MAM
‘Baahubali’ forays into licensing with ‘Black White Orange’; targets Rs 25 cr in retail sales
MUMBAI: Licensing and merchandising solutions agency Black White Orange has been appointed as the global licensing agent by Arka Mediaworks Entertainment LLP for their national award-winning movie Baahubali. The much awaited part 2, Baahubali – The Conclusion hits screens worldwide in April 2017.
With the aim to create a ‘Baahubali brand experience’, Black White Orange will work closely with Arka Mediaworks to conceptualize designs, represent the Baahubali franchise across a wide range of categories and also look at several licensing and retail partnerships, globally. Having already signed on a spate of leading international names like Paramount Pictures, Game of Thrones, Universal Pictures etc. till date, Black White Orange make their first Bollywood brand foray with Arka Mediaworks and their popular franchise – Baahubali .
“The most challenging part is building the brand and in case of the Baahubali franchise, this job is already done with the global success of the first part of the movie. I know people will be expecting more from the second part. They will not be dissatisfied! We’re confident that Black White Orange’s expertise combined with the Baahubali franchise will translate into an exciting offering of consumer products.” said the film’s director SS Rajamouli.
Arka Mediaworks CEO Shobu Yarlagadda said, “We are confident that Black White Orange’s unique and promising strategic approach will build the Baahubali brand in India and help us reach our fans.”
Black White Orange founder and CEO Bhavik Vora added, “Indian cinema has the biggest fan following in the country and probably the most untapped potential on the consumer product platform that takes fans beyond the realm of the big screen. Arka Mediaworks’ Baahubali has raised the bar and created benchmarks in every aspect of movie making.”
Fans across the globe will soon be able to buy authentic licensed merchandise which will be available at retail and online portals, making it possible for every fan to own their favorite Baahubali merchandise. India is a private consumption led economy with retail merchandising forming 45% of private consumption and the current licensing market is 185 million driven by kids and men.
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.
