MAM
ASCI to host global summit for Ad self-regulation in Mumbai
Mumbai: The Advertising Standards Council of India (ASCI) is set to host the International Council for Ad Self-Regulation (ICAS) Global Summit from 17 to 21 March 2025, in Mumbai. This will mark the ICAS summit debut outside of Europe and the US. The event will create opportunities for global stakeholders to engage in discussions focused on the future of advertising, new regulatory trends, and evolving standards.
The summit will host advertising Self-Regulatory Organisations (SRO) from over 27 ICAS member countries, along with representatives of six international advertising associations and other industry delegates. The summit will also feature the ICAS Global Self-Regulation Awards, celebrating best practices in advertising self-regulation worldwide. As part of the summit, ASCI Academy will host a thought leadership event called the “Global Adda” that will see the launch of important reports and conduct discussions on the topics of future regulatory trends in advertising, diversity and inclusion with a focus on masculinities, and the opportunities and guardrails around AI in advertising.
Besides the report launches, Global Adda will feature panel discussions, fireside chats, and networking sessions, enabling participants to delve deeper into pressing issues with leaders in the advertising regulatory space. Participating stakeholders will include international advertising SROs, regulators, industry leaders, domain experts, civil society organisations and academic institutions.
ASCI has been significantly contributing to the global work on self-regulation. Recently, it became a founding member of the ICAS Global Think Tank at its launch event in New York. The collaborative platform is committed to promoting self-regulation, critical thinking, and research to advance responsible advertising practices globally. By joining the Think Tank, ASCI will work together on global discussions and action on advertising ethics and evolving standards.
ASCI’s efforts have been recognised globally, receiving multiple awards at the prestigious ICAS Global Awards in recent years. The Council has also been instrumental in adapting international best practices, tailoring them to the Indian ad industry. The ASCI Academy, launched in 2023, has also been recognised for its role in capacity building and thought leadership. This includes initiatives on dark patterns, influencer marketing, diversity, and inclusion, among many others.
ASCI VP, ICAS & CEO, and secretary general Manisha Kapoor said, “Hosting ICAS’s first global summit outside Europe and the US is an honour. We look forward to having global experts share their insights and learn from the Indian industry. Advertising today faces new challenges in building and sustaining consumer trust. This summit will offer an exchange of ideas and best practices that will help us drive important conversations and action in the industry.”
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.
