MAM
Pidilite’s infomercial gives a crash course in home maintenance
MUMBAI: Pidilite has launched an easy-to-follow ‘Do-It-Yourself’ infomercial to educate all television viewers as how best to tackle everyday problems like leaking pipes, dripping faucets etc, with its products.
Titled ‘Pidilite-Lakh Dukhon Ki Ek Dawa’ and covering four of its leading consumer-friendly brands — Terminator, Fevikwick, M-Seal and Steelgrip — this four-capsule infomercial, arranged as a humorous gameshow has been on air from 15 December. The infomercials have been conceived by O&M.
‘Pidilite-Lakh Dukhon Ki Ek Dawa’ gives the consumer a free crash course in home improvement.
Pidilite Fevicol division senior vice president marketing B O Mehta said, “Considering consumer needs, Pidilite’s Terminator, Fevikwick, M-Seal and Steelgrip have been identified for the infomercial. The focus of the entire communication is on educating consumers and spreading awareness on the means available, through Pidilite, to help solve small and big problems in the home and office.”
“Many of the Pidilite products fall in the Do-it-yourself category and have multiple usages. To explain these multiple usages and how consumers can benefit from them, we decided to do infomercials and aptly called them ‘Pidilite-Lakh Dukhon Ki Ek Dawa’,” said O&M group creative director Abhijit Avasthi.
“In our trademark style, we have made these infomercials very interesting and different from what you see on TV, which are run of the mill. In fact, Pidilite infomercials are more like entertaining celebrity talk shows. As a viewer, you would not only find them entertaining, but would benefit from the onscreen demonstration of the various usages of the products,” he added.
The focus of the infomercials will be on “Pidilite as a brand”, under the message “Pidilite-Lakh Dukhon Ki Ek Dawa”, and how it helps common consumers in their day-to-day lives. It’s a simple message told in a lucid, easy-to-understand manner, with emphasis on a direct problem-solution approach.
The infomercial is shot in Hindi and Tamil. It is anchored in an interesting and engaging manner by Roshan Abbas (Hindi) and Vijay Adhiraj (Tamil). Another important innovation of this infomercial is in terms of media planning. Pidilite has tied up with the entire Star Network and Zee Network to release these infomercials.
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.
