MAM
UK ad spend holds steady in Q1, to gain steam in 2012 on back of Olympics
MUMBAI: The advertising spends of UK have remained steady despite turmoil in the global economy.
In the first quarter of 2012, UK‘s ad spend increased by 1.1 per cent, according to Advertising Association /Warc study.
UK ad expenditure is expected to improve over the year, reaching overall growth of 2.5 per cent in 2012 with forecasts of a further rise of 4.4 per cent in 2013.
The ad expenditure is predicted to reach a value of ?16.8 billion in 2012 and ?17.4billion in 2013.
The report provides the comprehensive measure of UK advertising activity. It includes an overview of advertising spend by individual media, encompassing print, TV, internet, radio, cinema and out of home.
Internet spend is estimated to have grown by 11.1 per cent in Q1 2012 compared with Q1 2011 and is expected to remain strong throughout the year, with a forecast of 10.1 per cent growth and an overall value of ?5.3 billion in 2012.
Out of home saw a 3.1 per cent increase in Q1 2012, in a year when Olympic and Paralympic Games are expected to drive overall growth by 4.1 per cent to ?0.9 billion.
Radio grew by 6.9 per cent in Q1 with forecasts of 3.8 per cent (?0.4bn) in the year overall.
As per the report, the government ad spend is set to increase faster than any other category in 2012 which is traditionally a strong source of radio revenues. Cinema expenditure increased by 9.5 per cent in Q1 with a positive forecast of 3.1 per cent for 2012 (?0.2bn) as a whole.
Meanwhile, the television ad spends fell 0.7 per cent in the quarter but is expected to remain broadly steady with 0.3 per cent growth (?4.2bn) for the year.
The study revealed that the spend was weakest in press, with a decline of 10 per cent. Overall, press is forecast to fall by 5.1 per cent in 2012 (?3.7bn), though spend is predicted to stabilise in 2013.
Advertising Association chief executive Tim Lefroy said, “In the face of global economic uncertainty, UK advertising holds a steady course. Evidence shows that advertising invigorates GDP growth, so a healthy ad market is good news for the whole economy, not just advertisers.”
Warc data editor Suzy Young added, “It remains a very short term market. There is some evidence that TV advertisers, for example, have brought budgets forward to Q2 from Q3 to get the benefit of marketing spend now as prospects for the rest of the year remain unclear.”
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.
