MAM
OLX.in launches a new campaign to strengthen its ‘Bech De’ proposition
NEW DELHI: OLX.in has launched a new TV campaign aimed at building and strengthening its ‘Bech De‘ proposition.
OLX‘s new campaign communicates the core OLX message of ‘Bech De‘ in interesting ways using the previous campaign ‘Badi Badi Baatein‘s‘ married couple‘s playful teasing route.
Conceptualised by creative agency Saatchi & Saatchi, the ad is an extension of the underlying value propositions of the brand – ‘Sab Kuch Bikta Hai‘ and ‘Badi Badi Baatein‘.
OLX.in CEO Amarjit Batra said, “Our new ads are a reflection of inputs and insights gained from listening to our users and Indian consumers and derived from real life situations among couples and the typical Indian household. These new ads convey a simple message through a humorous storyline. Whatever be your reasons to sell your pre loved or pre owned goods – whether you have liked something new or are hardly using it, the solution is to just ‘Sell it on OLX‘ (OLX PeBech De).”
The product highlighted in this ad is an expensive cruiser bike that is no longer being used in a manner promised by a husband to his wife while purchasing it. The beauty of story unfolds with the wife exaggerating the promises made and thus making the husband realise his folly.
A wife is shown serving morning tea to her husband who is dressed up in casual summer attire. She starts teasing her husband and pretends to shiver while saying, “Is saal Shimla mein kitni thand hai…nahin??” The husband is taken aback and tries to ensure if his wife is in good health. He reverts back, “Babush tum theek to hona? Hum Delhi mein hai, apne ghar.” The wife retorts and says, “Tum bhulgaye hum aaj hi to aaye hai Shimla” and clarifies by mentioning that they arrived on his Bike “Jo tumne do saal pehle kharidi thi, long rides jayenge etc etc.” The husband is annoyed and says, “To kya karun iss bike ko phenkdun?” The answer that follows from the wife is simple, “OLX pe bech de.” Instead of just talking, the protagonist is shown as acting upon the selling decision and transacting with an interested buyer by selling the bike in lieu of cash. This leaves the couple satisfied and ends the pitter-patter of words between them for good.
While the entire world progresses, so do you. This is a simple insight that is the crux of the second TVC. What is a loved and treasured material possession today might lose its charm tomorrow due to the availability of a better substitute. Simmering tension between a couple unfolds into a situation that was nothing more than playful bickering over a TV that needed to be upgraded.
The TVC opens to a cricket-loving husband watching the match on a LCD TV, comfortably seated on a couch in his living room. His wife Sweety returns home hands full of grocery and gives a disappointed look to her husband. She says “Kabeer, hume ab baat karni chahiye”; obviously not very happy to see the husband relaxing while she is doing the household chores. Kabeer, deeply engrossed in the match, reverts “Haan karte haina.” A serious discussion follows and the wife opens her heart out, “Mujhse aur bardaasht naheen hota.” Kabeer cajoles her,”Par Sweety tumne promise kiya tha ke tum ek bar toh koshish karogi.” Sweety confesses her new love and reveals, “Mera dil kisi aur pe aagaya hai.” Kabeer concludes, “Koi baat nahi Sweety, TV ko OLX pe bech de.” Even in this TVC the entire transaction is highlighted and the TV is sold to a person who collects it from their home and pays the couple cash for it.
Batra added, “India is a one of the key markets for OLX and we are investing in growing this market. We strive towards delivering high quality marketing communications that builds an emotional connect with our users and positions us a thought leader in this space.”
The TVC is integrated with Radio, OOH and social media to make it more substantial.
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.
