Digital
Peek into the future of art with Lenovo & Intel
Mumbai: Lenovo & Intel’s branded content series ‘Brave New Art’ is back for its second season on Disney+ Hotstar. The series unites artists across different mediums to forge a never-imagined-before creative fusion. This season, the singular promise of being ‘braver’ shines through every aspect, from the diverse art mediums and edgy artists to storytelling, production, and the awe-inspiring final result.
Four exceptional Indian artists, each masters in their respective disciplines, are challenged to combine their creative prowess and take their creativity to unexplored heights. Gopika Sukumaran, a Kalaripayattu martial artist, and Vinay Hedge, a Tilt Brush artist, kick off the series. Swapping her sword for a digital tilt brush, her warrior moves to create an extraordinary multi-dimensional painting.
The second episode features digital artist Siddhant Gandhi (@toosid) and AI artist Madhav Kohli (@mvdhav), tackling the unprecedented task of envisioning a museum 500 years into the future. Each exhibit in the virtual museum pushes the limits of creativity and showcases the seamless fusion of art and technology.
Using the Intel-powered Lenovo Yoga laptops, the content series breaks new ground for the category. Showcasing the formidable synergy between Intel and Lenovo – a technological collaboration essential for pushing the boundaries beyond the ordinary.
National creative director Kartikeya Tiwari, said, “We’re very grateful and proud to create long-term intellectual properties for our partner brands. Brave New Art is one of the finest from our creative house. This year we decided to really set a starting point which was scarily audacious.”
“Our innate curiosity drove us to wonder what would happen if Kalaripayattu met 3D Art or what would a museum of the future look like. With Lenovo and Intel’s partnership, and collaborations with top-tier artists, we were able to really make art that is brave,” Tiwari added.
Lenovo brand marketing manager Monica Reddy stated, “Time and again, we marketers have been spoon-fed the myth of dwindling attention spans – that we have seconds to convey our message given that the world lives under a great deluge of entertainment and information. Brave New Art Season 1.0 proved that wrong. When truly captivated by a compelling story, people have plenty of time and attention. And with Season 2.0, the attempt is to take storytelling and visual delight up by several notches. The Lenovo Yoga range offers many exciting features, especially for creators. And what better way to bring this alive than to show real-life use cases in an exciting, engaging format – albeit 8-10 mins long? It transcends a mere campaign for us by inviting consumers on a creative journey and establishing the Yoga ecosystem as an essential must-have for those in the field through demonstration.”
Global Account (Lenovo), Asia Pacific & Japan, Intel director, said George Chacko, “Intel is incredibly proud to be associated with the ‘Brave New Art’ campaign, helping artists push the boundaries of creativity using cutting edge technology made possible by the strong collaboration between Intel and Lenovo. It is not surprising that the creative team behind this new campaign chose the latest Lenovo Yoga Laptops powered with Intel® Core™ processors. These laptops, exemplifying the future of computing and torchbearers of Intel’s Engineered for Evo program, deliver to best-in-class AI-powered performance, enhanced battery life, instant wake, fast-charging, high-quality cameras and enhanced connectivity features.”
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.
