MAM
OPPO launches ‘The chronicles of Sharma-Verma’ digital campaign
Mumbai: OPPO India introduced three digital films capturing the chronicles of ‘Sharma-Verma’ to highlight its commitment to provide the best after-sales services for customers.
Conceptualised by Havas Creative, the three digital films aptly connect different aspects of everyday situations, giving a deeper meaning to ‘service’ while tying back to the importance of convenience and ease in a customer’s life.
The campaign featuring two characters namely, Sharma and Verma, also promises to take its viewers on a journey with the duo to the store for them to experience OPPO’s after-sale services and highlight how easy and reliable the whole repair/inspection process is. Capturing small elements of quirkiness, the films highlight the exceptional and fast after-sale service offered by OPPO. Highlighting features such as free inspection, 30 days replacement, and quick service and repair, each video showcases the functional benefits of each of these services.
Commenting on the TVC launch, OPPO India, chief marketing officer, Damyant Singh Khanoria said, “Customer-centricity is at the core of everything we do at OPPO. The campaign showcases the brand’s customer-first approach, attention to detail, and quick resolutions resulting in exemplary service our customers always count on. We would like to thank our partners for their relentless support in helping OPPO go the extra mile and raising the bar for after-sale services.”
The campaign is in line with the high rate of customer satisfaction OPPO received over the years through impeccable services. The brand currently has 500+ service centres spread across 500+ cities, forming the brand’s premium experience in after-sales service. OPPO strives to provide a comprehensive customer experience across its customer base.
Havas Group India, chairman & chief creative officer, Bobby Pawar said, “After-sales service is a serious business, but if you look at the reasons for which one visits the service center, you’d find it ranging from silly to unfortunate. And you thank the good lords at OPPO for rescuing your phone from any such incident. The ads begin on a funny note and slowly veer towards a serious note- that of OPPO keeping its word to its customers, and that’s what we wanted to bring alive – whatever life throws at your phone, OPPO is there to take care of it.”
A recent report by Counterpoint highlighted that OPPO leads the top spot in after-sales service experience with 93 per cent of the respondents rating their experience as ‘very good’ or ‘excellent’. Additionally, the lowest waiting time was recorded among OPPO customers with half of the respondents being attended within just 15 minutes of their arrival, the brand stated.
OPPO is leading in customer support with most of the users receiving status updates through WhatsApp and SMS. As per the study, OPPO was the fastest in turn-around time during after-sales delivery and maintained the most updated inventories, it added.
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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.
