MAM
ANSHUMAN MISRA IS NEW PRESIDENT OF SHOWT
Showt Limited, the creators of Showt (“Shout”), the world’s instant global voting platform, having its global launch Q1 2021 in India, has announced that Anshuman Misra will become President of Showt Limited, starting today.
Anshuman is joining Showt after eight years at Hike, where he most recently was Vice President of Operations (Product, Growth, and Engineering).
Said Showt CEO, Michael March: “We are thrilled to welcome Anshuman to our team. His 17 years of deep tech and commercial experience in leading roles at Hike, Spice Digital, IBM, and Microsoft will be instrumental in helping us quickly to scale Showt to everyone with a mobile phone in India and then the world.”
March continued: “Anshuman’s proven ability to drive strategic growth in digital consumer products through product innovation, NLP and AI, will greatly contribute to Showt’s partner and consumer offering and growth worldwide.”
Misra said: “I'm immensely excited about the potential of Showt to give everyone an equal voice in over 65 languages worldwide. Everybody, anywhere on the planet, heard instantly. Showt has simplified this in an incredibly innovative, unique way that makes it truly global. Imagine the common man in India being able to interact with Indian and international public figures in their own language! That was why, when I was asked to join the Showt team, I couldn’t resist.”
Headquartered in Dublin, Showt Limited is the creator of Showt, a powerful new way for Brands to connect with their Consumers, for Stars to connect with their Fans, for Politicians to connect with their Voters. The Showt platform allows people everywhere, across all devices, the opportunity to quickly express and share a positive or negative opinion about public figures, brands, organizations, music, film, television and have their opinions be aggregated, replied to, and reported on worldwide.
Four and a half billion people – anyone internet-connected – can Showt Yes or No from launch day. Downloading and registering is not required but is encouraged. Showting happens on the Showt app, in Showt widgets placed in news articles and on sports and entertainment websites and at Showt.com.
Every time you Showt you get a ShowtBack if posted from the Showtee, so you feel heard and cared about. Before Showt the average citizen had lots of opinions that went unexpressed because they had no way to be heard (especially if their language wasn’t English). Showt is a real-time, 24/7 megaphone for the 99.99% to be heard, counted, replied to, and remembered.
Everybody is busy. Showting only takes seconds. It’s easy and fun. Imagine a polling company that doesn’t just reach out to a limited sample but stands ready to take anyone’s opinion on everything, all the time, with anonymity and bot control. Showt shows the way.
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.
