MAM
MWA LAUNCHES CYLO CANNONBALL IPX7 WATERPROOF FLOATABLE BLUETOOTH SPEAKERS AT CES 2019
MiWorld Accessories (MWA), a leader in designer electronics, with brands including Cylo, Isaac Mizrahi, Bebe, Sugartone, Coby, and Kensie, announced today that they will launch an extension of their Cylo line of audio products at CES 2019, Booth #17540 Central Hall, the patent-pending Cannonball IPX7 waterproof floatable Bluetooth speakers, which feature true wireless capabilities that allows you to pair two speakers together for a totally immersive experience.
Patent-Pending Stabilization Technology for Use in Water and on Land
Priced at $49.99 and $79.99 respectively and available March 2019, the rugged Cannonball and Cannonball Max float in water with patent-pending stabilization technology for use on water and on land. Sand and dirt resistant for the beach and outdoors, they feature up to a 100 foot Bluetooth range — perfect for listening to music at parties, the beach, home, and in the office. In addition, the Cannonball speakers have a flat bottom to use indoors as a table or desktop speaker and feature a built-in mic to take phone calls.
Cylo Cannonball Bluetooth Speaker Line Info:
Cannonball Model:
4” diameter.
IPX7 waterproof.
Wireless chipset provides ability to pair two speakers.
Dirt and sand resistant.
Floats in water.
Patent-pending stabilization in water and on land.
Up to 60 Foot Bluetooth range.
Flat bottom for indoor table and desktop use.
MSRP: $49.99
Available: March 2019
Cannonball Max Model:
5” Diameter.
IPX7 waterproof.
Wireless chipset provides ability to pair two speakers.
Dirt and sand resistant.
Floats in water.
Patent-pending stabilization in water and on land.
Up to 100 Foot Bluetooth range.
Flat bottom for indoor table and desk use.
MSRP: $79.99.
Available: March 2019
MWA will be at CES 2019, Booth #17540 in the Central Hall, LVCC. CES is held January 8-11, 2019 in Las Vegas at the las Vegas Convention Center. To schedule CES press meeting with MWA, contact: Karen Thomas/Eva Yutani, Thomas PR (631) 549-7575, Emails: kthomas@thomaspr.com eyutani@thomaspr.com
MWA is redefining the way products are designed and manufactured, staying on top of fashion and trends that translate to unique innovations. Their team of designers and engineers is continually improving product design that utilizes advancements in the market and pushes the boundaries of everyday design. For more information, see the Cylo site at: www.gocylo.com and MWA at: www.miworldaccessories.com.
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.
