MAM
Mamaearth brings Sara Ali Khan and Amrita Singh together for its first TVC
New Delhi: Personal care brand Mamaearth has released its first national television commercial featuring Bollywood actresses Sara Ali Khan and Amrita Singh. The yesteryear’s actress will be seen in a TVC after a gap of 35 years.
While Sara was recently announced as the Brand Ambassador for the Mamaearth haircare range, it is for the first time that she will feature alongside her mother and share screen space with her in the ad.
The commercial highlights the benefit of Onion in reducing hair fall and presents Mamaearth Onion shampoo as a contemporary solution to the traditional DIY remedies.
Conceptualised by Korra, the commercial is set on the premise of the mother-daughter duo’s daily life banter on the former’s life choices and a mother’s concern about it. The film starts with Sara Ali Khan and her friend in a conversation, when Singh intrudes to mock her unhealthy choices. It continues into Sara’s friends seeking her advice for hair fall control, when the mother dismisses that too, assuming it is a chemical-based solution. But when she takes a closer look at the Mamaearth Onion Shampoo, she is pleasantly surprised to learn that it is toxin free and made using natural ingredients, the ideal choice for hair fall control. The mother instantly approves.
The film reiterates that the new and improved Mamaearth Onion Shampoo helps control hair fall and makes the hair eight times smoother.
Talking about the TVC and her association, an ecstatic Sara Ali Khan said, “The thought of sharing the screen with her (Amrita), who was also my first acting teacher, is something I will cherish forever. My mother always used onion extract on my hair, and hence we chose to come together for this television commercial. Mamaearth is doing an incredible job of integrating technology with traditions, and that’s what sets the brand apart.”
Amrita Singh, the leading lady of her era, appeared in a brand commercial after a break of 35 years. “When I was offered to work with Sara in the television commercial, I just had to agree as the premise of the television commercial is literally a scene out of Sara’s childhood when I used to insist on using onion extract on her hair to reduce hair fall. I really like Mamaearth’s approach towards their product line and their efforts to make a larger impact on society,” said the actress.
Talking about the recent meteoric rise in the brand’s foothold, Mamaearth’s co-founder and chief innovation officer, Ghazal Alagh said, “Our journey from being a niche baby care brand to becoming a mainstream personal care name is a testimony that safe and effective quality body care products were long-awaited. We firmly believe that Sara and Amrita coming together to endorse our hair care products shows the credibility we generated as a brand. Sara is a youth icon, and this association would only strengthen our cause.”
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.
