MAM
Colors ropes in 6 sponsors for Chak Dhoom Dhoom
MUMBAI: Colors has once again roped in Rin as the presenting sponsor for the second season of its upcoming dance reality show Chak Dhoom Dhoom – Team Challenge.
Apart from Rin, Tata Docomo has joined as the telecom sponsor while Clinic All Clear, Visa, RR Kable and Samsung Champ mobiles have joined as associate sponsors.
Chak Dhoom Dhoom will be launched on 14 January and will be aired every Friday-Saturday at 9 pm.
Colors has signed up Bollywood actress Mallika Sherawat along with former Dance India Dance (Zee TV) judge Terence Lewis and former Boogie Woogie (Sony Entertainment TV) judge Jaaved Jaafferi to be on the jury panel. It will be the television debut for Sherawat.
Bigg Boss season 3 winner and Chak Dhoom Dhoom season one host Pravesh Rana will once again host the show.
Colors has planned various brand integrations with sponsors of the show. For the presenting sponsor Rin, the channel will incorporate their brand proposition and tagline “Chamak Dikhao” in show episodes, highlighting a winning streak which blends with a dance competition.
For the telecom sponsor Docomo, digital and online VAS and content opportunities are being explored exclusive to Docomo fan clubs and communities. Colors claims that for the associates also, there are brand values being married into the content.
Meanwhile, talking about the show, Colors programming head Ashvini Yardi said, “The success of season one of Chak Dhoom Dhoom inspired us to launch the second season with some freshness in the format and unlike last season, this time, it‘s age no bar. We‘re looking at teams with age groups that may vary from six to sixty or even beyond. The idea to come up with a team challenge came to us while we were holding auditions for India’s Got Talent. During the auditions, we saw a lot of teams coming and performing a group dance. Since we already had a dance brand – Chak Dhoom Dhoom, we decided to provide a platform for all these dancing groups and came up with a new season with a new look and a great new panel of some very accomplished judges.”
Colors said that after auditioning in Baroda, Lucknow, Kolkata, Delhi and Mumbai in India and Dubai, New Jersey, Dallas, Bay View and London internationally, the jury members have handpicked 30 groups. Now these groups will be judged on the basis of their choreography, timing, synchronization, team effort and appeal on the show.
Endemol India is once again producing the show. The company‘s managing director Deepak Dhar said, “At Endemol it’s our constant endeavor to create innovative programmes that excites viewers across various sections. After a successful first season we are delighted to launch the second season of Chak Dhoom Dhoom. We are happy with the amazing dancing talent we have got on the show and some of them are making waves everywhere in the world. With the launch of Second Season, we are taking this partnership to another level and bring in talent from not just the country but globally”.
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.
