MAM
Audible unveils its new podcast series: The Nanda Devi Mystery
Mumbai: Audible, a leading creator and provider of premium audio storytelling, has released its newest podcast series, The Nanda Devi Mystery, which deep-dives into the captivating account of the missing nuclear device that interlinks the histories of India and America. The podcast recounts the gripping tale of an endeavour undertaken by these two nations against China and hidden from the world for 13 years.
Combining state-of-the-art espionage and mountaineering on the second highest peak of India, an area off limits to all but the Indian army, this intelligence operation reflected the irrationality and paranoia brought about by the Cold War. Amidst the ongoing geopolitical tension and conflicts, it is difficult to comprehend how the two countries orchestrated this joint operation against China, merely three years after the Indo-China war and against the backdrop of the India-Pakistan conflict. To this day, the unanswered questions about the lost nuclear device continue to be a matter of concern and intrigue for the locals in and around the area.
Produced by Asiaville, directed and narrated by Sashi Kumar, and written by Angshuman Choudhury, the podcast delves into an extraordinary period of modern Indian history when New Delhi actively collaborated with the Central Intelligence Agency and did the unthinkable. The Nanda Devi Mystery podcast is a dramatic story of failure, success, fear, anger, and an inspiring tale of the world’s finest mountaineers. It stands as a testament to the remarkable courage and loyalty displayed by Indian and American mountaineers of that time.
Audible country manager, India Shailesh Sawlani said, “We are thrilled to introduce this engaging podcast produced by Asiaville, that delves into the intersection of espionage, mountaineering, and untold secrets, on Audible. This series reinforces our commitment to bring diverse and compelling narratives to our audiences, and we are looking forward to embarking on this thrilling journey with our listeners.”
Asiaville CEO Tuhin Menon said, “We are pleased to bring audiences on Audible the nail-biting and riveting story of the Nanda Devi Mystery through this immersive podcast series. We believe it is an incredibly timely story that addresses the lengths countries will go to in order to protect vital strategic interests and the depth of character and force of will that personify the human faces of these all-too-real escapades. We are confident this series will resonate strongly with listeners of all ages.”
The 20-episode podcast is available in English to Audible members at no additional cost. You can download the Audible app from Google Play Store or Apple App Store and start listening.
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.
