MAM
LG launches complete range of Notebooks
BANGALORE: LG Electronics India Pvt. Limited has launched Notebooks ranging from Entry-level to the Premium segment, which includes nine models.
They are: LM70, LS70, LW60, LW70, LW40, LU20, LT20 and GSC50. These latest offerings are in addition to LG’s wide range of products in the IT segment. The notebooks are priced between Rs 38,000 – Rs 115,000.
The premium range of notebooks are wide-screen “Express series” which will redefine the usage experience. The models LW40, LW60 and LW70 are embodiments of state-of-the-art technology and are targeted at the performance and feature-conscious customers.
The LW express series is equipped with Dothan CPU supporting 533MHz FSB, Mobile Intel 915 express chipset, Azalia 24bit audio, DDRII memory and Intel Wireless LAN as standard features. LW series also comes with 14.1″,15.4″and 17.1″wide screen options with the functionality of Remote Control and Instant-on function.
The Tablet PC comes with Intel Centrino technology, dual quad-band antenna, state-of-the-art digital pen, 160° wide-view LCD viewing angle with ergonomic and stylish design powered by Microsoft WindowsXP Tablet PC Edition which enables hand writing recognition through the convenience of a stylus.
The LT20 is targeted at mobile professionals with a sense of individual style. This model from LG has won the “Red-dot” design award.
“Our focus has always been on new technology offerings suited to the needs of Indian consumers. With this launch we are trying to reach to the maximum number of people across segments. These notebooks boast of highest speed and power and also come in an ultra thin and light design with stylish slim bodylines, which adds artistic value to consumers’ taste. It is LG’s constant endeavor to bring out latest cutting edge technology products to the Indian market, said LGEIL general manager sales and marketing – IT products R Manikandan.
McCann Erickson will handle the creatives of the products. The TVCs will showcase all the products from the computer division but the focus will be more on the Notebook range. However, no specific campaign has been planned as yet.
The company is targeting the higher end segment customer and Manikandan is confident of boosting LG’s notebook sales count to 11,000 units by the end of 2005 and expects revenues from the Notebook stream to Rs 600 million.
The LG Notebooks ads have already appeared in some magazines. The company plans to have below the line (BTL) activities to promote sales, which will include direct sales to corporate customers.
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.
