MAM
Kit Kat presents the “Baby Break”
MUMBAI: Chocolate brand Kit Kat has launched a new ad campaign that has been created by JWT India.
The new campaign is a follow up to the “Squirrels” and “Birds” executions in 2010 and 2012, with a creative spin on “Have a Break. Have a Kit Kat”.
With the new campaign too, the brand urges youth, wrapped in routine, busy schedules and caught up in the race of living in the now, to take a break and not miss out on the fun and unexpected surprises that a break can get.
The new ad campaign is led by a TVC called “Babies”.
The highlight of the TVC is the music track, created by music producer Mikey McCleary. The TVC has been directed by Shyam Madiraju. JWT chief creative officer Bobby Pawar and Madiraju worked closely with animation experts from Crater Film Studios, Belgrade to create the mix of real and animated “baby” shots.
The TVC is on youtube and other digital channels, and will be followed by a music video with the same track.
Pawar said, “The idea that something good can happen when you take a Kitkat break is in its third year. We had to raise our game and inject some freshness or the campaign would lose its impact. What worked in the first two years is that the commercials borrowed from popular culture by taking and reinterpreting classic hit songs. This time around we are taking things up a notch and trying to create a pop culture moment. So the idea was to do a baby pop concert.”
“The first part of it is the music. It‘s made up entirely of sounds made by babies, even the drumming and the rattles rattling. They were arranged in such a way that a catchy beat and hook was created. The other part of the baby concert is the dancing, which is simple yet kinda unique. Why babies? It came from the insight that watching babies play will put a smile on anyone‘s face. If you watch them doing something you haven‘t seen before, that smile will be multiplied,” Pawar added.
The TVC opens on a student doing the usual rounds with his Professor and fellow students. He steps back to take a break with a Kit Kat. What follows is a never before seen sequence of a bunch of happy babies playing in a day care centre suddenly turn into a baby pop group who give an impromptu concert to our man who is taking a Kit Kat break. The musical interlude is replete with babies singing, or in this case gurgling, cooing, laughing and drumming and swaying to their own dance moves on the music. The music and dance surprises and then delights the student, enjoying his Kit Kat. Once the break is over, the student returns back to his group, performing a quick dance step himself, energised and refreshed.
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.
