MAM
On Menstrual Hygiene Day, Paree honours female police force
MUMBAI: With India grappling with the second wave of Covid-19, frontline workers have been the true champions in our fight against the virus. Standing in solidarity with those on the frontlines, the homegrown sanitary pad brand Paree collaborated with state police forces in Gurgaon, Noida, Jaipur, and Indore to support the female police officers who have been on the ground, working round the clock, and are the true heavy-duty champions.
On the occasion of Menstrual Hygiene Day on 28 May, Paree launched their newest variant Paree Super Ultra pads and organised a menstrual hygiene drive across cities to support women police forces with their menstrual hygiene requirement while they are on the go.
Through this initiative, the feminine hygiene brand salutes heavy-duty champions and shows its gratitude towards the female frontline workers by launching a high-performance sanitary product – Paree Super Ultra. The thought behind this innovative product is to provide the right menstrual support for the physically demanding professions of women. The brand strongly believes in women being comfortable during their periods and ensures that periods don’t stop them from being champions.
Paree founder & CEO Sahil Dharia said, “Women are the backbone of our society, whether it is amidst a global pandemic, or in our everyday life. On Menstrual Hygiene Day, we take this opportunity to honour our female police officers for their dedicated services to our country during these testing times. As a feminine hygiene brand, Paree understands the many avatars of the Indian woman and ensures that periods do not come in the way of them performing their duty. We are determined to offer products that cater to our resolute and confident women who are always on the go.”
Paree being a solution-driven brand presents Super Ultra product that ensures women are wetness-free for a longer period and prevent any leakage, especially during their heavy flow days. Menstrual Hygiene Day is observed on May 28 worldwide to highlight the importance of good menstrual hygiene management at a global level.
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.
