MAM
Media stocks drop marginally on the bourses
MUMBAI: The 30-stock Bombay Stock Exchange (BSE) sensex registered a 6.74-point drop on Friday, 23 May 2003 to settle at 3,049.84 (3,056.58 last week). The sensex was still above the key resistance level. The NSE Nifty was up 4.7 points to end at 968 (as compared to 973.10). Most of the media stocks dropped marginally.
On 23 May, Zee Telefilms opened the day on the BSE at Rs 79.05; dropped 1.2 per cent to end the day at Rs 77.45 (as compared to Rs 77.45 on 16 May). The volume of shares traded was around 1.47 million shares on 23 May.
On the National Stock Exchange (NSE), the Zee Telefilm scrip started the day at Rs 80.50; dropped 1.14 per cent to end the day at Rs 78.05 (as compared to Rs 77.90 on 16 May). The volume of shares traded was around 3.2 million.
A report titled “Conditional Access or Catch 22 – Who Will Blink First?” compiled by the Citigroup Smith Barney (CSB) report (dated 15 May 2003) says that the intermittent phase (during the implementation of CAS), high news flow risk would make Zee’s stock price movements extremely volatile. However, it adds that any postponement of CAS, would be positive for Zee’s share price in the sense that it would remove the overhang of
‘uncertainty of CAS implementation.
This, says the CSB report, would also postpone the long-term benefits of conditional access – ie, giving Tier 1 broadcasters a fair share of the subscription pie. If CAS is postponed, initiatives of Star/Zee’s group companies, which are engaged in roll-out of DTH services, will need to be closely monitored, cautions the CSB report. The report also notes that Zee’s head in the sky model for implementation of conditional access can be easily tailored for DTH implementation.
The CSB report retained its In-Line (2H) rating on Zee Telefilms valuation with a price target set at Rs 96. At this price, Zee would trade at 13.5x forward EPS, at the bottom end of its historical trading range, which given the approaching uncertainty as regards earnings dislocation during implementation of conditional access looks fair, says the report.
The Balaji Telefilms scrip ended the day (23 May 2003) at Rs 52.30 (down 4.10 per cent) – as compared to Rs 58.75 on 16 May. The volume traded was 552,832 shares and the counter registered more trades due to the results which were announced on 22 May.
On the NSE, the scrip ended the day at Rs 52.45 (down 4.10 per cent) as compared to Rs 53.80 on 16 May. The volume of shares traded was 1.43 million. Balaji Telefilms annual results will be announced on 22 May.
Several analysts believe that the scrip fell because the 4QFY03 sales/income was lower than that of the previous quarter (3QFY03) despite the fact it was higher than the corresponding one for 4QFY02. Analysts feel that the company will have to make an extra effort to maintain its increase in income and sales.
The Television Eighteen India scrip opened at Rs 85 on 23 May; dropped 3.41 per cent to end the day at Rs 82.10 (as compared to Rs 80.90 on 16 May) on the BSE. On the NSE, it opened at Rs 85.10; dropped 3.70 per cent and ended the day at Rs 81.95 (as compared to Rs 80.75 on 16 May).
Sri Adhikari Brothers Television Network (SABTNL) gained 1.91 per cent to end the day (23 May) Rs 61.30 (as compared to Rs 63.50 on 16 May). On the NSE, the scrip ended the day at Rs 61.70 (up 1.61 per cent) as compared to Rs 63.75 on 16 May.
Cinevistaas opened the day (23 May) at Rs 26.25; dropped 2.23 per cent to end the day at Rs 26.35 (as compared to Rs 28 on 16 May) on the BSE. On the NSE, the scrip opened at Rs 27.5; dropped 0.93 per cent to end the day at Rs 26.55 (as compared to Rs 29.40 on 16 May).
Creative Eye opened the day (23 May) at Rs 15.5; dropped 5.48 per cent to end the day at Rs 14.65 (as compared to Rs 14.25 on 16 May) on the BSE. On the NSE, the scrip dropped 4.55 per cent to end the day at Rs 14.70 (as compared to Rs 14.20 on 16 May).
The ETC Networks scrip ended the day at Rs 42.60 as compared to Rs 48.40 on 16 May on the BSE.
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.
