MAM
Getting married? Confess your desires
MUMBAI: With the wedding season upon us, jewellers, designers, decorators, planners, videographers and photographers are busy vying for attention (and assignments) from prospective brides and grooms.
In such a scenario, Tanishq, the Tata Group’s jewellery brand, has come up with an innovative digital campaign that may well help it stand head and shoulders above the competition, while putting a smile on the face of the bride-to-be.
Christened ‘Confessions of a Bride’, the month-long campaign is an extension of Tanishq’s recent wedding campaign and seeks to fulfill the innermost desires of every new-age bride; be it an immaculately designed wedding dress or a personalised jewellery set or even a romantic honeymoon in the Swiss Alps.
So if you’re going to be a blushing bride, all you need to do is log onto: http://tanishqweddings.com and make your confession. Rest assured, your secret wish is then Tanishq’s command…
Exults Titan vice president retail and marketing (jewellery division) Sandeep Kulhalli: “As family jewellers in a progressive society, we understand that every Indian bride wants to give an individualistic touch to her wedding and is ready to get out of the realms of comfort to fulfil the same. This campaign attempts to live up to the confessions that the bride makes so as to gift wrap a beautiful experience and present it to her that will go down memory lane.”
On connecting with the audience, says Titan head marketing (jewellery division) Deepika S Tewari: “At Tanishq, digital campaigns have always been a great medium to connect with our customers. With more than 75% of internet users in India falling under the age of 35 – the digital medium is the best mode to reach out to them. In the past, we have had successful digital campaigns like My Expression, Mia on Wheels etc. which were well accepted by the audience. Confessions of a Bride is an attempt to celebrate differentiated weddings of the progressive Indian bride.”
Tanishq is pulling out all stops to promote its new campaign, particularly on digital platforms. The brand is promoting the contest and various features of the website organically on social media platforms supported by paid promotions on facebook to relevant audiences, Google search, Google display network, YouTube and chats with stylists on twitter.
“Bloggers have always been a critical part of Tanishq online campaigns. We reach out to them not only for publicising our digital activities but also take their inputs as they understand the pulse of the tech-savvy audience to refine and streamline our campaigns. For this campaign, we have reached out to bloggers who have been writing on weddings and similar themes to come on board and help us in making this a huge success!” Tewari says.
Tanishq has partnered with Interactive Avenues on the campaign.
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.
