MAM
Livpure launches new TVC showcasing Allura Premia water purifier
Mumbai: Livpure, a leading consumer electronics brand in India, launched a captivating television commercial (TVC) to introduce its new Livpure Allura Premia water purifier that comes with an embedded service of 30 months. The freshly introduced ad campaign, which will air on Star Sports during the T20 World Cup and other news channels (Hindi & regional), makes use of a light-hearted approach to highlight the complexities of maintaining a regular water purifier, by using elephant as a metaphor!
The TVC opens with a man in different parts of the city proudly strolling with an elephant. Onlookers are making fun of him with reactions that perfectly capture the absurdity of the situation. He enters the home and his wife expresses her disappointment. The major reveal happens when we see he was all along carrying a normal water purifier.
Just like the unexpected challenges of caring for an elephant, maintaining a normal water purifier can be a real burden. That’s where the Livpure Allura Premia steps in, offering a solution which is first time in the water industry.
Livpure’s brand ambassador Sachin Tendulkar arrives on the scene with a solution: the Livpure Allura Premia. Sachin emphasizes the product’s key proposition – 30 months of free maintenance warranty. The commercial concludes with the couple happily embracing their new Livpure Allura Premia, leaving the elephantine burden behind.
This March, Livpure launched a big game changer in the water purifier market through a never-done-before proposition of embedded service. Allura Premia – the latest new launch in the water purifier category beyond its product benefits gives the consumer a 30-month free service warranty. This has already started to create a big impact in the market solving a big pain point of the Indian consumer around cost of maintaining a water purifier.
Livpure emphasizes Allura Premia’s advanced 10-stage filtration process, ensuring the complete removal of viruses and bacteria. Additionally, the copper and alkaline features highlight the product’s commitment to not only clean but also healthy and refreshing drinking water. The TVC concludes with a clear message: “Choose Livpure Allura Premia for a convenient and superior water purification experience, leaving the maintenance hassles behind.”
Commenting on the launch, Livpure MD Rakesh Kaul said, “At Livpure, we firmly believe that one’s access to clean water is everyone’s right. We strive for making water more inclusive and affordable to people at large. This is the reason why we developed the Livpure Allura Premia that comes with 30 months of free maintenance. It allows families to focus on what truly matters – enjoying the peace of mind that comes with pure, healthy drinking water for everyone in the household”.
With a vision of providing products that are crafted for everyone’s well-being, Livpure offers a comprehensive range of water purifiers, air coolers, kitchen appliances, mattresses, and other sleep solutions.
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.
