MAM
Power League Gaming names Langoor as new digital transformation agency partner
Mumbai: Langoor has been selected by Power League Gaming as its new digital, creative, and strategic agency partner. To help the most innovative gaming, content, and esports activation firm in the MENA region reach new gaming audiences, Langoor will be in charge of creating cutting-edge, immersive digital experiences.
The highest rates of new technology use, mobile penetration, and population identification as gamers are seen in Saudi Arabia and the United Arab Emirates. While 67 per cent of Saudi Arabia’s population regularly plays video games, more than 65 per cent of residents of the UAE identify as gamers (four times per week or more).
Power League Gaming (PLG), which has operations across the AIM region and has led the MENA region’s gaming and esports industry for the past ten years, has a direct impact on how gamers, publishers, and brands interact with one another. By actively teaching new talent and giving them job prospects in the MENA region through a variety of means, such as EMU (Esports and Media University), which is a component of PLG’s portfolio of education firms, their goal has been to enhance the Arabic gaming and esports market.
Power League Gaming CEO Matthew Pickering said, “For the past decade, PLG and its teams have shaped the gaming and esports sector in the MENA region. We have consistently produced ground-breaking, disruptive mechanics that successfully connect global brands with gaming audiences. We are thrilled to welcome Langoor as our new digital transformation agency. Together, we look forward to building and designing engaging content platforms and developing the region’s next generation of gaming and content leaders.”
Langoor co-founder and CEO Venugopal Ganganna said: “The Middle East is the fastest-growing market for gaming in the world. Not only does the region have an amazing gaming community but it also generates the highest gaming revenue per user. With the advent of Web3 and Meta, and the regions’ ability to adapt to these new emerging tech, we see players like PLG playing a supercritical role to innovate and grow the category. We are proud to partner with PLG on this exciting digital transformation journey and look forward to helping them reach gaming audiences across the MENA region and beyond.”
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.
