MAM
Cosmos-Maya’s anchor YouTube channel WowKidz crosses record 10 million subscribers; WowKidz network crosses 26 million
MUMBAI: WowKidz is the world’s largest Hindi animation content network.
Cosmos-Maya, the frontrunner in shaping industry trends has added another feather in its cap. WowKidz, it’s YouTube network for kids now has more than 10 million subscribers on its anchor channel and is now a recipient of the coveted Diamond Button.
A jubilant Anish Mehta, CEO Cosmos-Maya said, “This is a great development. There are only a handful channels worldwide which have received the coveted Diamond Button and even fewer Indian channels. We are very grateful to our viewers for their love and appreciation. Our mission with WowKidz is to make it a two-pronged content window – showcasing the best Indian animation to the world and bringing the best of world content to Indian kids. This is a leap in that direction.”
It all started with this one channel and the brand diversified into several sub-channels catering to numerous geographies world over. The channel has seen a 6-fold increase in the number of subscribers in just 18 months.
WowKidz had humble beginnings and Cosmos-Maya saw it as a source of additional revenue. It was given a push by CEO Anish Mehta who envisaged a brand which viewers could bank upon for 24X7 quality entertainment. In just 18 months, it is now a full-fledged business entity raking in a substantial share of Cosmos-Maya’s revenue pie. The platform now has 10,000 odd videos of quality entertainment for the 3-14 year demographic produced in-house and acquired from top producers worldwide. Boonie Bears, Smurfs, Simba, Om Nom are only some of the big-ticket international shows that run on WowKidz. WowKidz also has the world’s largest Hindi language animation content catalogue today.
A jubilant Anish Mehta, CEO Cosmos-Maya said, “This is a great development. There are only a handful channels worldwide which have received the coveted Diamond Button and even fewer Indian channels. We are very grateful to our viewers for their love and appreciation. Our mission with WowKidz is to make it a two-pronged content window – showcasing the best Indian animation to the world and bringing the best of world content to Indian kids. This is a leap in that direction.”
This development comes on the back of Cosmos-Maya’s recent impetus on regional and vernacular content. Cosmos-Maya’s bouquet of 32 YouTube channels under umbrella brand WowKidz, which has more than 26 million subscribers and 12.5 billion views, now has its content available in all major languages, namely Tamil, Telugu, Kannada, Malayalam, Bengali, Gujarati, Punjabi, Urdu, Marathi, Bhojpuri and Nepalese.
Devdatta Potnis, SVP Revenue and Finance, further added, “Programming has played a major role in WowKidz’s success. We have videos which have clocked 100 million hits. Motu Patlu and ViR, two of our biggest IPs have garnered more than 6 billion and 4 billion views respectively. This when Motu Patlu is geo-blocked in India. We have a wonderful mix of homegrown and acquired content which viewers can watch anywhere anytime. Fresh content is added to the mix on a daily basis. Our creative prowess adds further zing to the localization of acquired international content.”
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.
