MAM
Ripple Fragrances and Dentsu Webchutney launch endangered air fresheners
MUMBAI: Ripple Fragrances, a leading brand in air fresheners, partnered with Dentsu Webchutney, the digital agency from Dentsu Aegis Network to launch ‘Endangered Air Freshener’, a range of products aimed at raising awareness about animals that are on the verge of extinction.
The range features air fresheners designed in the shape of animals’ face. Every passing day, the freshener tablet reduces, disappearing eventually. Inside each tablet, is a metal plate that encourages people to take the right action. It reads – Don’t watch Asiatic Lions disappear into the thin air. A Quick Response code on the plate redirects users to an online avenue where they can know more and do their bit.
Many wildlife species today stand on the verge of extinction and many disappear on a daily basis. Loss of habitats, illegal poaching are amongst the common reasons behind this situation that worsens every day. What is even more unfortunate is the attitude of people towards this problem. While many people are aware of the situation, they seem to not care.
Sudesh Samaria, Co-Founder and Chief Creative Officer, Dentsu Webchutney said, “Every month in our homes, air freshener tablets disappear and we replace them with new ones. Endangered Air Freshener makes this process more relatable and turns into an inevitable truth that can be stopped only if we act now.”
“We are a very environment conscious brand and we wanted to show people that these species are disappearing for real. It is time that we act. We are doing our bit by creating this range of Endangered Air Fresheners.” added Kiran Ranga, Managing Director, Ripple Fragrances.
The products are available on all leading retail chains and is being promoted on digital medium too using the right influencers.
“People don’t act; not because they don’t know but because they are not reminded of this ugly truth more often. We changed just this and showed people what an extinction of a species look like. It is painful and slow and inevitable. It is a great marriage of a cause and product to create a relevant touch point,” said Gurbaksh Singh, Chief Creative Technologist, Dentsu Webchutney.
Endangered Air Freshener brings the problem happening far away into people’ cars and homes. It changes the way we look at problems and creates an urge to act.
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.
