MAM
Pulp Strategy wins digital mandate for Whirlpool
NEW DELHI: Whirlpool of India, a subsidiary of Whirlpool Corporation, has assigned its digital mandate to Pulp Strategy. The mandate covers markets in SAARC countries like Bangladesh, Nepal, Sri Lanka and so on. As part of the mandate, Pulp Strategy will handle the brand’s presence across all digital platforms, including building and managing technology, media planning, media buying, digital creative and content, and social media. The digital agency will also be responsible for planning and executing new digital initiatives for the brand.
Shivram B, head SAARC, exports and NB unit, Whirlpool said “Pulp Strategy has shown a deep understanding of the digital consumer journey and is aligned to our goals. We are looking to work with them closely to increase our brand preference and engagement across touchpoints in DCJ leveraging their creative prowess and data-driven approach.”
The association was kickstarted with a new festive campaign that talks about the advanced ability of Whirlpool washing machines in hygiene and care. The washing machine is powered by an advanced in-built heater which removes up to 99.9 per cent germs and allergens and has the hot catalytic soak feature. The campaign went live in Bangladesh and the market saw a surge in washing machine demand. The consumer behaviour, language and platforms are unique to the country and the campaign which was Bangladesh-first leveraged this opportunity to strengthen awareness for Whirlpool washing machines amongst the audience. It was rooted in deep research about the market and consumer behaviour.
The campaign was launched with a digital film focusing on the relationship between a mother and her child. The film treatment is candid, simple, rooted in consumer insight and highlights parents’ need to keep their kids safe from germs and infection while giving them the freedom they need to play and grow in these times. The ad reached millions of consumers digitally and was widely accepted with a high engagement and share rate. The campaign also had fun and peppy snackable video content.
Ambika Sharma, managing director of Pulp Strategy said, “We take immense pride in the work we have done previously for brands across the business spectrum, ranging from emerging start-ups to global brands. We are delighted to partner with Whirlpool, the team is bubbling with energy and has a strong insight into their consumer sub sets. Whirlpool has powerful products on its portfolio, vibrant, fast paced with immense potential in the digital space. In the coming times we will focus on improving engagement and infusing technology into the current digital practice while we work towards strengthening the brands digital presence.”
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.
