Digital
MIS 2024: The Evolution of Advertising: Ever – Changing Trends in Television Space
Mumbai: Media Investment Summit 2024 is a dynamic platform that aimed to bring together minds from the Brand, Media, Advertising, Digital & TV fraternity to explore the ever-evolving landscape of Content, Adtech, Martech, Metaverse and Web 3.0, the evolution of traditional media planning and buying, data and privacy infringement and ROI on advertising.
The day – long affair is to make sure to tantalize the thoughts of those looking for answers to myriad topics under the Branding, Advertising, TV, Digital media planning and buying roof.
The panel was moderated by Indian Television.com Group founder, chairman & editor in chief Anil Wanvari along with the panelists Polycab head digital marketing Tanushree Jain, SYSKA Group head marketing Amit Sethiya, Laboratories Ltd. India AVP Media Raghavendra Katte and Shemaroo Entertainment, Sandeep Gupta
The session provided an overview of the ever-changing trends in the evolution of television advertising, with a keen focus on potential disruptions, emerging technologies, and the industry’s strategic response to future challenges.
Jain emphasized the imperative for television to embrace more technology and content that resonates with consumers’ preferences. She said, “With digital offering targeted and measurable last-mile conversion, television needs to incorporate more technology and content that resonates with consumers’ preferences.”
Sethiya highlighted the brand’s significant presence built through television advertising over the past decade. His insights underscored the enduring value and impact of television as a medium for brand building and reaching diverse audiences.
Katte delved into the marketer’s dilemma, emphasizing the importance of targeted approaches in advertising. He told, “The marketer has a choice, they can either participate in ad avoidance by being part of inventory without detailed targeting, or they can opt for targeted approaches where their information is actively sought out.”
Gupta shed light on the evolving strategies of content providers and creators in television. He said, “Content providers and creators in television are exploring ways to monetize their content more effectively, adapting to changes in the industry.”
Overall, as the industry continues to evolve, embracing technology, targeted approaches, and innovative content strategies will be crucial for brands and content creators alike to thrive in an ever-changing landscape.
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.
