MAM
HDFC Life’s health campaign is a reality check for those who believe they ‘look fit’
MUMBAI: HDFC Standard Life Insurance Company, one of India’s leading private life insurers, has launched a new ad campaign highlighting the need for health insurance, by using a simple and relatable analogy of ‘Liar Mirror’. The campaign that has been launched on the digital platform features celebrities who are real-life critical illness survivors. In the 2 min ad film, Actor/Model Lisa Ray and Actor/Comedian Suresh Menon are seen talking about why the mirror has always been a liar to them.
HDFC Life has maintained an insight-driven approach for its marketing campaigns. The company’s findings on consumer approach towards fitness and financial preparation for health ailments contributed towards the theme of ‘Liar Mirror’.
What is the campaign all about?
Appearances are deceptive, and we frequently get carried away by what we see. The mirror is often taken as an indicator of health in our busy lives. It is assumed that if a person looks fit externally, she is in good health. HDFC Life has attempted to break this myth and bring about a change in the mindset of people. The film highlights the stories of two popular faces – Suresh Menon, a heart ailment survivor and Lisa Ray, a cancer survivor. Suresh and Lisa talk about how they appeared completely fit from outside only to be diagnosed with serious ailments. The ad shows the survivors talking about the need to take a look inside, go for health check-ups and prepare financially to face any adversities.
Pankaj Gupta, Chief Marketing Officer & Executive Vice President, Strategic Alliances, Bancassurance & Specialty Sales, “In India, we have become conscious of our diet and exercise regimen, but still have deep inertia when it comes to regular health check-ups. Non-communicable diseases are on the rise and we wanted to address this increasingly serious social issue, in the most realistic way. Hence, we used the testimonial approach and are delighted to be associated with Lisa & Suresh on this campaign. They are real fighters who have survived their respective challenges and emerged victorious, thereby resonating with our brand message of ‘Sar Utha ke Jiyo’. We urge people to not just believe what they see in the mirror, but also delve deeper and be #Ready2Fight.
On the creative front, Rajdeepak Das, MD – India & CCO – South Asia, Leo Burnett said, “It is a simple way to demonstrate what the truth is. When you look in the mirror every morning, you think everything is right but there are things happening that you cannot see. We are a Humankind brand and we wanted to solve a human problem – so people can realize the truth.”
Commenting on the campaign, Suresh Menon said, “When I was approached with the idea, I could immediately relate to it. I felt this was my story. Back then, I never expected to have a heart issue and it came out of nowhere. I believed I was fit and healthy. This campaign rightly breaks the myth that looking fit and being fit are not necessarily the same.”
Lisa Ray added, “In my case, there were not many visible signs telling me that I was unwell. One moment I was leading my life, traveling and working in films and television around the world, and in the next I was diagnosed with cancer. The other important aspect, which this campaign talks about, is the financial preparation. Medical expenses are steep and you could run up bills that erode your savings very quickly. Hence, being financially prepared today is a very important aspect of investing in long term good health.”
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.
