MAM
Maxus Content, The Viral Fever and Tata Motors bring alive Tripling with Tiago
Mumbai: Maxus Content, the content solutions arm of Maxus unveils its next branded content project with The Viral Fever for its prestigious client Tata Motors. The brand new mega web series titled “Tripling” features Tata Motors’ newly launched Tiagoas a focal point in an enriching story told by some of India’s best storytellers from The Viral Fever.
The association conceptualized by Maxus Content for Tiago and The Viral Fever aims to engage with the millennials by understanding their content consumption pattern. From decoding the brand’s brief to ideation and amplification, Maxus Content used its in-house research & insight, digital & content creation capabilities along with the creative insights by The Viral Fever to help Tata Motors bring alive Tripling.
The web series features of superior production values comparable to a long-format feature, an acclaimed cast and an extensive marketing campaign to build engagement. It is one of the most anticipated branded content projects of this season by The Viral Fever.
Maxus’ social media listening revealed that youngsters increasingly take travel as an experience to foster change in their lives. However, most road-trip based stories in Indian entertainment have been around friends. Maxus and The Viral Fever decided to leverage the youth’s idea of travel with a fresh take by featuring siblings and not friends.
“At Maxus we keep the culture of a brand’s audience at the center of our content strategies. Tripling is our attempt at intuitive positioning of Tiago as an enabler, in an engaging, culturally relevant story for its audience. It is a showcase of our data driven, digital first and tech enabled approach to branded storytelling. If the initial reactions to the show’s trailer is anything to go by, Tripling will surely give our audience a seamless and memorable branded storytelling experience”, said Pooja Verma, Head – Content, Entertainment and Sports Partnerships at Maxus.
Tripling is a beautiful journey spread over five webisodes of three siblings who go on a road trip, and in the process, redefine their own lives and relationships. A true visual treat for viewers, the show weaves in the dynamic Tiago as the sibling’s partner on their journey to discovery.
“Our new hatchback, Tiago comes with new attractive design credos which appeals to the young and is all about enjoying life on-the-go. This is exactly what the new web series depicts. We found this storytelling route, a good way to engage with our target customers and are delighted to associate with Tripling to communicate the zeal of youth, adventure and this series resonates well with Tiago’s spirit of enjoying moments in life,” said Mr. Vivek Srivatsa, Head- Marketing, Passenger Vehicles Business, Tata Motors.
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.
