MAM
Reach Mobile goes outdoor with Posterscope India
MUMBAI: Technology today has an overbearing effect on consumers wherein the choices are innumerable. This sea of choices translates into a highly competitive landscape. Consumers are willing to experiment with the new that stands for upgraded technology and looks; something that translates into value for money.
Thus, Reach Mobile planned a high decibel campaign to maximize the opportunity staring in its face. The key business objectives included attracting the first time users and new Smartphone adopters to taste the use of smart phones at an economic pricing. The priority target audiences for this campaign are the new users of Smartphones in Sec B & C. OOH as a medium contributed in delivering brand imagery and impact, garnering a luminous impact.
Reach Mobile, the latest diversification of the $1 billion Rashmi Group, has joined the outdoor bandwagon with Posterscope India.
Posterscope India, the out-of-home agency from the Dentsu Aegis Network that has been handling both national and global mobile handset clients, has reaped in its expertise to provide a holistic approach where outdoor advertising is concerned.
With the objective ‘Your Smartphone – Your Reach’, Posterscope interestingly identified the reach of the target audience – where they move, retreat, socialise and spend most of their leisure time.
The campaign objective was derived from the brand name itself with intent to reach out to the mass at all possible touch points. The campaign was covered in markets like West Bengal, Northeastern States, Orissa and Bihar in the first phase.
The next phase roll out will target Rajasthan, MP and Chattisgarh.
Reach Mobiles head corp comm and marketing Kinjal Desai said, “We have been successful in reaching out to all corners of the cities in which we have rolled out our campaign; the response is quite good in terms of trade & customer calls. The agency needs to be appreciated for devising such a strategic plan with a robust coverage.”
Posterscope India managing director Haresh Nayak said, “It gives us immense pleasure to be a preferred agency for venturing into Outdoors. The media strategy was aligned to ensure that the campaign matches the means of communication and the consumer ecosystem. A very scientific method was put into the media planning, considering the brand value and insight and took great care in formulating and executing a plan that would create a powerful impact across the target group.”
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.
