MAM
Gatsby launches its new TVC for its hair styling product
MUMBAI: The newly launched hair styling product ‘Gatsby Water Gloss‘ has come up with a new TVC staring actor Varun Dhawan. The TV commercial has been conceptualised by Dentsu Creative Impact.
The 45 seconds commercial showcases the brand ambassador Varun Dhawan in different roles where he is seen jumping from the helicopter, fighting in a war, talking to his blind mother and dancing on a train‘s rooftop repeating the same dialogue in all the scene ‘Hero ke baal kabhi kharab nahi hotey.‘
The ad film has been directed by Anurag Basu and produced by Fullmoon Productions.
On entering India and expanding the presence of the hair grooming brand in India, Mandom India marketing head Takayuki Enomoto said, “We are all very excited about launching Gatsby Water Gloss in India and starting our marketing activities in full swing with our brand ambassador Varun Dhawan. We plan to cultivate a ‘hair styling culture‘ in India. We are looking forward to influencing young men through Varun and expect this association to boost the brand‘s visibility in India with the help of our creative partner Dentsu Creative Impact.”
According to the Dentsu Creative Impact national creative director Harish Arora said, “The objective of the TVC was to emphasis on the benefits of the product which gives instant styling and strong holding power. We have used some Bollywood scenes in this commercial to make this ad more interesting. Glamour and beauty is a big thing in Bollywood that is the reason that the hero always looks ‘perfect‘- in any situation. The hero will always look like a million dollars. This is where our idea came from. We decided to showcase that even in extreme situations; a hero‘s hairstyle never gets messed up. The reason is Gatsby Hyper Solid.
When asked about Varun Dhawan being roped in for the ad, Arora added, “We wanted to approach a talented and a new face who can represent the youth and who could have been a better choice than Varun Dhawan.”
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.
