MAM
Covid care: Borosil extends helping hand to kin of deceased employees
MUMBAI: With the country battling an upsurge of Covid2019 cases, several companies have been rolling out aid and compensation for employees and their families impacted by the pandemic.
Borosil Ltd and Borosil Renewables have said that in the event of an employee losing their life due to Covid2019, his or her family will continue to receive the salary for the next two years. The company will also take care of the education of the deceased employee’s children “till their graduation in India” the glassware company said. The family members will also be eligible to receive other additional benefits the employee is entitled to, said the brand.
A statement to the effect from Borosil Ltd’s managing director Shreevar Kheruka was shared on the company’s social media handle.
A statement from our Managing Director @ShreevarKheruka https://t.co/j5MKigEbns
— Borosil (@Borosil) April 30, 2021
The statement read, “We have lost four employees to this dreadful pandemic. Their names are Santosh Chalke, Vijay Shirsath, Tushar Panchal and Shiv Shankar Bisht. The sadness for these losses is indescribable.
In order to reassure our employees, we have announced that the family of any employee of Borosil Ltd and Borosil Renewable Ltd and their subsidiaries will be given two years of salary in the event of an unfortunate demise owing to Covid2019. In addition to this, the education of the children of the employee will be paid till graduation in India.
The above is no comparison to the scale of the loss, but hopefully will allow the family enough time to process the bereavement and reorient.
I strongly believe that the real assets of Borosil are not reflected on our Balance Sheet at all. We need to protect these assets in whatever way we can. I hope this move is a step in that direction.
This too shall pass and we will emerge into a better tomorrow!”
Last week, gig services marketplace Urban Company also announced it had set up the Mohit Agrawal Covid Relief Fund in memory of the company’s director of engineering who passed away due to Covid2019. The company has partnered with Srinidhi Foundation to set up the relief fund that will provide medical assistance and bereavement support to Urban Company’s gig workforce and their families. The company’s co-founder Abhiraj Singh Bhal took to Twitter to share the news.
@urbancompany_UC has setup the Mohit Agrawal COVID Relief Fund, in the memory of our departed colleague @agr_mohit . This fund will be used for helping our service partners, their families and our community with medical assistance and bereavement support.https://t.co/Gg7KN0zvkv pic.twitter.com/nhhEhTsfMW
— Abhiraj Singh Bhal (@abhirajbhal) April 30, 2021
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.
