MAM
Draftfcb+ Ulka launches its new campaign
MUMBAI: Draftfcb+ Ulka has rolled out a new campaign for Tata Docomo. The ad film showcases how different brands, products, services and people are associated with the telecom brand and how its network touches everyone‘s life, everyday. As a part of this campaign, the agency has created four ad films.
The television commercial has tried to show that Docomo‘s network is behind numerous things such as a pizza getting delivered to you, reading a newspaper wherever and whenever you are.
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All the ads showcase foreign tourist couples roaming on the streets of Chennai. As they go on exploring the city, they get completely surprised by the Docomo signature tune which keeps playing at every place they go. As the film proceeds, the curiosity keeps on building up between the couple who are completely confused at the source of the sound. As the couple‘s curiosity reaches a high the source of the sound is revealed as somebody or the other is using the services which Tata Docomo‘s network supports.
The master TVC is 55 second long and there are three shorter edits of 25/30secs. The ad films have been produced by Chrome pictures and ably executed by Hemant Bhandari.
Tata Docomo head – brand marketing Ritesh Ghosal said, “The fact is that there is practically always something around you that is working on the Tata Docomo network. The creative execution for this campaign in a very unique style communicates this almost as a truism, the fact that you can‘t escape the Tata Docomo network in your everyday life. Making the message playful and not pompous.”
Draftfcb+ Ulka SVP Sridhar Iyer added, “Tata Docomo touches the everyday life of its consumers not just through a handset but also through the services of some of the biggest enterprises they rely on, and this has been depicted in a playful manner through an execution that highlights the ubiquity of the network in everyday life of its consumers.”
The senior creative director is Vasudha Misra and creative team consists of Robin Thomas, Arjun Suri, S.V. Srinath, Raj Shukla, Vikash Kumar and Bala Subramanian. The campaign on TV would be adequately supported with a 360 degree campaign on print, outdoors and retail.
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.
