MAM
The Good Glamm Group & Blinkit partner to bring Karan Johar’s MyGlamm POUT
Mumbai: South Asia’s leading beauty and personal care conglomerate, Good Glamm Group, and the pioneering force behind MyGlamm POUT by Karan Johar, announces its partnership with Blinkit, the foremost hyperlocal delivery platform, to offer lightning-fast 10-minute delivery to customers across the country.
MyGlamm POUT by Karan Johar has been setting new benchmarks in the beauty industry with its premium quality and trendsetting products. From rich lipsticks to vibrant lip glosses, each product is meticulously crafted to empower individuals to express their unique style with confidence. Now, with Blinkit’s cutting-edge delivery network, customers can experience the luxury of MyGlamm POUT like never before. With this collaboration, customers can now receive their favorite MyGlamm POUT products, curated by Bollywood icon and Producer, Karan Johar, in just 10 minutes delivered to their doorstep, providing unparalleled convenience and luxury.
Blinkit category & head Anish Shrivastava stated, “Blinkit is focused on making strides in expanding the assortment available to customers on quick-commerce. Partnering with MyGlamm POUT is yet another demonstration of our commitment towards ensuring customers get everything delivered in 10 minutes. Listing such luxury, celebrity-led makeup products is bound to bring unparalleled convenience & experience to customers”
Good Glamm Group, group brand director Ketan Bhatia stated, “At MyGlamm, we are always striving to enhance customer experience. We are excited to join forces with Blinkit to revolutionize beauty delivery. In today’s fast-paced world, convenience is key, and with Blinkit’s lightning-fast delivery, we’re bringing luxury beauty directly to our customers’ doorsteps in just 10 minutes. Partnering with Blinkit allows us to deliver not just products, but an unforgettable experience, straight to our customers’ doors in record time.”
Good Glamm Group and Blinkit are committed to delivering moments of joy and self-expression to beauty enthusiasts across the country. With MyGlamm POUT’s exquisite range of products, including lipsticks, lip liners, and lip glosses, now available for delivery in just 10 minutes, customers can indulge in luxury beauty like never before.
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.
