MAM
Yokohama Off-Highway Tires unveils new brand identity
NEW DELHI: The Yokohama Rubber Co Ltd announced in October 2020 that it will consolidate its various off-highway businesses into one single entity – Yokohama Off-Highway Tires (YOHT). This includes Yokohama’s off-the-road (OTR) tire businesses across the globe and Alliance Tire Group (ATG) along with tire brands Alliance, Galaxy and Primex, which Yokohama bought four years ago.
YOHT has now released a new corporate identity and logo, that draws on the 100-year plus legacy of Yokohama while underlining its own distinct space in the off-highway segment. With the above change in the group’s visual identity, the website www.atgtire.com will now be migrated to www.yokohama-oht.com. Similar changes are being done for the apps and will be available on Google and Apple app stores. The new identity will start reflecting on all communications through the year 2021 on all digital and print platforms.
YOHT America director Nitin Mantri said this rebranding exercise collectively reflects the company’s successful past while embracing future aspirations.
“The consolidation of OHT businesses announced earlier will be strongly supported by the new identity of YOHT globally. This will result in closer integration of the brand equity and technological expertise of Yokohama with the strengths of companies grouped under ATG; namely – strong sales network, diverse product line up and superior cost competitiveness. We are excited to showcase this corporate identity to our stakeholders across the globe,” he shared.
YOHT will have a global footprint with the leadership team based in Tokyo, Boston, Amsterdam and Mumbai. The new unified global entity will offer a full-range of OHT tires from small forklift tires to ultra-large ROTR (radial off-the-road) tires, to meet a wide range of customer needs for construction and industrial vehicles as well as agricultural and forestry machinery. YOHT will be supported by Yokohama Group’s global off-highway tire production network of eight plants in four countries and three R& D facilities in Japan, India and USA.
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.
