MAM
Honda CB Trigger TVC lures the youth, ask them to ‘Untame’
MUMBAI: With a new TVC, Honda aims to strengthen its 150cc sports bike segment. The automobile manufacturer is now positioning its new offering CB Trigger as ‘fun of riding for the youth’.
Created by Dentsu Marcom, the 30 second TV campaign showcases a young man’s life filled with dilemmas. How it is not in his control and how everyone in his generation is pressed to be put through a factory of conformity. Honda CB Trigger through the campaign, says ‘No More.’ The new TVC calls the youth as it asks them to ‘Untame’.
The film starts with the backdrop of a jingle (about a domesticated ‘cutie pie’), where the protagonist is being tamed by his friends, girlfriend and other members of the society in their own ways. The voice over in the background asks: “Do they make my choice? Do they define my life? Do they make my destiny?” Honda’s new bike is trigger for him to realise that enough is enough and he breaks the shackles of society saying: “I don’t belong to them. I belong to myself.”
“The new CB Trigger combines the raw power of 150 cc and macho styling. So we asked, ‘Why tame yourself?’ Youth enjoy college life and the life after because it seems to liberate them from the 12 years of schooling. Little do they realise that there is another kind of schooling that follows them in these and the following years. Fact is, people around you continue to teach you, what is cool, what isn’t, they tell you that you must join a gym, build your muscle, party hard etc. The new CB trigger gives them a physical tool to break out of all this and live by themselves,” said Dentsu Marcom national creative director Titus Upputuru.
Commenting on the campaign Dentsu India executive vice president and national planning director Narayan Devanathan said: “The simple but key insight into the life of the 18-year-old prospective biker is this: at a time when the 18-year-old is tasting freedom for the first time, the shackles of conformity try to bind him, hold him back, and worse, define him for who he really is not. Along comes Honda to remind him that there is indeed a time and a place to become domesticated. And that the new Honda CB Trigger is here to take him far, far away from them.”
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.
