MAM
Madame tussauds delhi unveils KFC’s zinger Aka ‘the original celebrity burger’
MUMBAI: In what is a historic first, Madame Tussauds, the world’s most famous wax attraction, welcomed the ‘Iconic Burger’ – Zinger at its location in Regal building in Connaught Place, New Delhi. Delighting burger-lovers since 1984 and loved in more than 120 countries, the Zinger is easily the most ‘drool worthy’ addition at Madame Tussauds Delhi. The founder of KFC – Colonel Sanders – was the Original Celebrity Chef; and the ‘Original Celebrity Burger’ – the Zinger – was unveiled today. Just like a true celeb, the Zinger has real fans, has made it to headlines and is truly an original; one of a kind celeb burger. And a place amongst leading celebrities & iconic personalities is just what it deserves.
But how did a not-so-humble burger find its way to Madame Tussauds? Moksh Chopra, Chief Marketing Officer, KFC India explains, “While many have wondered if the Zinger is a piece of art or a celeb; all debates are now put to rest with the Zinger asserting its celeb status at Madame Tussauds. Surely this isn’t any regular burger. It is the only burger that has travelled to space and has even inspired tattoo artworks for some. In 2018 alone we sold more than 10 million Zingers in India – that's like a Zinger each for every person in New Zealand and Singapore!”
Anshul Jain, General Manager, and Director, Merlin Entertainments India Pvt. Ltd, adds, "Madame Tussauds Delhi is one of the most favored and loved family entertainment destination in Delhi NCR. Our endeavor has always been to give a complete and memorable experience to all our visitors. We welcome the Zinger Burger to Madame Tussauds Delhi"
Just as the actual Zinger burger is hand made with care at the KFC restaurant, the Zinger at Madame Tussauds Delhi was crafted with similar precision. Madame Tussauds is globally known for their lifelike figures of famous personalities; each figure being created using precise measurements & photographs by skilled artists and sculptors to capture exact details.
Visitors can feast their eyes upon the Zinger burger at Madame Tussauds in Delhi from 21st August. So hurry, before the Zinger heads out on a new adventure!
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.
