MAM
LG launches new flat screen TV models in India
BANGALORE: With a view to retain and even grow their position, LG Electronics India (LGEIL) today announced launch of seven different models in the Flat screen segment covering LCD, Plasma and PDP at Bangalore.
Currently the world’s largest seamless Plasma TV with a 71″ screen and a price tag of an even Rs.3 million was also showcased along with India’s first wireless LCD TV at 15″ and priced at Rs. 99,000.
The other products launched were 15″, 20″, 23″, 26″, 37″ and 47″ LCD TV range, and the 40″ and 60″ PDP TV range. Improved picture quality and picture quality control along with improved audio are some of the features of most of the newly launched products, states an official release.
The 71″ PDP is the first of its kind Seamless Single module Plasma Screen to be launched in the Indian consumer electronics market. This 71″ Plasma TV is equipped with XD engine to deliver unmatched visual brilliance through its high-resolution screen format of 1920*1080 pixels. This Product is specially designed for the niche market.
The Wireless LCD television has a wireless connectivity of up to 50 meters, and a battery life of two hours. The screen is wirelessly connected to a transmitter box housed within 50 meters of the TV that sends waves to the portable screen. The LG Wireless TV is targeted at the tech savvy Indian consumer, the release adds.
LG Electronics, president South West Asia and LGEIL MD K R Kim said, “With the launch of these hi-end display products, LGEIL has now become the only consumer electronics company to offer a complete portfolio of display solutions, from the smallest 15″ Inch portable television to the largest display available in the Indian market, spread across price point of Rs 39,000 to Rs 3 million.”
LG plans to capture 50 per cent or 10,000 numbers by the end of 2005 and sell at least 20,000 in 2006 to retain this percentage of the Indian market that LG expects to double to 40,000 during this period. The growth drivers according to LGEIL product group head-NDPs, Prasanna Raghavan would be entry of the competition, demand increase because of improved technology of the offered products and lowered prices, which would be inevitable globally after Christmas during the first quarter of 2006 when stocks would have to refurbished.
Creative for the flat screen is handled by Lintas, while Group M handles the media business. Initially promotional spends will be Rs.40 million for the new offerings and depending upon the outcome, additional spends would be considered after the end of the campaign in October revealed Raghavan.
The campaign includes print and outdoor media along with TVCs which are being planned. O&M and McCann handle the creatives for the other products in the LG stable.
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.
