MAM
Invest during muhurat trading with Angel One’s ‘Shagun ke Shares’
Mumbai: Angel One, formerly known as Angel Broking, has returned with its ‘Shagun Ke Shares’ campaign this Diwali.
This year, the fintech company is encouraging people to adopt ‘muhurat trading’ as a Diwali ritual and begin their journey of smart investments with Angel One.
As part of the campaign, Angel One has released a digital film showcasing a young man investing during the Muhurat Hour on Diwali and asking people to make smart investments with Angel One for quick account opening, zero brokerage and smart recommendations. The company has also tied up with influencers from different genres and is leveraging the ICC Men’s T20 World Cup tournament to initiate the conversation around finance.
Spreading out the message, Angel One chief growth officer Prabhakar Tiwari discusses ‘muhurat trading’ in a video message on his social media.
According to Angel One, the top Diwali picks for this year include Federal Bank, Sona BLW, HCL Technologies, Stove Kraft, and Shobha, among others.
Speaking about launching the “Shagun Ke Shares” campaign, he said, “For a long time, Muhurat Trading has been followed by just investors and traders. With an increasing population participating in the stock market, Muhurat Trading can be a good start for more people to hop on the bandwagon and turn it into, like all other Diwali rituals, something we are trying to do with our “Shagun Ke Share” campaign this year. The investment during the auspicious occasion is considered a sign of good fortune.”
Adding to it, Angel One chief executive officer Narayan Gangadhar said, “India is a land of unique traditions. Even in the stock market, we have a tradition that is unique to us-‘muhurat trading.’ The muhurat hour marks the beginning of the financial year, and our state-of-the-art smart solutions can enable people to begin their investment journey on this auspicious occasion. We look forward to more people adopting to investing during the ‘muhurat trading’ hour this year.”
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.
