MAM
ESPL to continue association with Tiger Shroff for Esports league season 2
Mumbai: ESports Premier League (ESPL) on Monday announced to continue its association with actor Tiger Shroff as the face of franchise-based Esports league for the second consecutive year.
Along with the partnership extension, ESPL has also roped in Global smartphone brand TECNO Mobile as presenting sponsor and India’s leading streaming platform, LOCO as their exclusive digital broadcast partner for ESPL Season 2.
Tiger’s association with ESPL season 2 is expected to further bolster the positioning of the league. In the last season, Tiger’s video of cheering esports athletes garnered more than a million views on YouTube.
TECNO Mobile is promoting TECNO Pova 3 through ESPL which started on 15 June.
Speaking on the association with Tiger Shroff, ESPL director Vishwalok Nath said, “Tiger Shroff played a key role in making ESPL a household name in its first season. His popularity and fan following among the youth and millennial audiences helped us to engage and influence gamers across the country. His star power also helped push Esports to the mainstream. We are delighted to extend our fruitful association with Tiger in the second season. I’m confident that Tiger’s strong connection with the audiences will help us greatly in achieving our aim of revolutionising the Indian esports ecosystem.”
Shroff added, “I am glad to continue my partnership with India Today Gaming for ESPL Season 2. Esports has seen an explosive growth across the country. ESPL is a great platform for esports athletes to showcase their talent on the national stage. I am happy to be part of this undertaking to grow the esports industry while encouraging the esports players and the gaming community.”
The second edition of ESPL kickstarted on 15 June as this year’s league has been engaging gamers from across the country in high-voltage action of the most popular battle royale game, Battlegrounds Mobile India (BGMI).
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.
