MAM
The Good Glamm Group appoints Asad Raza Khan as global commercial officer
Mumbai: The Good Glamm Group has appointed Asad Raza Khan as its Global Commercial Officer. He will be responsible for leading the entire international business for the Good Glamm Group increasing the footprint of the conglomerate globally.
The Good Glamm Group has also set up an international division that is headquartered in Dubai led by Asad Raza Khan.
The FMCG veteran brings with him nearly two decades of FMCG and beauty experience. Prior to joining Good Glamm Group, he was working as the global business leader for Procter & Gamble’s The Art of Shaving (Gillette) with stints in London, Geneva, Dubai and South Asia. Asad led and built Art of Shaving’s global business and operations outside of the USA.
Headquartered in Dubai, this division will function as the international distribution and sales platform for the various beauty and personal care brands within the Group. The division targets growing a team of forty to fifty employees by April 2023 across senior sales and marketing professionals. Over the next 3 months, brands will launch in international markets with top retailers both online & offline ensuring the right focus and brand impact is given to each permutation geographically.
Speaking on his appointment, Asad Raza Khan said, “I am thrilled to join Good Glamm Group and build the international team from ground zero. The international division gives Good Brands Co. an opportunity for global growth leveraging the group’s content-creator-commerce moat as well as the central infrastructure for strong offline and online growth. We aspire to build our brands across offline channels, e-marketplaces, and DTC via leveraging the growth and digital marketing capabilities of the group already in place.”
The Good Glamm Group founder and CEO Darpan Sanghvi added, “We are extremely excited to have Asad on board as we set our eyes on our global footprint and provide a robust platform for all our brands to grow internationally. He brings with him an immense wealth of experience in building strong beauty and personal care brands globally combined with strong commercial acumen and consumer centricity. Asad will be instrumental in defining the next phase of Good Glamm Group’s evolution as a global platform.”
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.
