Digital
Samsung launches new digital campaign
Mumbai: Samsung, India’s electronics brand, has released a new campaign on Galaxy Watch with LTE that demonstrates the abilities of the smartwatch. Galaxy Watch with LTE connects with all android smartphones and allows consumers to stay connected even when their phone is away. It enables them to make calls, listen to music, stream content, effortlessly navigate, and stay connected through messaging.
Samsung, the leader in LTE smartwatch segment, offers a wide array of premium smartwatches with LTE such as Galaxy Watch5 Pro, Galaxy Watch5, Galaxy Watch4 Classic & Galaxy Watch4.
The campaign film takes viewers on an exhilarating journey, showcasing the exceptional features of Galaxy Watch with LTE and highlighting its ability to keep consumers connected, no matter where they go.
This film captures the story of a young man who is intrigued by the ability of Galaxy Watch with LTE to function independently of a phone in a lively office setting. His curiosity leads to a series of scenarios where he tests the connectivity limit of the smartwatch. From teleporting across the office to receiving messages in a taxi and streaming a live match on a raft, he is awed by the unbelievable connectivity. While standing next to an elephant in a remote jungle, he livestreams music on his smartwatch. In a dark cave, the smartwatch surprises him with its navigation capabilities, and he receives a call even in an empty dessert
“LTE technology in smartwatch is a game changing technology that is aimed at offering limitless connectivity to consumers. Our latest campaign is a testament to Samsung’s commitment to LTE-first strategy in the android smartwatch segment. It is in line with our Galaxy openness philosophy that is aimed at opening possibilities and connecting without limits. It encapsulates the essence of our premium LTE smartwatches that empower consumers with the freedom to go anywhere without their phone and still stay effortlessly connected,” said Samsung India senior director, mobile business, Aditya Babbar.
“The campaign brief was to tell the world: no matter how far you go without your phone, Galaxy Watch with LTE keeps you connected. And we were willing to go the distance to tell that story— from rounds of fine-tuning the scripts to handpicking the director to travelling places. When one goes the extra mile, the result is work that travels, too,” said Cheil India CCO Vikash Chemjong.
“The script of the campaign film had an inherent musicality and imagination to it – I just chose to choreograph instead of simply narrating it. I wanted to retain the raw energy of the world including its unpredictable thrills. Basically, we – collectively – just danced around the idea and voila! we had a film,” said Going Rogue Films director Faraz Ali.
Unlike a Bluetooth smartwatch, smartwatches with LTE come with an in-built eSIM that directly provides connectivity to the cellular network. Hence, consumers can always stay connected regardless of their proximity to their phones. Galaxy Watch with LTE also gives freedom and convenience to the consumers to pursue an active lifestyle and engage in activities such as gyming, cycling, and swimming, all while their phone stays tucked away.
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.
