MAM
BIG FM presents a first of its kind ASMR horror show ‘Abhishapt’ on radio
Mumbai: In a world filled with constant noise and digital distractions, a unique audio experience ASMR, or Autonomous Sensory Meridian Response, has captured the attention and interest of people worldwide. Bringing this phenomenon for its listeners and giving it a new twist, BIG FM, one of the leading radio networks in the country, announces the launch of its latest show ‘Abhishapt’. This unique audio format combines the soothing elements of ASMR with the spine-chilling narratives of horror, creating an engaging listening experience that promises to be both enchanting and eerie.
The concept of ASMR redefines the art of audio entertainment, immersing listeners in a world of pure sonic triggers that include whispered secrets, delicate scratching, and haunting chopping sounds. These carefully curated sounds are amplified to provide an unparalleled, up-close auditory adventure that goes beyond the boundaries of conventional storytelling. ‘Abhishapt’ unfolds as a captivating series of 6 gripping fictional horror tales, with each episode running for a thrilling 10-12 minutes. This late-night weekly broadcast guarantees uninterrupted, ad-free, edge of the seat suspense and excitement, with repeat episodes for those eager for more.
BIG FM COO Sunil Kumaran said, “In an age where innovative audio experiences are highly sought after, we at BIG FM, are dedicated to curating a new and immersive experience for our listeners. With ‘Abhishapt,’ we recognize the underutilised potential of ASMR technology in the radio industry. As pioneers in storytelling and the added element of the horror genre, we are excited to introduce a unique confluence that represents our commitment to delivering content that deeply engages our audience. The show seamlessly blends the allure of ASMR with the intrigue of horror narratives, offering a captivating and immersive journey that transcends traditional storytelling.”
Keeping listeners glued to the show, the stories will be presented in Hindi, catering to a wide Hindi-speaking audience. Amping up the excitement levels, the show is launching on Friday popularly known as a day of horrors. The show, Abhishapt, reflects BIG FM’s commitment to innovation, storytelling and providing entertainment to its listeners. The show will also be available in a podcast format on the popular audio streaming platform, Spotify.
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.
