MAM
Tissot T-Touch appears in Angelina Jolie-Brad Pitt adventure
MUMBAI: Tissot T-Touch, the innovative touch-screen watch will make its presence felt in the forthcoming Brad Pitt – Angelina Jolie starrer Mr & Mrs Smith.
Mr & Mrs Smith, like millions of other ordinary married couples, wake up, go to work, eat dinner, and go to sleep, and they do a lot of it on auto-pilot. But John Smith (Brad Pitt) and Jane Smith (Angelina Jolie) are no ordinary couple – they have a secret, one they keep even from each other.
Their secret is that they’re highly paid, incredibly efficient assassins, each working for different employers. As things evolve, they discover a new source of excitement in their marriage, when they’re hired to assassinate each other… and that’s when the real fun starts. Both John and Jane use high-tech equipment to enhance and perform their jobs and the Tissot T-Touch helps provide critical information to Jane Smith for her assignment.
As a special offer, people in Delhi can win a chance to take home a Tissot watch — by entering the Tissot Walk & Win contest. All one has to do is fill in the contest form available at all Tissot outlets, answer simple questions and win a chance to a special screening of Mr & Mrs Smith and a Tissot watch.
This is the second outing for Tissot and Angelina Jolie. In her first action film, Lara Croft Tomb Raider: Cradle of Life, she introduced audiences to the functions and style of Tissot’s T-Touch. Since then, this unique touch screen watch has become one of the most popular selling models from this 153-year-old watch brand.
By activating the tactile crystal, Tissot T-Touch wearers have, at their fingertips, a chronograph, a compass, barometric pressure readings, an alarm, temperature and an altimeter, not to mention date and time. These functions, outlined on the watch bezel, are activated by the simple touch on the glass of the timepiece.
The Tissot T-Touch with its cutting-edge design and exclusive precision technology is thus the perfect fit in the high-tech dynamic environment of this sexy action-film Mr and Mrs Smith, a spectacular entertainment with globe-trotting action, adventure, state-of-the-art special effects and incredible stunts, opens in theaters nationwide 10 June. Twentieth Century Fox releases the film, which is from Regency Enterprises.
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.
