MAM
Park Avenue Fragrance unveils TVC Campaign ‘Spray Kar, Aage Badh’
Mumbai: Park Avenue has launched a TVC campaign featuring its newly appointed brand ambassador actor Siddhant Chaturvedi. Park Avenue’s proposition revolves around the idea that we all experience nervousness when attempting something for the first time. To showcase this relatable experience, Park Avenue has partnered with Chaturvedi, known for his charismatic performances.
In a unique collaboration, Chaturvedi not only stars in the TVC but also lends his soulful voice to the captivating song that sets the mood for the ad.
Conceptualised by Wunderman Thompson, the TVC shows Chaturvedi playing the role of a rockstar in a band. However, the nerves get the best of him momentarily, reflecting the inherent apprehension we all encounter when facing new challenges. This is where Park Avenue Fragrance Deo for Men steps in as the ultimate confidence booster.
In this film, the centerpiece is the stage-dive that Chaturvedi makes into an enthusiastic crowd. He is performing in the rock concert quite comfortably but is nervous about his first stage-dive. That’s when Park Avenue gives him the confidence to boldy go ahead and make the stage-dive.
Commenting on the campaign, Park Avenue CMO Pooja Sahgal said, “Our campaign ‘Spray kar, aage badh’ draws inspiration from the insight that everyone, regardless of their background or profession, experiences nervousness when trying something for the first time. Park Avenue Fragrance Deo for Men recognizes the importance of overcoming these inhibitions, enabling men to embrace their ambitions and reach for the stars. The film features a youthful personality like actor Siddhant Chaturvedi, who is not only performing but is also singing, adding a more personalized touch to the campaign.”
Being appointed as brand ambassador for Park Avenue Fragrances, Chaturvedi said, “Park Avenue fragrances are the preferred deodorants of choice for today’s generation. Nowadays, the youth are seeking new things and participating in new experiences. But sometimes they lack confidence or have doubts about taking the first step. Park Avenue Fragrances gives you the confidence to boldly go ahead. I resonate strongly with these values as well – I understand that sometimes you feel nervous before trying something new and you may need that boost or edge to boldly go forth. The brand offers a wide range of fragrances under both the Classic and Signature ranges – I personally prefer the Good Morning aerosol to give me a perfect start to the day.”
The deodorant’s unique formulation has captivating fragrances, ensuring freshness and confidence throughout the day. With its refreshing scent, Park Avenue Fragrance Deo for Men helps men conquer their fears and boldly go forth in every situation.
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.
