MAM
Comic Con India launches merchandise in India
MUMBAI: Comic Con India launches its own line of merchandise called ‘Comic Con India merchandise’ in India.
The USP of the merchandise is that it is humorous, quirky and comical.
Comic Con India has partnered with Buzzingaa.com and BombayMerch.com (web merchandisers) for the distribution of the merchandise. It is also be available in select stores in Delhi.
Comic Con India founder Jatin Varma said, “Looking at the kind of response we have received in Delhi and Mumbai from the mascots (Super Kudi, Wolver Anna and Wonder Bai); and comic characters that we created, we had no option but to come out with our own merchandise. There was a huge demand by audience and our aim is to let fans take home a piece of their experience.”
The plan is to expand to Mumbai, Bangalore, Calcutta, Chennai and other metros in the coming months. “We are starting with a limited number of products which range from mugs, posters, coasters and metal badges. We‘ll be expanding in to t-shirts and other accessories in the coming months. The products will be available pan India within next 12 months,” Varma said.
Buzzingaa.com co-founder Anish Beri added, “Buzzingaa has been associated with Comic Con India right since it had all began at Delhi and has since participated in all their events. We have seen Comic Con India grow and reach out to a till now virtually untapped market in India. We are quite excited once again to associate ourselves with the Comic Con India team and retail their merchandise.”
Comic Con India has seen International brands like Walt Disney/Marvel promote their merchandise and movies in Comic Con Express Mumbai and second Comic Con India in Delhi.
Varma said, “Merchandise has been one of the main attractions at all our conventions, it contributes over 50 per cent of overall revenue at our conventions. For a lot of the publishing companies it is providing a lucrative revenue line. At second Comic Con India overall sales touched Rs 5 million, out of which approximately Rs 2.5 million of revenue was earned via merchandise.”
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.
