MAM
Manforce Condoms unveils #CondomNahiManforceBolo campaign
Mumbai: Manforce Condoms, India’s No. 1 Condom Brand, from the house of Mankind Pharma, has unveiled its latest digital campaign, #CondomNahiManforceBolo.
The campaign aims to capture the space of online search around the word ‘condom’ by replacing it with ‘Manforce’. The brand has launched a year-long campaign to establish the prominence of Manforce Condoms as the top-of-mind choice for consumers whenever they consider purchasing condoms.
To kick-start the campaign, the brand has collaborated with multi-talented actor and content creator Dolly Singh. The video depicts Dolly Singh in the middle of a shoot where she mentions ‘condom.’ On hearing Dolly say condom, the director shows concern, following which the entire crew team says #CondomNahiManforceBolo as it is India’s No. 1 condom brand.
Since the campaign is year-long, the brand has planned to stick to the quirky tonality and amplify the campaign through multiple influencers, UGC and social media posts. The campaign focus will revolve around different media platforms to drive buzz and engagement around the campaign.
Speaking on the campaign, Mankind Pharma associate vice president, of sales and marketing head Joy Chatterjee, said, “Our idea behind the #CondomNahiManforceBolo campaign is to make sure everyone knows that Manforce Condoms is the No. 1 choice in India. By encouraging everyone to say ‘Manforce’ when they talk about condoms, the brand aspires to underscore the trust and credibility it has created in the industry over the years. For further strengthening the campaign, we have also roped in various influencers and leveraged e-comm, quick comm, and product placement for this campaign in a continuous manner.”
Elaborating on the same, Grapes co-founder and CEO Shradha Agarwal said, “The campaign resonates with our objective to instate the supremacy of Manforce Condoms in the segment. Having come a long way in establishing its position in the market, in tandem with the brand, we work towards the unified goal of familiarising Manforce Condoms as a name synonymous to condoms among the audience.”
Lights, Camera, Manforce! With Manforce reigning as India’s No.1 condom brand, it’s easy to see why it’s always on our minds. Join the laughter and learn the golden rule: Condom Nahi Manforce Bolo!#CondomNahiManforceBolo #No1CondomBrand #DollySingh #Influencer #BehindTheScenes pic.twitter.com/PQLB0hC1So
— Manforce Condoms (@ManforceIndia) May 8, 2024
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.
