MAM
Media stocks hold the mic as markets crash in Trump tariff meltdown
MUMBAI: Even as the Bombay stock exchange tanked five plus per cent in the morning on Trump tariff meltdown Monday, Indian media and entertainment stocks shed just one to three per cent of their values at the time of trading at 3:30 pm. Sun TV was trading at Rs 638 a gain 0.83 per cent over its previous weekend closing of Rs 632.75. TV Today network was up 1.65 per cent toto trade at Rs 160.40. On the flip side, a few media players were caught in the downward spiral. Entertainment Network India – the operator of Radio Mirchi – cut 2.06 per cent to stand at Rs 132.80. GTPL Hathway declined 3.69 per cent to Rs 105.75 even as Hathway dropped 3.16 per cent to Rs 12.58. Dish TV fell by 2.61 per cent to Rs 5.60.
The advertising sector, however, bore the brunt of the market tremors. Advertising agency RK Swamy lopped off 10 per cent to trade at Rs 199.15 from its previous days closing of 223.50. Bright Outdoor clipped 4.36 per cent at Rs 449.50 as against Signpost which went negative to the tune of 7.36 per cent to trade at Rs 235.40. Innokaiz India dropped to Rs 13.56 with a 4.98 per cent fall. Maxposure saw a 5.76 per cent decline settling at Rs 57.30. Meanwhile, DAPS Advertising India saw a dip of 2.86 per cent to Rs 17.00. (At around 4 pm, may vary according to the market)
Despite the broader bloodbath on Dalal Street, the relatively cushioned fall of media and entertainment stocks could indicate investor confidence in the sector’s long-term fundamentals, or perhaps just temporary insulation from global trade frictions. Either way, for now, the M&E sector is holding its script, even as the markets slip into drama mode.
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.
