MAM
MyGate rolls out creative campaign Knock Knock Stories
The largest community management application MyGate has launched a quirky campaign – Knock Knock Stories. It is another addition to MyGate’s portfolio of unique digital campaigns and marketing initiatives. Some of the other leading campaigns from MyGate’s suite are ‘Just Society Things’ and ‘Heroes of MyGate’.
This new campaign is based on age-old knock-knock tradition and highlights how MyGate’s suite of offerings eliminates the need to go knocking on a neighbour’s door for information or help. Comprising six films, the campaign also touches upon the multi-cultural aspect of gated community living.
Embed: https://youtube.com/playlist?list=PLvZcEYvpabWVmPqxhuTPwpubfleK1Nn_J
The features highlighted via the campaign include MyGate’s Home Services, where one neighbour learns about the availability of pest control services on the app, and its buy and sell, where MyGate users can list old items for sale or simply give them away.
Conceptualised by Autumn Grey, Knock Knock Stories has a total of six films. The first film in the series went live for MyGate users on OTT platforms and YouTube on 18 April and has already received more than 550,000 views. The campaign has helped MyGate record a 149 per cent increase in engagement on their targeted services so far. The following films will be aired next month.
Commenting on the campaign, MyGate head of marketing Ranjit Behera said “At MyGate, we have been consistently in innovation mode and there’s always a new story to tell our users. Knock Knock jokes, especially around homeowners going to their neighbours for basic requirements, have always been popular amongst people in the age group of 35+. The majority of our core target audience is from this demographic, and we have received excellent feedback from our users on the campaign. We look forward to highlighting more of MyGate’s dynamic solutions to our customers through the campaign.”
While AutmunGrey senior vice president of integration and growth Bodh Deb said, “At AutumnGREY Mumbai we have always strived to identify a creative device to create video content, which marries topicality with the brand’s purpose.”
“We have delivered many instrumental campaigns which have become synonymous with the brand’s personality. The Knock Knock device we thought was an interesting approach to tell MyGate’s story as it brings forth the true essence of gated community living,” Deb added.
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.
