MAM
India tops global survey in satisfaction with romantic/sex life: Ipsos survey
Mumbai: Ipsos Global Advisor 31 country, love life satisfaction around the world survey shows interesting insights about urban Indians and their romantic life. India tops all 31 markets covered in the survey, in satisfaction with romantic/sex life with at least 76 per cent urban Indians claiming to be satisfied. In comparison, only 62 per cent global citizens claimed to be satisfied on this attribute. Mexico was tied in with India at the top spot (76 per cent), followed by China (75 per cent), Thailand (75 per cent), Indonesia (73 per cent) and Colombia (73 per cent). And the citizens least satisfied with their romantic/ sex life were from Japan (37 per cent), South Korea (45 per cent) & Canada (52 per cent).
Feeling loved
Reminiscing the track Love Me Do of The Beatles, love is definitely felt across all global markets with almost 3 in 4 global citizens (74 per cent) claiming to be satisfied with feeling loved. 84 per cent urban Indians felt satisfied with their feeling of being loved. India was placed 2nd in the pecking order and was preceded by Colombia (86 per cent) and Peru (86 per cent) – tied at the top spot.
Japan was placed at the bottom of the heap with only 1 in 2 satisfied with feeling loved (51 per cent).
Commenting on the findings of the survey, Ipsos UU & Synthesio, India group service line leader Ashwini Sirsikar said, “India topping the charts is not really a surprise as we as a society believe in love, institution of marriage, stable and enduring romantic relationships. If we look at Valentine’s Day per se, from being a subdued activity in the past, it is now more overt with gifting, dining, celebrating, with social media being a key enabler. Marketers have leveraged this opportunity to pull out all stops to celebrate this day of love into a weeklong activity – starting with rose day, propose day, teddy day, promise day, hug day, kiss day, culminating with Valentine’s Day.”
Relationship with partner/ spouse
So, how satisfied are citizens with their partner/ spouse? This question was posed to those married or partnered. Interestingly, 83 per cent urban Indians and 83 per cent global citizens claimed to be satisfied with the relationship shared with their partner/ spouse. India was placed 15th in the pecking order. Markets placed at the top were Thailand (92 per cent), Netherlands (91 per cent) and Indonesia (88 per cent). Though South Korea (68 per cent) and Japan (69 per cent) were ranked lowest, at the same time majority of their citizens were satisfied with their relationship with their significant other.
“Urban Indian couples are mostly working, with dual incomes to augment their lifestyle, and lead a comfortable life, as they get household help for chores. With education and financial freedom, couples these days share an almost equal relationship, of understanding and camaraderie. The survey reaffirms our belief in love and affection,” added Sirsikar.
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.
