Digital
DS Group unveils ‘Pulse Tangy Tails’ campaign For digital platforms
Mumbai: Dharampal Satyapal Group (DS Group), a multi-business corporation and a leading FMCG Conglomerate launched a unique digital campaign ‘Pulse Tangy Tails’ campaign, for the nation’s favourite hard-boiled candy, Pulse. Pass Pass Pulse has partnered with Master Chef Pankaj Bhadouria for this campaign and it will be amplified across multiple digital touch points including Instagram, Facebook, and YouTube.
Bhadouria will play a central role in setting the mixology challenge for the digital audience and reveal all five variations of tantalizing mocktails that can be created using the five flavours of Pulse candy while inviting participants to unleash the creativity with the recipes. Entries will be evaluated based on a presentation and the distinctive nature, uniqueness of the recipes presented. As a gratification, the selected winners would get a branded mixology kit from the brand side. Various macro, micro and nano-influencers will be roped in to ensure wider reach. The campaign is conceptualised and will be executed by Foxymoron, a part of Zoo Media Network.
At the launch of this campaign, DS Group GM – marketing, Arvind Kumar expressed, “We are thrilled to announce the ‘Pulse Tangy Tails’ campaign, which is yet another unique initiative that showcases the limitless possibilities with Pulse candy taking mixology to a new level. The unwavering love for Pulse candy (since the launch of the product) and its tangy flavors is deeply rooted amongst the consumers. In recent months, there has been a significant rise in the number of passionate Pulse candy enthusiasts with consumers creating extraordinary mocktails and coolers using this delightful candy across the social media platforms. Today, innovation is at the core of consumer brands and we aim to harness the creativity of our consumers by providing a platform to showcase their mixology skills taking the brand experience to a different level.”
To further amplify this momentum and celebrate creativity, the campaign offers a unique opportunity for consumers to participate in an exciting mixology contest, allowing them to showcase their mixology skills and indulge their passion for Pulse candy. Moreover, this campaign aims to foster even more user-generated content (UGC) as participants create and share their inventive mixology creations.
The unique and distinctive flavoured Pulse, a fruit-flavoured candy with a tangy touch, has time and again won over the hearts of its discerning consumers. To conceptualise fresh ideas and utilise them to pique interest and forge strong consumer connections, Pulse Candy has always deployed various consumer centric campaigns and innovations. The Pulse Traffic Signal signature Outdoor Activation Campaign ‘Grab the Pulse’ has won Gold in two coveted marketing awards; the Neon Awards 2021 and Outdoor Advertising Awards 2022.
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.
