MAM
Manchester United announces sponsorship with China Construction Bank
MUMBAI: Soccer club Manchester United has today agreed to a three-year sponsorship with one of China‘s most prominent banking groups, China Construction Bank (CCB).
As part of the agreement, China Construction Bank will hold the rights exclusively to produce the official Manchester United branded credit card in mainland China.
This new partnership is the Club‘s first sponsorship with a Chinese bank.
The CCB Manchester United Credit Card is set to be popular with the Club‘s fans in China, offering them a range of exciting benefits including various Club-related benefits and incentives. CCB will be marketing the Manchester United Credit Card to its almost 102 million personal banking customers in Mainland China.
Much like Manchester United CCB has accumulated many accolades, receiving over 30 awards from renowned local and international institutions in the first half of 2012.
Commenting on the partnership, Manchester United‘s Commercial Director, Richard Arnold said, “We are very pleased to be partnering with China Construction Bank to bring the official Manchester United Credit Card to China. Manchester United has a huge following in China of 108 million. We know from our visits there, including to Shanghai last summer, that our Chinese followers have always been among the most supportive. Through our relationship with CCB we hope not only to give fans an excellent product, but also bring them closer to the Club they so passionately support.
“As China‘s fiscal and industrial strength continues to grow, it is establishing itself as a leader in the global economy and the place for businesses to invest. In 80 major cities in China CCB have almost 60% of all branches, making them the ideal partner to connect with our fans.
“Together with our TV and mobile partners, financial services products give us tangible ways of providing real benefits to our fans that enable them to establish a closer relationship with their favourite team.”
As one of the ‘big four‘ banks in China, CCB employs over 320,000 employees and has almost 14,000 domestic branches, as well as overseas branches in Frankfurt, Hong Kong, Johannesburg, New York, Seoul, Singapore, Tokyo and Sydney.
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.
