MAM
BBlunt unveils ad film for new ‘Hot Shot’ range with Jennifer Winget
Mumbai: Homegrown hair care and styling brand from Godrej Consumer Products Ltd (GCPL), BBlunt has introduced a new ‘Hot Shot’ range of styling products that the brand claim is stylist developed and tested on Indian hair. BBlunt has roped in actor Jennifer Winget as the face of this new hair styling range.
As part of this collaboration, BBlunt has released digital films dedicated to each product in the range. Conceptualised by Schbang, the films highlight the convenience of hair styling at home using the Hot Shot range to get salon-like finish.
“BBlunt has always been committed to making the best solutions tailor-made for Indian hair and weather. The Hot Shot hair styling range is the product of 25+ years of our experience put together in a bottle,” said BBlunt founder and creative director Adhuna. “We want to encourage people to play with hairstyles and express themselves without worrying about any damage. To drive the message of experimenting freely with their hair, there was no better fit than the versatile Jennifer Winget. She brings on board the right attitude and a bucket full of confidence resonating with the brand perfectly.”
“Consumers love their hair as they walk out of the salon, but they often struggle to recreate their style at home – which can be so disappointing. So BBlunt is on a mission to change this,” stated GCPL global creative & digital director Thomas Dawes. “With our Hot Shot hair styling range, we are giving people professional standard products that are rigorously tested in our world class salons. These products will protect against the hair damage caused by electrical tools, help fix your style in one place.”
Known for her inimitable sense of style, Jennifer has been associated with the brand earlier for the launch of its ‘Salon Secret’ range. “BBlunt is a legacy hairstyling brand that I believe in and I am honoured to be a part of it. The Hot Shot hair styling range is the ultimate hair styling trio. We have also launched a DVC which highlights the benefits of the range and shows just how convenient it is to get salon-like hair at home,” said Jennifer Winget.
Two more digital films of Hot Shot range featuring Jennifer Winget will be released in the coming days, said the brand.
Schbang founder Harshil Karia added, “BBlunt’s Hot Shot hairstyling is the perfect range for the upcoming party season! It’s convenient, enriching and the perfect DIY hairstyling tool. The collaboration between Jennifer Winget and BBlunt brings out the best of high fashion, again! We had an amazing time working on this digital campaign and hope that audiences enter 2022 in style.”
The Hot Shot hair styling range is available for purchase on bblunt.com and e-commerce platforms like Amazon, Nyka, among others.
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.
