MAM
MyGlamm partners with Miss Universe India 2024 as official makeup & beauty sponsor
Mumbai: Good Glamm Group’s portfolio brand, MyGlamm, India’s DTC beauty brand has officially partnered with Miss Universe India 2024 as the makeup and beauty partner. As the official makeup and beauty partner, MyGlamm will play a pivotal role in creating stunning looks for all the finalists as they compete for the prestigious title and ensure that each contestant looks her best, reflecting both inner and outer beauty.
Miss Universe India runs under the leadership of Nikhil Anand, who heads it as the national director after Glamanand Group acquired the Miss Universe franchise this year. In the partnership, MyGlamm will offer a complete beauty transformation for the contestants through its wide range of high-quality products, ensuring that each look is tailored to suit the individual style and personality of the participants. With a team of skilled makeup artists and beauty experts, MyGlamm aims to highlight the unique features and strengths of each contestant, enhancing their natural beauty and boosting their confidence as they compete for the title.
Speaking about the partnership, Good Glamm Group group brand director Ketan Bhatia said, “As a brand that champions individuality and celebrates beauty in all its forms, MyGlamm is excited to partner with Miss Universe India 2024. Our goal is to provide these contestants with looks that not only enhance their natural beauty but also reflect their unique personalities as they prepare to take on the global stage.”
Miss Universe India national director Nikhil Anand commented, “We are excited to welcome MyGlamm as the official Makeup and Beauty Partner for MissUniverse India 2024. This collaboration brings together two brands that celebrate individuality. MyGlamm’s expertise in beauty and their commitment to empowering women through self-expression aligns perfectly with our vision and will undoubtedly add to the contestants’ confidence and presence as they prepare to shine on both the national and international stages.”
The highly anticipated grand finale will take place on September 22, 2024, at Zee Studios in Jaipur, where the winner will be crowned and will represent India at the Miss Universe 2024 competition. The brand’s association with Miss Universe India is a natural extension of its vision to celebrate individuality and promote self-expression through makeup.
In addition to creating bespoke looks for the contestants, MyGlamm will also host interactive beauty sessions and tutorials throughout the competition. Contestants will be given access to MyGlamm’s expert beauty advice, tips, and techniques to help them present their best selves both on and off the stage.
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.
