MAM
Fevicol launches new campaign to promote Fevicol Speedx
Mumbai: Fevicol is rolling out an integrated marketing campaign to promote its ‘fast-setting‘ white adhesive, Fevicol SpeedX.
Created by O&M, the 25-second TVC will go on air on 25 February.
This new water-based adhesive works on next generation formula – Nano Magnet Technology, resulting in a strong bond.
Fevicol division chief – marketing Vishal Malhan said, “As a market leader, Fevicol always strives to bring innovative solutions which are in line with changing trends, tastes and preferences of consumers. In this fast paced world, speed matters more than anything else. The integrated marketing campaign and the launch of Fevicol Speedx‘s first TVC is in line with the strategic direction to create a fast setting adhesive category within the Premium White Adhesive space. We are sure consumers will enjoy the new creative and appreciate the proposition of Fevicol Speedx in bringing speed to furniture making.”
The TVC brings out the proposition of speed in furniture making. Appealing to humor, the film shows a demanding customer ordering some furniture to be made very quickly and how the carpenter surpasses customer‘s expectation with an express delivery. All because of the of Fevicol Speedx.
O&M NCD Abhijit Avasthi said, “It is always very challenging to launch a product variant and if it is Fevicol it gets even tougher. ‘Fevicol Speedx”, as the name suggests, bonds faster than the regular Fevicol SH. The communication is around speediness of the product. The communication yet again is humorous and quirky, a tradition set by Fevicol commercials over the years.”
Additionally, the campaign will be supported by ground level activation and various consumer outreach programs during March and April. All trade centric activities are aimed at ensuring high visibility for the brand in market place. All user centric activities have been planned with the objective of building rapid awareness and inducing trial among carpenter/ contractor community, the company said.
For driving awareness at user level, the company is also leveraging more than 45,000 of its Fevicol Champion Club members across more than 120 towns.
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.
