MAM
Rajnigandha’s new TVC showing realisation of aspirations
NEW DELHI: The Dharampal Satyapal (DS) Group has launched a new campaign captioned “Stadium” for its mouth freshener brand Rajnigandha with the new punch line “Munh Mein Rajnigandha Dil Mein Hai Duniya”.
The key message of the campaign is “Success that makes a difference evokes admiration”. The campaign is created by McCann Erickson. The campaign embarks by releasing TVC followed by digital, outdoor, and below the line (BTL) and POS medium.
Commenting on the campaign Sr GM (Marketing) Rajeev Jain said, “Rajnigandha has always been a symbol of success, aspiration, stature and a perfect companion for the successful people for last three decades; it will now redefine the leadership aspect as well. The new punchline “Munh Mein Rajnigandha Dil Mein Hai Duniya” is a paradigm shift to a new benevolent and successful India.”
The brand will now not only stand for success but will also mark a difference, by helping others in fulfilling their aspiration. While the earlier Rajnigandha campaign focused more on the success, the new Rajnigandha campaign has a more compassionate, humane and society-friendly approach. The campaign talks about an evolved person who is an equal contributor to the success of his fellow men. The protagonist of the commercial is shown as a successful business magnate, who not only has strong business acumen; but is also concerned for the wellbeing of society at large.
The TVC flows with three investors presenting a blueprint to a young businessman in a field. This is followed by a well-heeled businessman with a calm and serene air around him, who steps out of a stretch Limousine. The elder brother surveys the land and sees few kids playing cricket. The younger brother then excitedly blurts his business plan to create India’s biggest mega mall consisting of theme parks, amusement grounds and 6 multiplexes on that land. A batsman is seen hitting the ball and it strikes the car. The elder brother throws back the ball to the kids and says “Yahan stadium ban-na chahiye”. One of the investors mutters under his breath “ Charity ke bare main soch rahe hain.” Elder brother responds “Kal ki soch rahe hain”. He opens a pack of Rajnigandha, pops in a spoonful and replies “kabhi toh aisa khwab dekhiye, jismain hazaro khwab shamil ho”. Followed by this sequence is a newsperson making an announcement “GR Enterprises ke international stadium ne iss sheher ke logon main garv ki bhaavna aur sports culture ko adbhutt badaava diya hai”.
A cricket team is shown coming out in the stadium, with the same young guy who was batting earlier on the barren piece of land walking in with the cricket team. Recognizing him, younger brother says, “bhaiya yeh toh wahi…” Elder brother flicks the TV and we hear an excited journalist comments “GR Enterprises shares have reached an all-time high”. Elder brother says “Jab dusro ke khwab poore karoge na… toh apna kal bante dekhoge”. Elder brother stylishly pops a spoonful of Rajnigandha into his mouth & offers the same to younger brother and investors. The shot packs over with a voiceover: Mooh mein Rajnigandha. Dil mein hai duniya.
Creative Credits:
Creative Agency: McCann Erickson
Creative Head: Prasoon Joshi
Account management: Rajeev Rakshit, Bhaskar Preenja, Shourabh Verma, Ayesha Mehra
Planning: Jitendra Dabas and Srayan Ghosh
National Creative Director: Nakul Sharma and Tirtha Ghosh
Director (of the film): Rajesh Saathi
Production House: Kerosene Films
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.
