MAM
UP Yoddhas brings on board Asclepius as Associate Sponsor for PKL Season 10
Mumbai: UP Yoddhas – the GMR group owned franchise competing in Pro Kabaddi League (PKL) announced their partnership with Asclepius, a provider of health, beauty and wellness products as associate sponsor. This partnership marks Asclepius’ first foray into the dynamic world of kabaddi, reflecting their commitment to support indigenous sports and promote athletic excellence.
Under the ownership of GMR Group, UP Yoddhas made an impactful debut in the Pro Kabaddi League during the fifth season in 2017. Ever since, the team has continued to impress fans with their flamboyant yet result-oriented gameplay, all throughout having earned the reputation of being one of the most consistent teams in the Pro Kabaddi League universe. Since their inception in 2017, UP Yoddhas have always made their way to the play-offs and this season they have kicked off their campaign in an equally impressive manner with their eyes set on the trophy. The Yoddhas, currently at the third position in the points table, are basking under the glory of two back-to-back wins against Haryana Steelers and Telugu Titans, and will now face Bengaluru Bulls in their next clash on 11 December 2023.
GMR League Games CEO PKSV Sagar commented on the partnership, “We are delighted to welcome Asclepius as the new sponsor of the UP Yoddhas. Their commitment to supporting sports and promoting a healthy lifestyle aligns perfectly with our team’s values. We are confident that this partnership will be mutually beneficial and bring great value to our fans.”
Asclepius MD and CEO Sanjeev Kumar said, “We are thrilled to partner with the UP Yoddhas, a team known for its excellence and dedication to the sport,” said “Kabaddi is a rapidly growing sport with a passionate fan base, and we believe this partnership will allow us to connect with audiences throughout India and beyond. We are excited to support the Yoddhas in their vision of supporting indigenous sports in the country.”
The collaboration will see the Asclepius logo prominently displayed on the UP Yoddhas jerseys, training kits, and other team merchandises. Additionally, Asclepius will be integrated into the team’s marketing campaigns, further amplifying the brand’s visibility and engagement with kabaddi fans.
With a shared passion for sportsmanship and athletic achievement, Asclepius and the UP Yoddhas look forward to a successful partnership that will benefit both parties and contribute to the further development and popularity of kabaddi.
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.
