MAM
MEC predicts 2.6% higher TV ratings of IPL 2013
Mumbai: Average television rating for the Indian Premier League is expected to go up from 3.8 last year to 3.9, an increase of 2.6 per cent (15+ years, Male/Female, SEC ABC), as per the IPL TV Rating Estimation Study of MEC, a GroupM media buying and planning agency.
In the sixth season of the event, Mumbai Indians (4.5 TVR), Kolkata Knight Riders (4.2 TVR) and Chennai Super Kings (4.1 TVR) games will have the highest ratings, the study said.
Meanwhile, home team (84 per cent), favourite team (79 per cent) and Indian stars (64 per cent) will continue to be deciding factors to watch a match. And time of the match (49 per cent) is also gaining importance, the report said.
According to the study, MI (23 per cent), Chennai (19 per cent) and KKR (14 per cent) are the most popular teams. Support for Hyderabad has gone up by 200 per cent (2 per cent to 6 per cent), Bangalore has dropped by 50 per cent (12 per cent to 8 per cent)
Also, Sachin Tendulkar (80), MS Dhoni (79), Yuvraj Singh (76), Virat Kohli (74) and Virender Sehwag (73) are the most popular Indian players in the League; Chris Gayle (60), Ricky Ponting (55), Brett Lee (51) and Kevin Pietersen (50) are most popular foreign players.
MEC India MD T Gangadhar said, “Our study suggests that IPL seems to have matured as a property. The study clearly establishes that ratings in the first phase (first 18 games) impact the fate of the entire league. With Pepsi activating their title sponsorship in a big way, the BCCI launching the IPL Fantasy League and India‘s strong performance against Australia, the first stage of the league could get further momentum.”
“We expect the IPL Fantasy League to become a key part of the live broadcast experience and as a result, social chatter around IPL could grow significantly”, Gangadhar added.
Meritus Analytics Managing Partner Sunder Muthuraman also believes that the IPL brand is reflecting the behaviour of a typical mature consumer product. “Our proprietary survey, that is integral to the forecast, shows that there is a segment of audience who will watch more than last year (say, the loyalists) and another segment who will watch lesser (say, the rejecters). Given that the former segment is larger than the latter, the ratings are likely to be marginally higher than in 2012. Given our past successes, we hope our pioneering rating forecast methodology will be adopted by all broadcasters and advertisers.”
The research was conducted in Mumbai, New Delhi, Kolkata, Chennai, Bengaluru, Hyderabad, Jaipur, Pune, Chandigarh and Ahmedabad. As in previous years, the study has been carried out in association with Meritus, WPP‘s analytics company.
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.
