MAM
MSM eyes Rs 9 bn of ad revenue from IPL 4.0
MUMBAI: Controversies, lawsuits! None of that has made an impact on the willingness of advertisers to cough out the big bucks for the Indian Premier League (IPL).
Sources say Multi Screen Media (MSM) is eyeing an ad revenue of Rs 9 billion, down from Rs 10 billion, as the extra teams will not be added in the fourth edition of the IPL. This will be 20 per cent up from the previous season of IPL.
Indiantelevision.com had earlier reported that MSM was looking at Rs 10 billion ad revenue from IPL 4, despite the ICC cricket World Cup preceding it.
Says Multi ScreenMedia (MSM) president network sales, licensing and telephony Rohit Gupta, “We are eyeing a 20 per cent revenue growth this year. Clients have shown firm belief in the value of this property. Many companies have returned. Vodafone and Videocon are back as co-presenting sponsors. The associate sponsors are Samsung Mobile, LG, Hyundai, Tata Photon, Pepsi. New sponsors joining us this year are Cadbury‘s and Havells. Earlier Havells used to take spots. To accomodate the new sponsors we have decided to include one more sponsor.”
Gupta, however, refused to spell out the exact revenue MSM was targeting.
MSM has roped in nine advertisers for the event and is looking at 11 sponsors in total, one more than last year.
MSM is also talking to companies including Godrej, HUL and Airtel to come on board as sponsors. The sponsor rate is Rs 500,000. The co-presenting sponsors will shell out Rs 550 million each while the rate for associate sponsors is around Rs 400 million.
Spot buys start at Rs 550,000. “When we close out 80 per cent of inventory, then we will start hiking the spot rates. Extraa Innings will have around six sponsors and will give us Rs 360 million. We sell at Rs. 100,000 per 10 seconds here. By January, we would have sold out everything,” says Gupta.
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.
