MAM
Rajkummar Rao becomes face of Singapore active leisure brand ACTIMAXX
MUMBAI: Singapore based active leisure brand ACTIMAXX has signed actor par excellence, national award winner Rajkummar Rao as its brand ambassador.
The move essentially showcases the endeavour of ACTIMAXX to consolidate its market position in the Indian subcontinent. ACTIMAXX offers the perfect range of active wear, super comfortable and high on fashion, that makes one feel active, true to the brand’s promise of ‘FEEL FIT’.
The company haas enumerated its plans of growing the active leisure brand in the Indian subcontinent which will cater to the taste of the younger generation in the country. With an eye-catchy logo on its T-shirts and a structured fit, the brand is already quite a rage amongst the youth.
Elaborating about the association with Rao, ACTIMAXX brand director Divya Puri says, “It is a matter of great pride for us as Rao shares ACTIMAXX’s ethos of innovation in execution and the spirit of challenging the conventional. ACTIMAXX ‘s brand promise is FEEL FIT; the brand celebrates the holistic fitness oriented to FIT FOR LIFE. How we dress influences how we feel about ourselves. It also influences what we do. That’s what the brand’s mantra is all about.”
ACTIMAXX has already launched active leisure product categories which includes T-shirts, and Track pants. These merchandise are available online as well as in offline stores which give the consumers the best of international styling and design. ACTIMAXX aims to provide products of superior quality coupled with a new age look and feel which will be able to easily grab the attention of the youth.
The product range starts from Rs 469 to Rs 899.
“Fashion for me is comfort. It is something that makes you feel confident about. ACTIMAXX is one such brand which makes you ‘feel fit’, sharp and edgy. Their clothing line is young and trendy and connects with the youth. I am extremely glad to be part of ACTIMAXX. We are confident of building the brand as one of the most successful active leisure brand” says Raj Kummar Rao.
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.
