MAM
TOPS partners with Femina Miss India 2024
Mumbai: GD Foods MFG (I) Pvt Ltd, the Indian food products company behind TOPS, an Indian FMCG brands, proudly announces its partnership with Femina Miss India, 2024 as the co-powered by partner. This partnership underscores the brand’s dedication to supporting and empowering women who embody grace, talent, and ambition. Femina Miss India, 2024 will be the 60th edition of the Femina Miss India beauty pageant, which marks a historic milestone as the pageant celebrates its diamond jubilee year.
Femina Miss India, a platform that has given Indian women the opportunity to make a mark on the global stage for six decades, celebrates the diversity and dynamism of Indian womanhood. As the co-powered by sponsor, TOPS aims to amplify this platform, showcasing its dedication to promoting confidence and leadership among young women across the country. As one of India’s most trusted and loved consumer brands since 1984, with a large share of women consumers, TOPS is proud to be closely associated with the aspirations and dreams of Indian women for the last four decades.
G.D. Foods vice chairman, Nitin Seth shared, “We are thrilled to partner with Femina Miss India, an iconic event that celebrates the spirit of Indian womanhood and excellence. At G.D. Foods, we believe in empowering Indian women to make a mark on the global stage and celebrating their achievements. This collaboration reflects our commitment to supporting young talents who inspire and lead with ambition, passion, and determination”
The Femina Miss India diamond jubilee edition will culminate in a star-studded finale where the reigning Miss India will crown her successor. The ultimate winner will represent India at the prestigious Miss World pageant.
With a diverse product range including iconic brands like TOPS ketchup, noodles, pickles, and culinary sauces, the TOPS range of products have been a staple in Indian kitchens for generations. Endorsed by Kareena Kapoor Khan as its brand ambassador, TOPS enjoys a strong domestic presence and has successfully expanded its reach to consumers in 30 countries worldwide.
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.
