MAM
Laqshya Media Group ropes in Swaroop Banerjee as Event Capital CEO
MUMBAI Event Capital, the live IP arm of Laqshya Media Group has roped in Tribe Asia IP director Swaroop Banerjee as its CEO. Banerjee’s mandate at Event Capital involves expanding the current bouquet of Live intellectual properties owned by Event Capital and introduce focussed live and digital content creations.
Based out of Mumbai he will oversee development of new verticals in lifestyle, music and sports. Deepak Choudhary, the co-founder of Event Capital, will now focus on acquisitions, collaborations and investments as Director of Event Capital.
“Banerjee’s unfathomable experience with building IPs, combined with his genuine passion for festival culture, music and alternative sports, makes him absolutely ideal to lead Event Capital as the chief executive. EC currently has several IPs in Lifestyle, Sport, Music, Education and Trade and Banerjee’s strategy of creating the right balance on IP creations and acquisitions is in sync with our vision. We are glad to have him on board”, said Event Capital director and co founder Deepak Choudhary.
“When we took on the initiative to make Event Capital India’s largest IP creator and aggregator, we were extremely focussed and with the support of our entire Laqshya Media machinery we are committed to make this brand a world class live and digital content hub. Banerjee has been on our mind from quite some time and with him we are confident to take the next big step in this game changing IP environment” Laqshya Media Group MD Alok Jalan added.
“It is a gigantic opportunity and I am excited to work with such a talented team. I am overwhelmed by their generosity in supporting me and allowing me total autonomy to create a lifestyle, music and sports vertical from scratch and revitalize the existing genres of live content that we own. You will very soon hear announcements from us on larger than life collaborations with Bollywood, International Music, Alternative Sports and Lifestyle”, said Banerjee on his new role.
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.
