MAM
Go natural!
NEW DELHI: Veet, one of the leaders in depilatory products, has recently launched a new “Naturals” hair removal cream range. Enriched with 100 per cent natural extracts and formulated with mild and refreshing, nature-inspired fragrances, the new product is a premium and naturally enhanced solution for getting smooth and glowing skin.
The range will be available in two variants – with papaya extracts for normal-dry skin and with camellia seed oil extracts for sensitive skin. And considering India to be an important market, the range has been first launched in India, before an international roll-out across countries.
A 360-degree marketing campaign to promote the new range has been launched led with a new TVC starring the brand ambassador of Veet and Bollywood’s reigning actress – Katrina Kaif. In line with the premium beauty codes owned by Veet, the commercial reaches out to savvy women looking for a naturally enhanced hair removal experience.
The TVC challenges the realms of possibilities by transporting her into an imaginary world of dreams, where nature magically surrounds her and grants her the goodness of its special ingredients, making her skin smooth and glowing, gently.
Talking about the new range, RB India managing director Akhil Chandra said, “Innovation forms the core of our DNA and being the market leader, we believe it is our responsibility to deliver better solutions to our customers. Our new Veet Naturals range combines Veet’s expertise at hair removal with the goodness of 100 per cent natural extracts, leaving skin smooth and glowing. Plus, this breakthrough innovation is infused with refreshing, nature-inspired fragrances and formulated with a superior technology that ensures a pleasant hair removal experience like never before. We have a robust 360 degree marketing campaign panning across print, digital, and TV, led by our new TVC starring our brand ambassador, Katrina Kaif.”
The new range is available in two pack sizes of 25gms and 60 gms, priced at Rs 60 and Rs 100 respectively.
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.
