MAM
Govt ad spend on print falls by 54 % in last 3 years
New Delhi: The government’s expenditure on print advertisements has dropped by almost 54 per cent in the last three years.
According to the latest data presented in the Parliament, the government had spent Rs 429.55 cr in print advertisements in 2018-19, which decreased to Rs 295.05 cr in 2019-20, and further plummeted down to Rs 197.49 cr during the pandemic in 2020-21. The data was shared by the union minister for information and broadcasting Anurag Thakur during the ongoing monsoon session of the Parliament.
The ad-expenditure on electronic and digital media has also also recorded a significant drop over the last three years, said Thakur in a written response to a question raised by BJD MP Sasmit Patra. According to Thakur, the Centre spent Rs 514.29 crore on TV ads in 2018-19. In 2019-20, the allocation for ad expenditure on electronic media platforms was slashed to Rs 316.99 crore, which further came down to Rs 167.98 crore in 2020-21.
All these expenditures refer to expenses incurred by the Bureau of Outreach and Communications (BOC), which acts as an advisory body to the government on its media strategy, and undertakes information, education, and communication (IEC) campaigns of the government through its empanelled media platforms as per the policy guidelines.
The plummeting ad spends by the government come at a time when the print industry is struggling to survive the pandemic’s severe blow. The print media thrives on advertisement expenditure of industries including e-commerce, automobiles, and finance, which were also impacted by the lockdown. Many businesses ended up pulling out advertisements, as part of budget cuts and also due to a drastic fall in the circulation of newspapers and magazines. The prolonged lockdown restrictions forced several publications to limit the number of pages, shut their editions and resort to layoffs.
Last year, the Indian Newspaper Society (INS) had also raised concerns over the rising newsprint and logistics costs and increasing preference for online content. It had also demanded a 50 per cent increase in government advertisement rates and a 200 per cent increase in the Centre’s spend on print media advertising and an immediate settlement of advertisement bills outstanding to both central and state governments.
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.
