MAM
Emirates extends sponsorship deal with ICC
MUMBAI: Middle East airline Emirates has announced that it has strengthened its association with the bat and ball game of cricket. It has extended its relationship with the International Cricket Council (ICC) for another three years.
Emirates’ sponsorship of the ICC’s elite panel of umpires and match referees for all Test and One Day international matches will see match officials sporting the famous ‘Fly Emirates’ branding on their field clothing. The officials will continue to be known as the ‘Emirates Elite Panel of International Cricket Council Umpires and Referees’.
Emirates has stated that it is looking to take advantage of the fact that the sight of international cricket umpires walking across the outfield to take up their positions at the wicket was a traditional part of the game. The fact that those umpires will continue to wear the ‘Fly Emirates’ logo on their match apparel helps to establish a continuation and tradition in the game and establishes Emirates as a long-term partner of international cricket.
This relationship is further enhanced by the fact that the ICC recently announced that it will be moving its head office to Dubai, the home of Emirates Airline. In addition to Emirates branding at international cricket grounds and on the umpires themselves, this relationship also sees Emirates become the Official Airline of the ICC.
The number of international cricket matches featuring Emirates-branded umpires will be in the region of 120 One Day Internationals and 55 Test matches a year. That represents a potential 395 days of televised cricket per year with a global audience of approximately 3.5 billion viewers throughout the three year term of Emirates’ agreement with the ICC.
Emirates Group chairman Sheikh Ahmed bin Saeed Al-Maktoum said, “Emirates has built up and developed some incredibly strong properties in its portfolio of sports sponsorships and cricket is a game that is passionately supported in many of our key markets.
“Our sponsorship of the International Cricket Council is an excellent way for us to connect with our customers, and to share and support their interests and passions, and we are very proud to announce the continuation of our relationship with them.
“Sports sponsorships help us to promote Dubai in the international arena as a premier business, tourist and sporting destination, both in our home base as well as in the 77 other cities we serve.”
ICC CEO Malcolm Speed said, “The ICC is delighted that Emirates has chosen to extend its highly valued relationship with international cricket. It is very positive for international cricket and for Emirates that there is a continuity in this sponsorship and that fans and TV audiences can instantly recognise the Emirates Elite Panel of International Cricket Council Umpires and Referees as an integral part of the international game.
“Emirates is a terrific partner to work with and it has proved its commitment to international cricket over the life of the existing agreement. The ICC is looking forward to building on this excellent relationship going forward, particularly in light of the strategic decision to move the ICC administration to Dubai.”
In addition to its sponsorship of the ICC, Emirates sports sponsorships include horse racing with the Dubai World Cup and The Emirates Melbourne Cup, America’s Cup sailing with Emirates Team New Zealand and football through the 2006 Fifa World Cup.
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.
