MAM
Colors gears up for weekend battle with Khatron Ke Khiladi
MUMBAI: Colors‘ flagship dare devil reality show Fear Factor Khatron Ke Khiladi returns on 3 June with a weekend telecast, a strong indication that Hindi general entertainment channels are getting more serious about powering content on Fridays and Saturdays as they seek to expand viewership outside weekday primetime.
The time slot remains unchanged at 9 pm but the fourth edition of Fear Factor Khatron Ke Khiladi will air on Fridays and Saturdays and not on weekdays.
Said Colors programming head Ashvini Yardi, “While the earlier seasons were aired on weekdays, this season Khatron Ke Khiladi is slotted on the weekends to further strengthen our weekend viewing. Viewers are looking out for differentiated content and we are confident that Torchaar is their best weekend appetite. With the strong line up of sponsors and partners, we are extending the show across all levels to every home.”
The decision to place the big-ticket show on weekends was also influenced by the fact that Colors had stabilised its primetime slots on weekdays. “Last time, Colors had not stabilised its 9 pm weekday slot. So it made sense to put Fear Factor in that slot,” a media analyst who closely tracks the channel said.
Colors gets 30 per cent of its viewership from Fridays and Saturdays. “With the introduction of Fear Factor, Colors would be hoping to see a 15 per cent growth of viewership on these two days,” the analyst said.
The reality show, which has Akshay Kumar returning as host, has attracted five new associate sponsors. The channel collaborates with brands like Scorpio (Mahindra & Mahindra), Samsonite, Sure Dedorant (Hindustan Unilever Limited), Amul Macho, and Woodland Shoes & Apparel as advertising partners for this new season.
For the fourth season, soft drink brand Thums Up, which Kumar is brand ambassador of, will present ‘integrated product‘ for the first time on a Hindi general entertainment channel. While Kumar was the host in the first two seasons of Fear Factor Khatron Ke Khiladi, Priyanka Chopra anchored the show in the third edition.
The fourth season, Khatron Ke Khiladi – Torchaar, will be shot in South Africa with 13 couples.
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.
