MAM
iD Fresh Foods’ new spot pushes ready-to-cook idly-dosa batter
NEW DELHI: iD Fresh Food has come up with a new campaign #MadeWithLove. The campaign depicts iD as an integral part of the Indian family. We see a joyous child-welcoming her parents and newborn sibling home, with a delectable spread of fresh crispy dosas and soft, fluffy idlis – made with the help of her doting grandma. With the assistance of their new family member – iD Idly and Dosa batter – the family can enjoy healthy, preservative-free, and home-cooked food without any fuss! Just like our grandmothers’ recipes have stood the test of time, iD has, over the years, served millions of households with traditional recipes that rank high on freshness, health, taste and convenience. Developed by People Designs and Communications, the campaign reinforces iD’s distinctive brand messaging of bonding over home-made food. The campaign will be launched on all major OTT platforms, TV channels and social media channels. The promotions are scheduled to kick-off in Mumbai and Pune this month, followed by other cities including Bangalore and Chennai in the coming months. Commenting on the new campaign, iD Fresh Food CEO and co-founder PC Musthafa said, “Today iD’s idly and dosa batter is the most popular product in the ready-to-cook category. iD batter is not just a product, to many, it’s an integral part of their family and enjoys a special bond. There are numerous heart-warming customer accounts that inspire us at iD to continually raise the bar and make healthy, preservative-free and home-made food accessible for all. With the latest campaign, we intend to highlight that every household can now make idly and dosa effortlessly, with the assistance of iD batter made in ‘giant home kitchens’. We make 65,000 kgs of fresh idly dosa batter every day and deliver it to our retail partners on the same day. Our purpose is to assist you in making nutritious and tasty food at home. And yes, they are sure to bring back happy memories of your grandma.” iD Fresh Food CMO Rahul Gandhi said, “The customer is at the core of everything we do at iD. Since the COVID-19 outbreak, we have had many insightful conversations with customers – new and old – to understand their challenges. We are committed to preserving the glory of traditional foods against the relentless onslaught of preservatives-laden and processed foods. As India’s No. 1 Idly and Dosa batter brand, this new campaign is our way of saying that we hear you, we stand with you and we are making food for you with love.”
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.
