MAM
WAT’s Your Big Idea 2.0 receives over 240 entries this year
MUMBAI: WATConsult, India’s leading and most awarded digital and social media agency, a part of the Dentsu Aegis Network, has received a phenomenal response to their second season of WAT’s Your Big Idea (WYBI). With participation from over 30 educational institutes, WYBI 2.0 has received a total of 240 entries with more than 390students contributing. Out of these, 27 teams have been shortlisted for the second round, and only 12 teams will be selected for the finale round which will take place in Mumbai this week.
Every brand associated,shared their background and company history along with the objective, target audience, target market, challenges faced and the requirement from each team in terms of a campaign.ITC’s Savlon’s brief was to increase usage of hand-wash inhouseholds and to increase adoption in usage while HE Face Wash looked for an integrated marketing idea for their newly launched product, waterless face wash.
Naturolax’s marketing objective was to establish a new brand positioning, thereby driving new trials and increasing market share. JACK & JONEScore objective was to establish them in the men’s comfort zone brand and gain branding visibility along with garnering actual footfalls and sales.Madame Tussauds looked forideas which helped in increasing repeated walk-ins and ideas on new possible opportunitiesto drive revenues. Swarovski wanted ideas which helped increase sales and create a brand visibility in their TG.
WATConsult founder and CEO Rajiv Dingra says, “We have received a terrific response this year. The entries are nearly double of last year and the quality of work is incredible. We are all set and excited to see the final presentation, wherein the students will get mentored by the team of WATConsult, improvise their ideas and present it to the jury. We look forward to an exciting day ahead this week.”
WYBI is one of its kind digital ideation competition for colleges across the country which provides a unique platform and massive opportunities to the next generation in the field of digital advertising and marketing. It is a college contact program, where students get an opportunity to work on live projects, understand the nuances of creating digital campaigns for notable brands and showcase their creative skills to the best brand marketers in the country.
Launched last year, the first edition saw more than 150+ registrations, 120 entries, 250 students participating and 28 teams. This year besides the cash prize of 1 lakh, endorsed certificate and an assured job offer, the winning team will also get an opportunity to visit Cannes Lions in 2018.
Hyperlink : www.watsyourbigidea.com
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.
