MAM
Set Wet unveils new TVC #ApniHairStyleHiApniVibeHai
Mumbai: Set Wet, men’s grooming brand from the house of Marico, has launched a captivating new TVC that aims at putting hair styling at the forefront of the grooming ritual of young Indian men. With the campaign message #ApniHairstyleHiApniVibeHai, Set Wet emphasizes the significance of hair styling in creating a lasting first impression and setting the right vibe from the get-go.
Launched on 1 July 2023, the brand film ingeniously highlights how, in a world where first impressions matter, hairstyle plays a vital role in setting the right vibe. Set Wet’s film showcases a relatable scenario where a young man, in a rush on his first day of work, forgets his ID card. Faced with a sticky situation, he reaches into his bag and finds Set Wet Gel, leading to a brilliant idea. As he styles his hair using Set Wet Gel, his appearance is completely transformed, instilling him with a newfound confidence. Walking into his workplace with an undeniable vibe of self-assurance, the young man leaves everyone in awe. Through fun and wit, the film powerfully conveys the importance of hair styling and its direct influence on the impression one makes. The key takeaway from the ad film is to inspire the audience to start styling their hair because #ApniHairStyleHiApniVibeHai
Speaking about the new campaign, Marico Ltd. CMO Somasree Bose Awasthi said, “As a leader in the hair styling category, Set Wet has always led the hair styling conversations amongst the youth of India and adapted to the changing trends. The new campaign #ApniHairStyleHiApniVibeHai therefore speaks to the Gen Z consumer about the importance of hair styling as a key part of their grooming regime. Through the various legs of the campaign, Set Wet will continue to establish and emphasise this key message and actively engage with the target consumer through innovative marketing activations across touchpoints, where the consumer is already actively engaged.”
As part of a comprehensive 360-activation plan, Set Wet has begun its campaign roll out of a digital, print, and on-ground campaign to empower young men in setting their vibe.
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.
