MAM
60,000 adidas employees ask the world to be ‘Ready for Sport’
Global sportswear giant, adidas under the brand movement #hometeam, has mobilised it’s entire internal community to inspire hope and optimism for a return to sport through it’s latest brand film ‘Ready for Sport’. The film was released exclusively by adidas employees and uses the unifying spirit of sport to motivate the world as it looks to re-enter the physical spaces of sport –be itstreets, stadiums or stores.
‘Ready for Sport’ is the second phase of the adidas #hometeam narrative; part of adidas’ response to the COVID-19 global relief efforts to collect funds for the World Health Organisation’s COVID-19 Solidarity Response Fund. Till date, adidas has made a direct €3 million donation and also plans to raise additional funds.
This is the first time that adidas has launched a campaign solely through its internal community of employees. ‘Ready for Sport’ is an open-sourced film featuring the #hometeam adidas employees, over 2500 athletes and the wider sporting community. All adidas employees had an exclusive twenty-four-hour window to post the launch film on their social channels,and were encouraged to highlight what they are “ready for” – whether it be something to look forward to or that holds a newfound sense of appreciation.
According to Mr. Manish Sapra, Senior Brand Marketing Director, adidas India, " 'Ready for Sport' aims to be an inspiring and optimistic rallying call for people everywhere to look forward and imagine how incredible sport is going to feel when the current Covid19 situation is over. We strongly believe that we as a nation should keep moving so when the time comes, India will be more than ready for sport again.”
Since launch, #hometeam has connected more of adidas’ global and Indian athletes and Creator community than ever before; with the likes of Rohit Sharma, Hima Das, Mirabai Chanu to global icons like Lionel Messi, Noah Lyles and Gareth Bale providing hours of content to inspire and motivate people to keep their bodies, hearts and minds healthy.
To help people get ‘Ready for Sport’, adidas is also extending free access to the adidas workout apps for an additional 90 days, providing its community with access to over 260 exercises in 15 languages to keep them moving. And for those joining teammates when stores reopen, it has active measures supporting social distancing, personal protective equipment for the team and sanitization across all locations. Store teams have been training hard, so that when people visit, keeping everyone safe and healthy in an inclusive environment will be their first priority.
Film weblink:- https://www.youtube.com/watch?v=Rwk5PdpTxSU
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.
