Digital
Pride of Cows unveils brand film on single-origin milk
Mumbai: Parag Milk Foods’ flagship brand Pride of Cows launched its brand film, emphasising its leadership in single origin milk. The film highlights Parag’s Bhagyalakshmi Dairy Farm, showcasing Pride of Cows as India’s exclusive single origin dairy brand.
As the first Indian premium dairy brand to promote the single-origin milk concept, Pride of Cows offers consumers transparency by providing consistent quality from one dedicated farm, ensuring they know the source of their milk.
Parag Milk Foods executive director Akshali Shah said, “Consumers today are more conscious than ever about the quality and origin of the food they consume. Single-Origin Milk is our way of providing absolute transparency in this process. Unlike conventional milk sourced from multiple locations, Pride of Cows comes from a single farm, ensuring a level of purity, quality, and traceability unmatched in the industry. This commitment to one source, one farm and one breed is integral, especially in today’s time, where authenticity is critical. The film is a celebration of this dedication to excellence and our farm’s ability to deliver an experience like no other.”
The narrative follows a young mother who is both the central character and narrator. Her journey leads her to Bhagyalakshmi Dairy Farm, where she discovers practices that ensure pure, fresh milk is delivered directly to her home. The sensory experience of the 1,200-acre farm showcases healthy cows, cared for with shades, mats, RO water, and nutritious fodder under global experts’ supervision. The film highlights unique details, such as serenading the cows with special music. This results in delivering fresh milk, allowing consumers to trace its origin. Ultimately, the mother wakes from a dream to find delicious milk waiting for her at breakfast.
The agency behind the campaign, BelieveTrinity founder Samarth Shrivastava said, ‘Working with the Pride of Cows team and the facilities at Bhagyalakshmi Farms was a pleasure. The level of care and attention to detail shown at the farm reflects in the product itself, which we’ve tried to showcase in the film. Viewers will be captivated by the farm’s story, the stunning visuals, and the message of pure, traceable milk from one single source.”
Indian moms are central to the story, serving as key decision-makers for their family’s wellbeing and primary targets for Pride of Cows. The film aims to connect with this audience, recognising mothers as influencers in making healthy choices. Releasing the film now emphasizes the brand’s commitment to the ‘one source-one promise’ concept, which they upheld even before it became popular. The film highlights the importance of milk’s origin and authenticity, reflecting a trend among consumers who carefully read labels and prioritise genuine products.
The brand film is available on YouTube and the Pride of Cows website, providing an overview of the brand’s commitment to quality and purity. Additionally, the brand launched Pride of Cows whole milk powder, a convenient option for travelers and those on the go. The brand invites everyone to celebrate the Pride of Cows legacy, where every drop is ‘Milk Full of Love,’ representing nourishment from farm to home.
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.
