life lessons—the dynamics of a father-child relationship make it irreplaceable. But throughout our childhoods, most of us have seen our fathers considering a certain thing precious to the point of prioritizing that over their own kids! While it would annoy us to great lengths back then, remembering the same definitely brings a nostalgic smile on our faces now. On the occasion of Father’s Day, Truebil, India’s leading omni-channel platform for buying and selling of pre-owned cars, explored that adorable side to each father through its digital campaign named “#PapaKiPriority”.
As part of this campaign, Truebil released a short movie which revolves around Sharmaji, a doting father who loves his family a lot, and his two children. The video shows how Sharmaji is a little biased when it comes to them. While he pampers and shows one of his sons off before all his friends and his extended list of Facebook acquaintances, he scolds and disciplines his son Montu, refusing to even accept his friend request! But of course, Sharmaji loves Montu a lot too, and ensures that he does not feel left out from all the shenanigans that Sharmaji and the other son are always up to. And it is then revealed that the second son was no one else but his beloved car! The video thus celebrated the wonderful trait that each father has, when it comes to treating something dear to them as their own child.
Sharing an insight into this campaign, Shubh Bansal, CoFounder, Truebil remarked, “Back when I was young, I vividly remember how my father would always be busy with work and golf, letting nothing and no one come in between them. While he loved me dearly, I would feel a little left out when he spent too much time playing golf over the weekends and I would often have to fight for my father’s attention. But as I grew up, I realized that it is just the way fathers love, treating everyone and everything that is dear to them so lovingly. Through Truebil’s campaign #PapaKiPriority, I wanted to bring that often unsung side to the fore, celebrating all that makes a father what he is.”
Since its inception, Truebil has been providing customers with innovative solutions to improve their overall car buying and selling experiences, while simultaneously being one of the forerunners in breaking stereotypes and igniting conversations about causes and things that usually go unmentioned. Through a heartfelt campaign like #PapaKiPriority, the brand aimed at bringing forth such bitter-sweet anecdotes and memories, urging everyone to come together and celebrate the uniqueness of their first superhero on Father’s Day.
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.
