MAM
Discovery launches enhanced marketing solutions offer across international markets
KOLKATA: Discovery is unveiling an enhanced marketing solutions offer for brand partners across its international markets that truly unites the company’s sports offering with its real life entertainment portfolio into a single proposition. The move builds on the global launch of Discovery’s definitive real-life subscription streaming service, discovery+, in January.
For the first time, this gives brand partners the opportunity to access all of Discovery’s rich content, on all of its platforms, across every global market, through one central buying point. Clients can now connect with Discovery’s entire audience through any of its offerings, including its leading multi-sport brand Eurosport and passion verticals such as the Global Cycling Network (GCN).
As part of the redefined and integrated offer, Discovery has also reimagined its creative brand solutions capability, within its marketing offer, to enhance content opportunities available to international client partners. Discovery’s creative studio is already delivering new creative content together with some of the world’s biggest brands, helping them to connect with their audiences at scale in a deeper and more meaningful way.
A suite of marketing solutions will be presented for brands to allow them to achieve engagement at scale across the widest portfolio of platforms including via digital content, social media, long and short-form content, product placement, sponsorship, and technology partnerships.
Eurosport head – sports marketing solutions Mike Rich said, “Today is a monumental step for our sports offer as we fully unify our international marketing solutions and advertising-sales within the broader offering of the Discovery family. We believe this will further strengthen our market-leading proposition and help brands tell their stories at scale, supporting them to deliver against communications goals which positively impacts their business objectives.
“As we head towards back-to-back Olympic Games and deliver the international rollout of discovery+, our partners can now fully take advantage of an enhanced marketing solutions offer which connects sport to the most comprehensive range of real life categories, including home, adventure, travel, food, nature, environment and science. This not only offers more ways to inform, fascinate and inspire, but allows brands to call on us to engage both the most passionate and broadest audiences they want to target.”
Discovery’s marketing solutions and advertising-sales business already features global clients on its roster, including across its unrivalled sports offering:
· Bridgestone, which became the headline sponsor of Eurosport’s Olympic Games Tokyo 2020 coverage.
· Brand USA – extending Discovery’s partnership with the public-private organisation that promotes the United States as a premier travel destination, delivering marketing and advertising solutions across Discovery’s platforms, including to sports fans through Eurosport.
· Goodyear, which agreed a multi-year partnership with Eurosport around its world-class motorsport coverage and promotion.
· Zwift, which is Eurosport and GCN’s largest partner for its comprehensive cycling coverage across the widest range of events.
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.
