MAM
New Stealthy ad clicking tactics found in popular apps on Google Play
MUMBAI: Two apps with over 1.5 million downloads use new method to stealthily click ads on users’ devices. Apps present on Play Store for almost a year before being discovered.
Norton LifeLock recently spotted a new tactic being used by apps on the Google Play Store to stealthily perform ad-clicking on users’ devices. A developer known as Idea Master has published two popular apps on the Play Store in the past year, with a collective download count of approximately 1.5 million. Norton LifeLock, a Symantec brand has informed Google of the observed behavior and the apps have now been removed from the Play Store.
The two apps, a notepad app (Idea Note: OCR Text Scanner, GTD, Color Notes) and a fitness app (Beauty Fitness: daily workout, best HIIT coach), are packed using legitimate packers originally developed to protect the intellectual property of Android applications. Android packers can change the entire structure and flow of an Android Package Kit (APK) file, which complicates things for security researchers who want to decipher the APK’s behavior. This also explains the developer’s ability to remain on the Play Store performing malicious acts under the radar for nearly a year before being detected.
The attack starts with a notification in the notification drawer on the user’s device.
Upon clicking on the notification, Toast is used to display a hidden view containing advertisements (Toast messages are commonly used to display unobtrusive notifications that appear on the current activity UI screen, such as when the volume is adjusted).
Unlike hidden views where the view is set to transparent in order to hide content from the user, this threat actor deploys a much more cunning way of running the advertisements while keeping them hidden from the user. This is done by first creating a Canvas outside the device’s viewable display such that, technically, the advertisements are drawn on the device. By using the translate() and dispatchDraw() methods (see Figure 4) the position of the drawings are beyond the device’s viewable screen area and the user is unable to see the advertisements on their device. Using this tactic allows advertisements, and any other potentially malicious content, to be displayed freely. The app can then initiate an automated ad-clicking process that produces ad revenue.
As threat actors generate ghost clicks and ad revenue, impacted devices will suffer from drained batteries, slowed performance, and a potential increase in mobile data usage due to frequent visits to advertisement websites.
These apps went unnoticed on the Google Play Store for nearly a year, affecting roughly 1.5 million users before we uncovered their sneaky behavior. The apps’ use of Android packers and the unusual method of hiding advertisements adds a level of complexity for security researchers.
A special thank you to Tommy Dong for his dedicated contribution in analyzing this sample.
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.
