MAM
Agencies in India Have 18 Finalists in 45th Annual One Show, Including 10 for McCann Worldgroup India
Agencies in India have 18 finalists’ entries for the 45th annual One Show, as announced by The One Club for Creativity, the world’s foremost non-profit organization celebrating creative excellence in advertising and design.
McCann Worldgroup India, Mumbai leads the way with 10 finalists, including seven with McCann Health, Delhi for Ministry of Public Health, Afghanistan “The Immunity Charm”.
Hindustan Petroleum has five finalists for its own “Roads That Honk”.
Agencies in India with one finalist each are Ogilvy & Mather, Mumbai for RNW Media “#NotMusicToMyEars”, FCB India, Mumbai for Times of India“Shindoor Khela – No Condition Apply” and Famous Innovations, Mumbia for CaratLane “The Personalised Ring Box That’ll Get You a Yes”.
To view the complete list of The One Show 2018 finalists by discipline, please visit http://www.oneshow.org/finalists/2018/.
This year’s One Show has 1,643 finalists representing 42 countries, selected from 19,800 total entries. The US has the most finalists with 669, followed by the UK with 117, Japan with 94, Canada with 86, Germany with 78, Brazil with 70, France with 65 and Australia with 59.
Globally, BBDO New York is the agency office with most One Show finalists with 68, including 10 for Downtown Records’ “Live Looper” featuring the band the Academic and eight for P&G “The Talk”.
Ogilvy & Mather, Chicago has 34 finalists, including 16 for SC Johnson “Kiwi Portraits Completed” campaign and individual ads, and Wieden+Kennedy, Portland has 33 finalists, including 11 for a variety of KFC work and eight each for Old Spice and Nike entries.
Other offices with the most One Show finalists entries are Dentsu Tokyo with 32, McCann New York with 29, Droga5 New York with 25, Jung von Matt in Hamburg and DDB Paris both with 21, and AlmapBBDO, São Paulo and DAVID Miami with 20 finalists each.
The entry collecting the most finalists is SC Johnson “Kiwi Portraits Completed” campaign and individual ads by Ogilvy & Mather, Chicago with 16 spots.
Droga5 New York’s “The Truth is Hard to Find” campaign and ads for The New York Times picked up 14 finalists, while McCann New York’s “Fearless Girl” for State Street Global Advisors has 13 finalists spots. Both Cossette Toronto’s “SickKids VS” work for SickKids Foundation and DAVID Miami’s “Google Home of the Whopper” for Burger King have 11 finalist spots.
The One Club for Creativity awards shows each have their distinct focus. The The One Show focuses on creativity of ideas and quality of execution, while theADC Annual Awards maintains its historical concentration on craft, design and innovation.
This year’s winners will be announced on two nights of The One Show during The One Club for Creativity’s Creative Week, May 7-11, 2018 in New York (http://www.oneclub.org/creativeweek/).
The first night of The One Show, covering Branded Entertainment, Design, Direct Marketing, Health, Wellness & Pharma, Intellectual Property, Moving Image Craft, Public Relations, Responsive Environments, Green Pencil and Cultural Driver will be Wednesday, May 9, 2018, 6:00 pm-12:00 am at the Ziegfeld Ballroom, 141 West 54th St.
The second night of The One Show, awarding work in Cross Platform, Film, Interactive, Mobile, Print & Outdoor, Radio, Social Influencer Marketing, Social Media, UX / UI, Penta Pencil, Best of Show and other special awards, takes place on Friday, May 11, 2018, 6:00 pm-2:00 am at Cipriani, 55 Wall St.
The preeminent festival showcasing the intersection of advertising, innovation and creative thinking, Creative Week also includes the ADC 97th Annual Awards, the dynamic Young Ones Education Festival, inspiring sessions with some of the biggest names in the industry at the Creative Summit, and the exclusive Executive Creative Summit, open to a limited number of top-level leaders (founders, CCOs and managing partners).
The One Club for Creativity (http://www.oneclub.org), producer of the prestigious One Show, ADC Annual Awards, Creative Week and Portfolio Night, is the world’s foremost non-profit organization recognizing creative excellence in advertising and design. The ADC Annual Awards honors the best work across all disciplines, including Advertising, Interactive, Design and Motion. Creative Week takes place in New York City every May and is the preeminent festival celebrating the intersection of advertising and the arts.
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.
