MAM
Viacom Digital Media partners with Autobytel for automotive portal
MUMBAI: The Viacom Television Stations Digital Media Group has partnered with the California-based internet automotive marketing services company Autobytel to bring automotive information to its newly designed station websites as part of the previously announced “Always On” digital media initiative.
Autobytel will provide comprehensive vehicle information, state-of-the-art research tools, video test drives, reviews, reports and more to each of the Viacom Television Station’s websites.
Visitors to each of the newly designed and re-launched websites will now have access to automotive information on the local station’s homepage. In addition to reading articles and reviews, users will have the ability to choose a vehicle, submit a request to buy a new or used vehicle and receive a no haggle price quote from Autobytel member dealers in their local market. Autobytel’s content, stories and updates will be supported by each television station’s broadcast and broadband video creating a very unique and powerfully informative local automotive portal, stated an official release.
“Autobytel is pleased to have been selected to provide online services to one of the largest media companies in the world,” Autobytel president & CEO Rick Post said. “The new auto channel, which is designed to help Viacom’s visitors make smart, confident car-buying decisions, is another example of Viacom’s focus on providing the best Internet resources for its vast consumer audience.”
“The combination of our local station’s content and Autobytel’s auto research and car buying platform provides our local market users with instant access to the very popular online automotive category,” Viacom Television Stations Digital Media Group president & GM Jonathan Leess said. “The database and local inventory that Autobytel provides to our television websites helps to enhance the goals we’ve set for the ‘Always On’ initiative.”
The group will be re-launching websites for all of its CBS stations, including wcbstv.com (New York) the week of August 1, kyw.com (Philadelphia) on September 13 and wbz.com (Boston) on September 19. The station websites in Salt Lake City (kutv.com), Minneapolis (wcco.com), Denver (cbs4denver.com), San Francisco (cbs5.com), Chicago (cbs2chicago.com), and most recently, Baltimore (wjz.com), have already launched. In total, 17 CBS stations will re-launch their websites in 2005, followed by UPN stations in 2006, the release added.
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.
