MAM
iQOO appoints 25-year-old as chief gaming officer; offers Rs 10 lakh
MUMBAI: iQOO appointed Vedang Vikas Chavan, a 25-year-old eSports coach and gamer from Mumbai, has been named as iQOO’s new chief gaming officer, emerging victorious in a three-month-long search that drew over 80,000 participants from 400+ Indian cities and towns. Vedang has been tested on his gameplay skills, gaming knowledge, personality, and communication along with the other participants. As part of this role, he will take home a remuneration of Rs 10 lakh.
Hailing from Navi Mumbai, Vedang’s journey is a story of relentless passion and perseverance. A chess prodigy in his early years, Vedang discovered gaming at age 10 and soon found himself captivated by esports. From sneaking into gaming cafés during college to representing India at international PUBG PC tournaments in Japan, Malaysia, Singapore, the Philippines, and Australia, his hustle never stopped. When he transitioned to coaching, he set out to give aspiring gamers a real shot at experiencing competitive esports. He handpicked grassroots talent and built teams from scratch, coaching them to podium finishes at top esports events. From being told he wasn’t good enough to become a sought-after leader, Vedang carved his space in a tough industry and helped others rise alongside him.
Expressing his excitement, Vedang said, “I’m genuinely overwhelmed and grateful to be named iQOO’s new Chief Gaming Officer. When I first came across this opportunity on LinkedIn, I saw it as the perfect way to challenge myself, a chance to grow, upgrade my skills, and do something meaningful in the esports space. And the fact that it was coming from a brand like iQOO made it even more exciting. I knew I had to give it my all. I never imagined it would take me all the way here. The competition rounds were intense, and the finalists I met along the way were all incredibly talented. I’ll never forget the video call with Nipun sir congratulating me, that’s a moment I’ll always treasure. This journey has been surreal, and I’m thankful to iQOO, the jury, and everyone who believed in me. I’m excited to now take this passion forward with iQOO and give back to the community that shaped me.
Welcoming Vedang, iQOO CEO Nipun Marya said, “This is yet another iconic moment for the Indian smartphone industry, and we are proud to welcome Vedang as our new Chief Gaming Officer. Vedang perfectly embodies the spirit of ‘I Quest On and On’. His journey from grassroots gaming to leading top teams reflects the passion and perseverance we value at iQOO. With his experience as a player, coach, and mentor, we believe he will bring a sharper understanding of the gaming community and a fresh perspective to our gaming initiatives. All of us at iQOO are excited to have him join the family, and we are confident he will make a meaningful impact in this role.”
From competing against 80,000+ passionate gamers to impressing a power-packed jury panel featuring Nipun Marya, Rannvijay Singha, Payal Gaming (Payal Dhare), and 8bit Thug (Animesh Agarwal), Vedang has emerged as the winner of CGO 2.0. As CGO, Vedang will work closely with iQOO’s leadership, offering insights to enhance the smartphone gaming experience and connect with the esports ecosystem. The position will also give him the opportunity to collaborate with top gamers across India and earn a prize of Rs 10 lakhs.
In addition to strengthening its presence in the esports space, iQOO has appointed Harshvardhan as its official caster. A passionate storyteller and presenter, Harshvardhan began his casting journey two years ago and quickly made a mark by winning the Nodwin Gaming Talent Hunt three times, including during BGIS 2024. Beyond the mic, he brings a well-rounded understanding of the esports ecosystem, skilled in production, match analysis, editing, and design. With his deep connection to the gaming community and evolving expertise, Harshvardhan will serve as a strong voice for iQOO’s gaming initiatives across platforms.
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.
