MAM
IPL 2022: TCL partners with Sunrisers Hyderabad for third time in a row
Mumbai: Cricket fever is a widely recognised phenomenon in India that skyrockets during every big tournament, and even more so during the homegrown Indian Premier League (IPL). In this context, global television brand and consumer electronics company TCL has reiterated its commitment to officially sponsor Sunrisers Hyderabad (SRH) for the third time in a row for the upcoming T20 league.
As a part of the contract, the TCL brand logo will appear on the upper non leading arm right of the players’ jersey.
“The SRH squad had consistently exhibited exceptional resilience, perseverance, hard work and commitment to give their best,” said TCL India head of marketing Vijay Kumar Mikkilineni, on the association. “This year, SRH is betting on young and dynamic players like Bhuvneshwar Kumar and Nicholas Pooran, who can fulfil their quest for another IPL title. The team is filled with young blood as well as quite experienced players that effectively resonate with Indian Cricket fans. Our association with SRH allows us to follow our passion for Cricket and provide state-of-the-art TVs to consumers so that they don’t miss out on a single on-field moment.”
“Hyderabad happens to be a big market for us and we are sure the SRH team will play brilliantly and augment our popularity not only among the sports fans but also amongst the people of the city in general,” he further added.
With the continued partnership with SRH, the consumer electronics brand aims to strengthen its bond with consumers and the cricket community and establish its stance in the sports ecosystem. This association of TCL and SRH would further help the brand strengthen its roots in the city of Hyderabad, said the statement.
“We are sure that this relationship will be beneficial for the brand as well as the SRH team and we aim to make our partnership more powerful,” stated Sunrisers Hyderabad CEO K Shanmugam. “TCL as a brand focus on going beyond boundaries to deliver satisfaction to the customers with their range of products. We also share the same values as a team and through this strong partnership with TCL.”
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.
