MAM
Havmor joins forces with ‘Krrish 3’
NEW DELHI: With the Superhero franchise Krrish 3 set to release this Diwali, Havmor Ice Creams have associated with the film.
Havmor Ice Creams MD Ankit Chona feels the association is apt, as the target audience of the brand and Krrish 3 form a perfect synergy.
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This partnership adds another element of ‘Funn’ to the brand while providing additional value to the consumers with the release of custom-packaged Krrish 3 Range of Ice Creams: Choco Block In Cone, Blockbuster Choco Strawberry Stick and Red Velvett ice cream cake.
He adds: “Our consumers and franchisees are sure to be swept up in the excitement the blockbuster franchise is generating. We intend to amplify this association across more than 20,000 touch points. It will be an instant connect to the kids and youth, and be a part of their world. This unique association will present to our consumers a range of exciting products, which is customised and inspired by their superhero.”
In anticipation of the blockbuster release, the brand is launching a 360 degree campaign to celebrate the association of Havmor and Krrish 3.
Producer and director Rakesh Roshan said: “It is a pleasure to be associated with Havmor, as it reflects the same philosophy of the Krrish character, which connects so well with kids and family. And since it connects so well, both have derived value from this association.”
Hrithik Roshan adds, “We are pleased to be associated with Havmor Ice creams, as it shares a great synergy with our core audience. Also, now all my fans can enjoy the special Krrish 3 range of ice creams introduced by Havmor.”
Go Fish which holds its connotation and carries a forte for getting various brands a recognition and a build up in a spectacular manner by allying products with the films has been instrumental in getting Havmor Ice Cream to associate with Krrish 3.
Go Fish Entertainment director Sajay Moolankandan said: “Krrish 3 is Bollywood’s most iconic superhero and connects with kids and families instantly. With such a brilliant film, fantastic integration which is a part of the narrative and similar core audience, it was just the perfect opportunity that we were looking out for Havmor. We have planned a 360 degree campaign to amplify this association as well as a special range of Krrish 3 ice creams.”
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.
