MAM
RED HUNT and Triton Communications launch campaign introducing an exciting new men’s grooming range with global fragrances
MUMBAI: After the success of Layer Shot and Layer Wottagirl, Adjavis strengthens its portfolio with an exciting new brand RED HUNT- a range of Men’s grooming products including Perfumes, Deodorants, Shower Gel, Facewash, Hair Gel and many more. The products come with international fragrances that are bound to appeal to the youth’s senses as well as the opposite sex.
Triton Communications, with its vast experience of launching and building Set Wet range of products has created a series of 9 commercials for RED HUNT.
For this man of today, Adjavis has launched RED HUNT – a grooming range for men that will make them stylish, confident, attractive, fashionable, and irresistible and change the hunting game forever. The launch campaign therefore aptly uses the tagline ‘BE HUNTED’ thus positioning the brand as a catalyst that adds to your effortless charm that no woman can resist.
The launch ad is being released first to set the theme for the brand along with a range film followed by the rest of the commercials which will be released in a series of 2-3 tvcs at a time in the following months.
Virendra Saini, Executive Director, Triton Communications, says “We are thankful to the client for awarding us the business. Triton has a history of building brands from scratch and converting them to leaders or strong challenger brands in their respective categories. Right from the name RED HUNT to all that is gone into bringing the brand to the consumer, I am sure the youth won’t be able to resist its call on the shelf”.
Jyotsna Parikh, Creative Head- Mumbai, Triton Communications says, “It’s a dream for every creative to launch a brand from scratch. I’m proud to say that the packaging that we created has already garnered a lot of eyeballs – in stores and amongst our peers. The communication idea is simple. We have Warnings as a creative device that tells men, if they use this amazing range of grooming products they are bound to be hunted. The track is peppy and uses a siren that’s taken forward in all the films and has already become a big hit.”
Shail Patel, Director – AVL says “Having established LAYER’R SHOT and LAYER’R Wottagirl brand in the fragrance category; Adjavis Venture Ltd. (AVL) was always on the lookout for new offerings. Offerings that would be attractive make Men look and feel stylish. Extensive research and evaluating various options boiled down to Men’s Grooming Range, a category which is fast growing and gaining momentum with the youth of today.
The task was to have a very strong Brand Name and a Communication Platform that would help us launch and differentiate our brand from the rest available in the market. With a brand name like Red Hunt and with our communications partner Triton Communications who came up with a bold look with regards to product packaging and a communication route – WARNING – You will be Hunted. RED HUNT. All seemed to be working in synergy. Two launch communications are on air and many more will follow soon. All aiming to make the Youth of today, so Guys be Ready to Get Hunted”
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.
