MAM
Spinny rolls back the years with its latest rendition of ‘It’s never just a car, Go Far’
Mumbai: In a refreshing tribute to the ongoing Cricket World Cup 2023 in India and India’s performance, Spinny, your go-to platform for buying and selling used cars, presents a captivating video with a throwback to India’s World Cup victory in 2011. The film plays as an homage to that winning moment when the cars draped in Indian tricolours brought a sense of togetherness and joy on the roads.
Showcasing that cars are a small part of your big celebration, the brand highlights the unbreakable bond that Indians have with their cars.
The film weaves real images from the iconic 2011 World Cup victory, capturing the essence of cricket’s spirit and the infectious enthusiasm of fans during that historic chapter in Indian sports history. All the while, urging people to celebrate responsibly and with the hope that our team gives us the chance to celebrate this victory in 2023.
The campaign aims to humanize cars and highlights how cars can be at the forefront of all celebrations or sometimes, even silently in the background, as was the case in 2011. Building on the first campaign film featuring cricket maestro Sachin Tendulkar and his cherished car ‘Sundae,’ Spinny endeavours to enrich the storyline. Beyond spotlighting the unique bond individuals share with their cars, the campaign pays a heartfelt tribute to the shared celebrations that characterize the quintessential Indian cricket experience.
Spinny released its digital ads that showcase each car’s personality, its distinct identity and the way every car writes its own story. The stories unfold with the tale of “The Fat Red Car” journeying from Bengaluru to Ooty, inviting viewers to embark on an enthralling adventure and the heartfelt narrative of “DL 6556 from Delhi”, a true Delhite at heart. The essence of these stories lies in the understanding that a car is more than just a mode of transportation; it is a treasure trove of memories, a companion that accompanies you through the highs and lows of life.
Spinny CEO & founder Niraj Singh said, “The campaign is all about celebrating cars, that play a part big and small, humble yet meaningful. Starting with Sachin’s Sundae, to Delhi’s DL 6556 and The Fat Red Car from Ooty, the campaign weaves together the significant roles a car plays in our lives. For the latest film, we’ve used real images from the 2011 World Cup victory to inspire everyone to embrace and enjoy these special moments, as we rally behind the Indian cricket team and hope to celebrate another World Cup victory.”
The opening ad film featuring Sachin’s “Sundae” was also highly revered by many viewers, soundtracked by the unforgettable “Kya khabar thi jaana” which swooned away all the listeners, old and new. The song’s plays on YouTube also increased drastically after the campaign went live.
Spinny has been at the forefront of revolutionizing the used car buying and selling experience, offering certified cars, hassle-free transactions, and exceptional customer service. With this new campaign, Spinny aims to reinforce its commitment to providing car enthusiasts with a trusted and emotionally connected platform for all their car buying and selling needs. The campaign will run on the digital platform of Spinny.
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.
