MAM
Aiwa India partners with Dixon to manufacture smart TV range ‘Magnifiq’
Mumbai: The premium Japanese consumer electronics brand, Aiwa has launched its most awaited range of TV series, Magnifiq in India. For the best-in-class Magnifiq series, the company has partnered with Dixon Technologies as its manufacturing partner and looks forward to contributing to the government’s Make In India initiative.
The television series offers category leading features that give magnificent vision, magnificent sound, and a magnificent experience.
With this latest addition, Aiwa is strengthening its commitment and global vision of providing ‘more for less’ to its consumers by giving exceptional quality products at a competitive price. Powered by android 11 & AI core 4 processor, the series caters to a discerning audience that looks for new range-topping products. The range extends from the fully loaded 32” series to 43” (FHD & UHD), 50 (4K UHD), 55” (4K UHD) & 65” (4K UHD), and is priced (MRPs) from Rs.29,990 to Rs 1,39,990.
Also, the 55” and 65” models of the range come with a built-in soundbar for enhanced audio which gives users the best-in-class experience. The soundbar has been designed with Aiwa authentic signature sound technology to give users the most optimal audio preference. The television’s sound output is among the highest for products in the same segment.
The high-performance Magnifiq range of premium televisions is powered by android 11 with built-in Google assistant. With the certified android TVs, the user’s favourite content is always front and centre for quick and easy access.
With the company’s proprietary CRYSTA Tech Vision in this Magnifiq series, Aiwa is introducing a new standard in picture quality with vertical array display, AI quad-core processor, 1.07 billion colours and 350 nits* of brightness. When the life-like picture quality is paired with Aiwa’s amphitheater view technology, it delivers a truly spectacular audio-visual experience.
Aiwa TVs also come with the protective film with black reflect technology, which is designed especially to protect users from potentially harmful radiation. The anti-glare tech used, reduces reflections on the screen and helps to ease eye fatigue. Additionally, the company’s MEMC (motion estimation, motion compensation) ensures that images remain crisp and sharp during fast motion frames.
Speaking about the launch and the Magnifiq TV series, Aiwa Electronics International managing director Kure Shouichi ci said, “We are excited about the establishment of Aiwa India, as our regional headquarter, via which we hope to assure Aiwa’s permanency to the Indian consumers. At the launch of our word-class televisions, we are sure the consumer will feel confident to see Aiwa’s legacy of excellence over the past 70 years coupled with the latest and most powerful Android 11 technology”
Aiwa India managing director Ajay Mehta added, “After we brought Aiwa’s range of luxury speakers to the Indian consumer, the Magnifiq series of TV’s, come with exceptional quality standards that Aiwa is known for over the past 70 years. Our TVs are best suited for consumers who research products pre-purchase in detail and will not compromise on quality, technology, and features at the best possible value.”
“We are committed to making exceptional products and bringing them to the Indian consumers. We are also proud to have contributed to the Make in India initiative through this project. TVs are poised to be the biggest category by value for Aiwa India and will be followed by the launch of many other product categories. This is tangible and a big step towards our goal of a one billion dollar top line for India,” he added further.
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.
