MAM
Vicks Cough Drops unveils sign language version of #VicksKholIndiaBol cheer anthem
Mumbai: Vicks Cough Drops, the trusted brand known for its commitment to giving India a khich khich free voice, announced the launch of its special Indian sign language version of the #VicksKholIndiaBol cheer anthem in collaboration with ‘India Signing Hands’ – an organisation dedicated to promoting Education, Awareness, and Accessibility for the Deaf Community in India.
Vicks Cough Drops has always been known for its iconic campaigns highlighting how it has enabled Indians to speak up in critical moments of life without any khich khich. Earlier this month, Vicks Cough Drops joined hands with cricket icon Yuvraj Singh to unveil its new #VicksKholIndiaBol Cheer Anthem celebrating our nation’s boundless enthusiasm for cricket and enable 142 crore Voice champions to cheer for their team this cricket season.
P&G India category leader – personal healthcare Sahil Sethi stated, “Our #VicksKholIndiaBol anthem in collaboration with Yuvraj Singh, aims to inspire millions to cheer aloud with a khich khich free voice and support their team this cricket season with a josh like never before. Towards ensuring that no cheer goes unheard, we are delighted to launch a special version of this anthem in Indian Sign Language in collaboration with India Signing Hands for the 6.3 crore hearing-impaired cricket fans. Directed, performed, and edited by enthusiastic members of the hearing-impaired community from India Signing Hands, in collaboration with Vicks India, the sign language version brings together this special community of fans in cheering through their gestures, and celebrating their passion for the game.”
India Signing Hands founder & CEO Alok Kejriwal shared, “It’s crucial to recognize that the individuals of the deaf community possess extraordinary talents, just like anyone else. However, due to the physical constraints, they often find themselves and their voices hidden from the larger narrative of the society. Vicks has been a household brand for many of us, and we were so excited to be approached by Vicks Cough Drops to create this fun anthem in Indian Sign language to enable the deaf to also join in to cheer during this cricket season. The experience was incredibly moving. The participants, who often struggle to express themselves, found their voices through the anthem. They felt empowered, and the recording process became a memorable journey for many, filled with emotion and joy. We applaud Vicks Cough Drops for this inclusive effort and thank Yuvraj for his enthusiastic support.”
The anthem features passionate fans from the community and Cricket icon Yuvraj Singh himself grooving to the lyrics using the Indian Sign Language.
“I enjoyed learning and performing the #VicksKholIndiaBol anthem in Indian Sign Language. I thank Vicks and India Signing hands for this opportunity to connect with this very special community of cricket fans,” said Yuvraj Singh while sharing his experience.
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.
