MAM
TAM AdEx: Surge in political advertising during Maharashtra assembly elections
Mumbai: As the election season approaches, the advertising landscape witnessed a surge in activity, especially across traditional mediums like TV, print, and radio. A recent report by TAM AdEx, a division of TAM Media Research, delved into the advertising patterns observed during the assembly election periods of September 2023 and October 2024. The report highlighted how political parties have strategically leveraged various media channels to maximize their reach and influence voters.
The analysis focused on the ad insertions and ad volumes across different media platforms, comparing the data from the months leading up to the elections in 2023 and 2024. The study covered a range of advertising categories, primarily focusing on political ads, and provides insights into the evolving strategies adopted by political entities.
The report noticed an increase in advertising across TV, print, and radio, particularly in the months leading up to the elections. Here’s a breakdown of the media usage trends:
● Television remained the most dominant platform, capturing a large share of political ad insertions. This trend is attributed to TV’s extensive reach and ability to engage a wide demographic, making it a preferred medium for political campaigns.
● Print media continued to play a crucial role, especially in regional advertising. Political parties leverage newspapers to reach specific voter bases, particularly in rural and semi-urban areas where print media retains substantial influence.
● Radio also saw a noticeable increase in ad volumes, highlighting its importance as a medium for quick and cost-effective voter engagement, especially in local languages.
The Ad Insertions data from the “Assembl Election – Ad Insertion” sheet reveals some interesting trends:
● In September 2023, there was a moderate volume of ad insertions as political parties started ramping up their campaigns. However, by October 2024, there was a marked increase in ad insertions, indicating a more aggressive approach closer to the election dates.
● The report highlighted that political ads constituted a significant portion of the total ad insertions across all three mediums (TV, print, and radio). This reflects the high stakes of assembly elections and the need for parties to maintain visibility across multiple channels.
The data from the “Assembly Election – Ad Volume” sheet further elaborates on the share of ad volumes:
● There was a noticeable shift in ad volumes between the two years, with October 2024 showing a higher volume compared to September 2023. This could be attributed to the heightened competition among political parties and the increasing significance of assembly elections in shaping state politics.
● The increase in ad volumes suggested a growing emphasis on broadcast and print advertising as key components of election strategies. This aligns with the broader trend of political parties investing heavily in mass media to sway public opinion.
The report also highlighted the distribution of ad insertions based on the per cent share of different media:
● TV dominated the share of political ad insertions, followed by print and then radio. This aligns with the general perception that visual media has a stronger impact on viewers, especially during the election season.
● The increased usage of radio in 2024 indicates a renewed interest in using audio channels to reach voters in rural and semi-urban areas. Radio’s localized nature allows political parties to tailor their messages to specific regions, making it a powerful tool for regional outreach.
The comparative data between September 2023 and October 2024 reveals some strategic shifts in political advertising:
● There was a clear escalation in ad spending as parties approached the 2024 assembly elections, indicating a more robust and aggressive campaign strategy. This aligns with the broader trend of political campaigns becoming more media-centric, leveraging high-frequency ad insertions to dominate the airwaves.
● The report also suggested that political parties are increasingly adopting a multi-channel approach, utilising a mix of TV, print, and radio to ensure widespread voter engagement.
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.
