MAM
SAMCO Securities launches its new latest TVC
Mumbai: SAMCO Securities, an investment-tech company, has launched a new TVC campaign titled “Options B.R.O. Banayega Aapko Options Trading Mein Pro”. This campaign is designed to educate investors and raise awareness about SAMCO’s latest feature, “Options B.R.O” (build, research, optimise) which simplifies options trading for retail investors.
The derivative markets face a troubling issue: a staggering 97.8 per cent of traders have suffered significant losses due to the absence of effective hedging strategies. To bring awareness about this problem, SAMCO Securities has launched the campaign ‘Options B.R.O. Banayega Aapko Options Trading Mein Pro’. The campaign is created in collaboration with The Womb. The centerpiece of this initiative is a 30-second commercial that uses humour to highlight the challenges of options trading and demonstrate how Options B.R.O. can provide the necessary education and tools to overcome them.
SAMCO Group founder and CEO Jimeet Modi commented, “Options trading can be incredibly challenging and intimidating, especially for those just starting. With Options B.R.O, we aim to simplify the process and provide traders with the essential tools and their trade’s Andekha Sach that help them to navigate the complexities of options trading and trade with confidence.”
‘Options B.R.O.’ campaign is a unique film featuring a man and a crow. In the film, the man, dressed in traditional attire, wonders aloud about becoming a pro in options trading. The crow responds with a series of ‘Kaw Kaw’ sounds, reflecting a common concern among traders. The man then enthusiastically reveals that with SAMCO’s ‘Options B.R.O.’ becoming an expert in options trading is now within reach. As the crow starts enjoying the food, the film underscores how SAMCO’s innovative platform transforms options trading into an accessible and empowering experience. The campaign reinforces SAMCO’s promise with the tagline, “Aapke Options Trading Ka Andheka Sach” (The unseen truth of options trading).
SAMCO Securities chief growth officer Ajay Dusane added by saying, “The introduction of Options B.R.O is set to make a significant impact in the trading industry. We anticipate that this feature will be warmly received by traders, providing them with the resources they need to trade options with confidence and precision. It’s a game-changer that aligns with our mission to empower traders with their trade’s Andekha Sach and foster growth in the trading community.”
The Womb chief creative officer Suyash Khabya said, “Options Trading is complicated. Its advertising shouldn’t be. We kept it simple yet ‘unignorable’ by drawing on Indian culture—a grandson conversing with his Dadu, who is a crow. This creative approach aims to engage traders and highlight the benefits of Options B.R.O. We’ve always enjoyed creating ads for SAMCO, and it shows in our work.”
The Options B.R.O feature is now available on the SAMCO Trading App, ready to empower traders with the tools they need to excel in the competitive world of options trading. With this new addition, SAMCO continues its commitment to providing unseen insights that drive success for traders at all levels.
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.
