MAM
Advertisers desire better opportunities to use animated characters in ads
MUMBAI: Advertisers are looking at broadcasters to create more Indian animated characters that they can leverage to market their products amongst kids to get better engagement. This was the topic of the panel discussing “Building on 200 eyeballs” at the recently concluded AnimationXpress.com’s Kids, Animation & More Summit.
The panel, including Hamleys India head of marketing Sivaraman Balakrishnan, Baskin Robbins India head of marketing Samyukta Ganesh Iyer, Pidilite Industries category head – consumer products division Kartik Subramanian, KidZania India marketing director Tarandeep Singh Sekhon, Parle Products senior category head marketing Krishnarao S Buddha and Mattel Toys head – consumer products Permendra Singh, was being moderated by Publicis Worldwide managing director Srija Chatterjee.
All the panellists unanimously agreed that it is better to communicate with kids in a manner that is more appealing and understandable for them. However, there is a serious lack of animated advertisements and marketing initiatives in the Indian scenario. They urged broadcasters like Sony and Discovery, who were present in the audience, to create more IPs of strong resonating Indian cartoon characters that they can license for marketing.
Balakrishnan noted that there is a dearth of Indian cartoon characters who complete the full circle of being present across all media, including TV, print, and digital and that makes it difficult for them to qualify as licensable units.
He said, “Barring Chhota Bheem and Motu Patlu, I can’t think of any other Indian characters that are present across platforms. For example, Peppa Pig. You can see it on TV, and on digital, they have an app and are present in stores; basically across all touchpoints that a child today goes to. For most Indian characters, TV is the only touchpoint. They really don’t reach that stage.”
Iyer shared that Baskin Robbins, in countries like Japan and Korea, has created some licensing properties, like associating with Pokemon, Frozen, etc. In India, it hasn’t done much. We are on a hunt to find good IPs that we can partner with. I would urge everybody sitting here to create characters that we can license.”
Singh added that it is also important for the characters to emotionally connect with the user to become a franchise. Citing the example of Barbie, he noted that a child spends most part of the day with the doll dressing her, playing with her, even sleeping with her and therefore develops a relationship that lasts for a lifetime. He said, “It is not about characters or brands, it is about how strongly they are connected to the audience.”
Subramanian added another dimension to the discussion as he insisted that it is necessary for brands to interact directly with animation studios as they do with their ad agencies. He said that there are a lot of benefits that animated advertisements can give to brands by opening a very broad canvas.
An interesting suggestion was pelted towards the panel by Indiantelevision.com founder, CEO, and editor-in-chief Anil Wanvari as he asked the brands to create their own unique IPs and partner with channels to get them on screen.
Krishanarao S Buddha mentioned that creating animation in-house is quite expensive and difficult to sustain. “The better way out is to create an association, like Parle has done with Chhota Bheem. We have a special Chhota Bheem Parle G pack that has already started contributing 8-10 per cent to performance.”
Sekhon noted that creating own unique IPs is a more of a business than marketing decision but he will be glad to see the KidZania mascots on the bigger screen.
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.
