MAM
Korean beauty meets Alkaline Hydration Laneige and Evocus team up for a refreshing partnership
Korean Skincare brand Laneige and Evocus clear alkaline mineral Water have collaborated to redefine how we approach holistic hydration. This innovative partnership brings the best of both worlds – Laneige’s expertise in skin hydration and Evocus’s revolutionary approach to body wellness create a comprehensive solution for all-around hydration and well-being.
Laneige is well-known for its emphasis on skin hydration and has been conceptualised with the core purpose of promoting proper hydration for healthy and radiant skin. On the other hand, Evocus has gained recognition for its groundbreaking approach to maintaining body hydration.
By merging these two areas of expertise, the collaboration aims to create a comprehensive solution that addresses hydration and well-being from a holistic perspective. The primary objective of this partnership is to underscore the importance of proper hydration, not just for the skin but for overall well-being.
Many influential people, including, David Warner, David Miller, Sara Ali Khan, Malaika Arora, Karan Johar, Manish Malhotra, Gauri Khan, Kajal Aggarwal, Shruti Haasan, Dinesh Karthik, Sai Sudharsan and a few other celebrities & athletes, have also been seen spotted and praising Evocus Alkaline Water due to its health benefits.
“This collaboration is an exciting fusion of our shared values and expertise. We believe that true beauty and wellness radiate from within, and with EVOCUS, we can now provide a comprehensive solution that caters to the hydration needs of our consumers from head to toe said AmorePacific Group assistant director and head of marketing and training Mini Sood Banerjee, ’’.
“We are thrilled to join forces with Laneige for this remarkable collaboration. Together, our brands bring an unparalleled fusion of skincare expertise and hydration innovation. Get ready to elevate your skincare and hydration journey like never before, said PR, Evocus head of digital marketing & Zulkarnain Shaikh,’’.
This Collaboration will feature the Laneige Water Bank Collection along with Evocus alkaline clear mineral water. Evocus alkaline mineral water represents a remarkable blend of enhanced minerals and alkaline water, meticulously crafted to achieve a unique composition.
Meanwhile, the Laneige Water Bank Collection is infused with mineral-enriched water, strategically formulated to restore and balance the skin’s inherent moisture barrier. This results in a complexion that is revitalised, supple, and radiant. Offering an array of products, including moisturisers, serums, and masks, the Laneige Water Bank range presents an ideal solution for those seeking to replenish their skin’s hydration and attain a vibrant, luminous appearance. Elevate your skincare regimen today with the exclusive range.
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.
