MAM
New Bajaj Discover campaign celebrates the boy in every man
MUMBAI: Discover, from India’s leading two-wheeler brand – Bajaj Auto, has released a new campaign conceptualised by Mullen Lintas. Bajaj Auto had recently re-launched the Discover with an upgraded Discover 125, and an all-new Discover 110. The campaign went live from 1 February and will be visible on television, print, outdoor and digital.
Bajaj Auto Marketing VP Sumeet Narang said, “Discover is our brand which offers an energetic and spirited riding experience to daily commuters. It differentiates itself from the rest of 100-125cc commuter brands by offering a more fun bike to our customers who see themselves as hard working family men burdened with responsibilities. Finding relevance for Discover’s promise of performance was critical. Immersions with family men between 30-40yrs in large and small towns helped us arrive at the brand insight of how the boy in every man is always alive. Discover’s spirited riding can help him come out, once in a while.”
The new Discover carries forward that legacy of exciting performance with an all-new long-stroke engine. It also has the additional advantage of exciting looks with first-in-class LED DRLs, first-in-class digital instrument display panel, all new stylish graphics, and a host of other style and performance upgrades. The new campaign shows how an exciting ride on the new Discover makes you as ‘zindadil’ as in your younger days.
Mullen Lintas EVP Ayyappan Raj said, “It’s quite an important and significant campaign for us, considering the task of reintroducing brand Discover. The brief from the brand team was about how the new Bajaj Discover with stylish features, and powerful engine bring out the youthfulness in the rider and that’s exactly what we have managed to capture with ‘Bano Zindadil’. There are a lot of activities planned across media, ensuring this idea travels to a larger audience.”
The song in the film, “Behti Hawa” from the movie 3 Idiots interestingly stirs the youthful memories in an office-goer. The communication captures the emotions that the rider goes through while enjoying the experience of his new Bajaj Discover.
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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.
