MAM
Heineken releases new ‘Legends’ campaign – Voyage, urging one to push the boundaries
NEW DELHI: Heineken, as part of its latest global campaign ‘Voyage‘, is undertaking its most daring experiment yet. It is testing what men are truly made of when taken out of their daily lives and dropped into the great unknown.
A highly social character, out-going and confident, is chosen to go on a legendary adventure – a new experience that will test his resourcefulness. But then he find himself in the freezing wilderness of Alaska – alone on a glacier, with nothing but a giant life-ring, a tuxedo and a plane ticket to get him home – and the airport is hundreds of miles away.
This is Voyage, a new campaign from Heineken. The Voyage TVC provides the inspiration for the dropped travel experiment was recently released globally on the Heineken Digital channels.
Set in India, it follows the Legend as he finds himself in all sorts of awkward and bizarre situations when he loses his pet goat. As a true ‘Man of the World‘, he knows how to navigate this new world with ease, even if he finds himself in unfamiliar territory.
The Dropped experiment takes different men from across the world and drops them in remote locations with nothing but the most basic of supplies and directions. The result is ‘Dropped‘ – a series of episodic adventures following our intrepid explorers on their legendary travel experience.
Here, viewers will be able to follow each ‘Dropped‘ voyage, access documentary-style content. Every ‘Dropped‘ travel adventure will be tailored towards the character of its main protagonist – forcing them to discover their own limits and conquer their fears. Across four continents they‘ll face a multitude of challenges – tough terrain, curious locals and unusual modes of transport.
As the Dropped episodes unfold, so the social experiment will come to life, with viewers of each voyage able to follow how each traveler fares through a series of diary entries and journey updates. Their final destination? Home. Will they make it? The answer lies within each adventurer – the outcome of each Dropped encounter is completely unscripted, with the participants desire to overcome the challenges the only measurement for success. For all we know legends aren‘t made, they‘re Dropped.
United Breweries Limited senior VP marketing Samar Singh Sheikhawat commented, “With Voyage, the fifth installment of our Legends campaign, we want to go further than inspiring men to be resourceful and open to the world. Dropped is a social experiment that challenges the participant to display their true character and if they do, have a legendary travel experience.”
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.
