MAM
Saatchi & Saacthi wins Skoda’s creative mandate
MUMBAI: Saatchi & Saatchi has bagged the creative duties of automobile manufacturer, Škoda Auto India, a fully owned subsidiary of Skoda Auto a.s., Czech Republic (Volkswagen Group).
The account size is pegged at Rs 600 million, according to sources familiar with the transaction. The duration of the contract could not, however, be independently confirmed.
Publicis Groupe’s creative agency will now drive the entire communication for the brand in the advertising space.
While Saatchi & Saatchi has been handling the brand communication strategy planning for the carmaker for some time, the mandate has now been extended to include creative duties as well.
Mumbai-based creative agency Saints & Warriors was the incumbent on the account.
Skoda Auto India member of the board – sales and marketing Thomas Kuehl said, “Skoda Auto India is looking for strong partners to help it achieve its ambitious plans in India. Saatchi & Saatchi has been our strategic planning agency and we see them as the right fit to also take on the creative mandate on the brand.”
Saatchi & Saatchi’s mandate includes handling Skoda’s entire portfolio of brands that consists of Fabia, Laura, Yeti and Superb. The agency will also play a key role in creating buzz for any new car brands that will be launched and other corporate initiatives.
Skoda Auto India head – marketing Tarun Jha adds, “Skoda Auto, with the unveiling of its new logo and corporate identity, has embarked upon a new journey across the world. The ‘New Power of Skoda‘ is part of a global strategy and will give the marque a more potent role in the life of the Indian customer. After a wonderful decade, Skoda Auto India is all set to go to greater strengths. We see Saatchi & Saatchi as a strong partner which will help us achieve this objective.”
The car brand’s media duties rest with MediaCom.
Talking about the win Saatchi & Saatchi India CEO Kamal Basu says, “Skoda has been a brand with a lot of ‘mystique‘ in India. Unraveling this to the country is an exciting journey that we at Saatchi & Saatchi are looking forward to.”
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.
