MAM
FMCGs were top TV advertisers in week 9
BENGALURU: 10 FMCG players were top television advertisers in week 9 of 2017 (Saturday, 25 February to Friday, March 3, 2017) Top 10 Advertisers *Across Genre : All India (U+R) : 2+ Individuals as per . Broadcast Audience Research Council (BARC) data. FMCG major Hindustan Lever Limited (Lever) was the top advertiser with 1,25,370 television ad insertions or spots during the week under consideration.
In terms of brands, six FMCG brands, one each from politics, mobile banking, mobile apps and jewellery genres were advertised on television the most in week 9 of 2017 as per BARC data for Top 10 Brands *Across Genre : All India (U+R) : 2+ Individuals.
This paper must be read with a caveat: It deals only with the players present in BARC’s top 10 lists of advertisers and brandsper week. The sums/percentages of other advertisers/brands other than those indicated in BARC’s top 10 lists of have not been considered/mentioned in this paper during the period under consideration and those numbers could be more/higher.
During the first 8 weeks of 2017, 17 advertisers (a maximum possible of 80 for 8 weeks) were present in the top 10 list of advertisers and 42 brands (a maximum possible of 80 for 8 weeks) were present in the list at least once during the 8 weeks. In week 9, one new advertiser–Coca Cola India Limited was added to the top 10 advertisers list to take the count to of top TV advertisers in weeks 1 to 9 of 2017 to 18 advertisers. Also, one new brand – Pears entered the top 10 brands in terms of TV ad spots list in week 9 to take the total number of most advertised brands in the first nine weeks of 2017to 43.
Though the Bharatiya Janata Party (BJP) dropped to the third position in week 9 in terms of television ad insertions of brands in a week in week 9 with 7,920 spots, overall, it topped the list during the first nine weeks of 2017 with 71,450 insertions.
Mobile Banking brand Airtel Payments Bank was the most advertised brand on television in week 9 of 2017 with 10,673 insertions, followed by FMCG Oral care brand Close Up Ever Fresh with 8,430 insertions in week 9. As mentioned above, the BJP was the third most advertised brand in week 9. Please refer to the charts below for the top 10 brands in week 9 of 2017. Three brands entered top 10 brands list in week 9 as compared to week 8 – They were – GoodKnight Active Plus, Pears and Dr Ortho Oil & Capsule. The brands that exited the list from week 8 were Jio Fi, Vivo V5 Plus and Dettol Liquid Soap. Among the 43 brands in the lists over 9 weeks’ Surf Excel Easy Wash was present in 6 lists in the first nine weeks of 2017, including week 9. In terms of frequency, the BJP was next with a presence in 5 weeks of the nine during the first nine weeks of 2017.
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.
