MAM
Tata Ace Gold celebrates the Spirit of Entrepreneurship; announces ‘Ghar Lao Gold’ contest
Mumbai : Encouraging self-employment and entrepreneurship in India, Tata Motors Ace Gold kicked started a two month long ‘Ghar Lao Gold’ contest. Five lucky winners will get a golden opportunity to meet superstar Akshay Kumar and take home a brand new Tata Ace Gold worth Rs. 3.78 Lakhs. Additionally, weekly prizes of Rs. 5000/- each will be given to the top 10 entries.
To participate in #GharLaoGoldContest, participants are required to answer 3 simple questions and share a unique and innovative business idea with Tata Ace Gold. A distinguished panel will shortlist the best entries and the shortlisted participants will be invited to share their detailed business idea with the panel. Educational qualification is not the criteria but innovativeness of the idea is.
Kicked started in August 2018, the Ghar Lao Gold Contest has received an overwhelming response. With over 19,000 entries so far, the campaign has become a huge success online and has garnered over 30,000 organic searches since its inception. It has also received over 3.7 million views on our Social Media Platform with over 2.5 lakh people actively engaging on our campaign page. The campaign has so far touched 6 million lives. Last day to participate in the contest is September 30th, 2018.
Commenting on the campaign, Mr. UT Ramprasad, Head – Marketing and Brand Communications, Commercial Vehicle Business Unit, Tata Motors said “According to the International Labour Organisation, unemployment in India is projected to hit 18.9 million in 2019. Our demography provides a distinct edge in terms of availability of skilled as well as unskilled labour. The sheer potential of this can only be leveraged by facilitating an environment that fosters entrepreneurship and innovation. It is with this objective, Tata Motors launched the Ghar Lao Gold Contest, with an aim to foster entrepreneurship, across the country. We are immensely pleased with the overwhelming response the contest has garnered. The Tata Ace has helped thousands of entrepreneurs fulfil their dream in the past. With this contest, we look forward to assisting more budding entrepreneurs in their quest for success.”
Tata Motors pioneered the small commercial vehicle industry with the Tata Ace. Since 2005, thousands of businesses have relied on the Tata Ace for their transport and logistics needs. With a market share of 68%, Tata Motors continues to be the market leader in the Mini Trucks segment. With close to 2 million (20 Lakhs) vehicles on the Ace platform, plying on the roads today, Tata Motors is the undisputed market leader in the segment. Today, one out of every 3 commercial vehicle (goods carrier) sold is from the Ace family.
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.
