Digital
Ensuring sensitivity and honesty: ASCI introduces guidelines for advertisements for charitable causes
Mumbai: The Advertising Standards Council of India (ASCI) has introduced guidelines for advertisements for charitable causes.
In recent years, charities have been active advertisers, particularly on digital media, and especially for the purpose of seeking funds and crowdfunding on behalf of their beneficiaries who may not have an active social network to reach and tap donors. Charities, including crowdfunding platforms, provide this reach through sponsored ads and organic posts, which tap potential donors.
However, there have been some concerns about ads that create donor distress through the use of images that may be too graphic. While the intent of such posts is undoubtedly to nudge donors to contribute, such posts may cause undue distress to ordinary consumers who may be surfing through their news feeds. In addition, with crowdsourcing platforms, consumers may not know what amount, from their donation, goes to the beneficiary and what may be kept by the platforms for their administrative fees or charges.
The new guidelines reinforce the ASCI code; Chapter 1 requires ads to be honest and truthful and Chapter 2 requires them not to cause grave or widespread harm or offence. To be compliant, ads related to charitable causes must adhere to the following guidelines:
An advertisement for a charitable organisation or crowdsourcing platform for charity shall not overtly or pointedly suggest that anyone who doesn’t support the charity fails in their responsibility or should feel ashamed.
Advertisements must not disrespect the dignity of those on whose behalf an appeal is being made, by any means, including showing graphic images of victims in distress, particularly children and minors. An advertiser must be able to produce evidence of express consent for the use of images of beneficiaries if asked to do so.
In digital advertising, any image that could cause unjustified distress to an ordinary consumer must be blurred and made visible only to those interested in knowing more.
When an appeal is made for a specific case or beneficiary, the ad must disclose if the funds could potentially be used for other purposes or other beneficiaries. Ads must not mislead consumers about where or to whom their donations are going.
If a crowdsourcing platform collects a percentage or fee for managing or raising donor funds, it must be made clear what such amounts are in the advertisement itself.
Talking about the new guidelines, ASCI CEO and secretary general Manisha Kapoor said, “ASCI recognises that charities can have a challenging job explaining the nature of the important, and often sensitive work they do, and raise funds for beneficiaries in need. However, they must take care not to overstep the mark by misleading consumers or causing unjustified distress to those who may be merely surfing online. The guidelines strike a balance between allowing charities to do their important work, and at the same time, be fair to consumers who are viewers of such advertisements.”
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.
