MAM
Springfit Mattress announces Kareena Kapoor as its brand ambassador
Mumbai: Springfit Mattress has roped in the renowned Bollywood actress and youth icon Kareena Kapoor as its brand ambassador.
The company will be soon launching a series of 360-degree marketing campaigns for their products to promote and make people aware of the importance of choosing the right mattress to ensure a peaceful sleep.
The mattress brand is also planning to open 150–200 Springfit Lounge showrooms in the next one year.
Under the leadership of Springfit Mattress executive director Nitin Gupta, the company further cements its vision of doubling its revenue to Rs 1,000 crore over the next five years. The company has already been producing five lakh mattresses annually from its five manufacturing units based in Haridwar, Meerut (2), Vadodra & Coimbatore and aims to double it with its recent expansions and technology upgradation.
Springfit’s range of mattresses goes beyond spring mattresses and includes imported latex mattresses, memory foam mattresses, pocketed spring mattresses, back support orthopedic mattresses, and complete bedding products including mattress protectors, body pillows, feather pillows, memory foam contour pillows, etc.
Commenting on this, Gupta said, “Mattress, furniture, and high-priced home décor are sectors that still see a preference towards offline purchases since the purchase decision is heavily dependent on a touch-and-feel element. With something as unique as our certigaurd technology, the natural next step was to set up multiple touchpoints for the consumer. While we were looking for a brand ambassador, our focus was on a face who could identify with our motto and help us spread the right message among the masses. Kareena Kapoor is not only a youth icon but also a fitness enthusiast who believes that it is important to adopt the correct sleep pattern for a healthy state of mind.”
Commenting on the association, actor Kareena Kapoor Khan said, “Ensuring a good night’s sleep is important for our physical and mental wellbeing, and there is a comforting feeling when you sink into a luxuriously designed mattress, which is designed just as per our body’s requirements. A night of good sleep is an important part of my fitness routine, and this is why I am thrilled to be associated with Springfit Mattress, a brand that has been innovating sleep solutions through its range of mattresses for over a decade. My power naps and peaceful nights’ sleep have a new meaning now, all thanks to Springfit Mattress.”
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.
