MAM
SodaStream criticises ad censorship by UK ad body
MUMBAI: SodaStream International was informed by Clearcast that the company‘s new global ad campaign had been pulled from transmission and would not be permitted to air in the UK market.
Clearcast is the organisation that pre-approves UK TV advertising and is jointly funded by the UK‘s major broadcasters.
The last minute decision came just ahead of the television commercial‘s planned UK premiere on 22 November, during the prime time scheduling of the ‘I‘m a Celebrity‘ programme on Britain‘s ITV1 channel.
The ad shows different scenes of soda bottles disappearing instantaneously as people use the SodaStream soda maker, delivering a powerful message about waste and sustainability. The spot closes with commentary of ‘with SodaStream you can save 1000 bottles per year.‘ Despite already airing successfully in the US, Sweden and Australia, it has been deemed inappropriate for UK audiences.
Clearcast offered the following reasoning for the decision: “The majority decided that the ad could be seen to tell people not to go to supermarkets and buy soft drinks, instead help to save the environment by buying a SodaStream. We thought it was denigration of the bottled drinks market.”
SodaStream CEO Daniel Birnbaum said, “This decision is absurd, and the explanation given is totally unreasonable. Are we really being censored for helping to save the environment? This might be the first time in the world when an environmental approach has been shut down by the media to protect a traditional industry. Of course we‘re competing with bottled beverages, but why is offering a game-changing approach denigrating? It is like saying that iPod ads denigrate the Walkman or that car ads denigrated the horse and buggy. Clearcast‘s decision is disappointing and disturbing for any democratic society.”
“This decision appears to put the sensitivities of the world‘s soft drink giants ahead of concern for the environment. We will continue to push Clearcast to reverse their decision and let the British consumer decide. Meanwhile, I invite UK consumers to watch “The SodaStream Effect” on YouTube and form their own opinion on it.” youtube.com/sodastream.
According to Euromonitor, there are 629 billion bottles and cans manufactured every year. “With global recycling rates estimated to be less than 30%, more than 1 billion of those bottles and cans are dumped as waste across parks, oceans and landfills every single day. Our ad confronts the beverage industry and its arguably outdated business model by showing people that there exists a smarter way to enjoy soft drinks, empowering them to get the bubbles without the bottles” concludes Birnbaum.
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.
