MAM
Dentsu Webchutney launches #EqualsInLove for platinum days of love
MUMBAI: To set the mood for this Valentine’s Day, Platinum Day of Love, a flagship programme of PGI India, has launched #EqualsInLove campaign, a collection of films that celebrate couples who meet each other halfway. The films are conceptualized and executed by Dentsu Webchutney, the digital agency from Dentsu Aegis Network.
The campaign is fronted by a collection of films that beautifully & meaningfully expressed this emerging resolve between couples, to meet each other half way. From equally splitting the rent of a new home – something typically thought of as a man’s duty – to a man deciding that he wants to be a stay-at-home-husband, these films showcase how truly rewarding & liberating it can be to have an equal partner in each other. Making the love they share rare.
The month of February sets the mood for love, wherein couples seek ways & means to re-live and celebrate their love in a unique and memorable way. The campaign elevates this occasion for couples & asks them to celebrate their rare equal love with #EqualsInLove Platinum Love Bands. From identical motifs to complimentary designs, each pair of Platinum Love Bands is crafted to tell the story of love that’s rare & built on equality.
Sujala Martis, Director Consumer Marketing, Platinum Guild International said, “If left to its own, the conversation around love & relationships during this time of the year can get very sugary & mushy. As a brand, we stand for a certain level of maturity & wanted to approach this conversation from a slightly higher order lens. Modern couples do not look at themselves through gender defined roles & responsibilities…equality is a very valid & important value amidst them. It’s part of what can make the love you share rare.”
Making it sweeter, couples are also given the chance to win a romantic trip for two to one of six exotic destinations, on purchase of Platinum Love Bands.
Pravin Sutar, Executive Creative Director, Dentsu Webchutney commented, “The topic of equality is one that’s extremely relevant in today’s environment. We wanted to add a unique perspective to it with the themes and nuances our films bring to life. Each film strikes upon a powerful way in which couples meet each other halfway to form a rare, unmatched bond.”
Aalap Desai, Senior Creative Director, Dentsu Webchutney added, “We wanted to not just celebrate couples who match each other as equals, but to challenge the status quo with our four films. Each film overturns traditional roles, becoming a source of aspiration for young couples who’re about to set out on their journey of love.”
The campaign runs between 1st and 21st February.
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.
