MAM
“King’s Love” Korean Drama to Rule India
MUMBAI: One Take Media Co. is known for its variety in the Content Market. Hence, with the increasing demand of Korean Content in India, One Take Media Co. is focused in building its Korean Content library day by day. OTMC has not only acquired a lot of Korean Dramas Series but has also taken an intelligent move by dubbing all of its Korean Dramas in Hindi. This will result in bringing a new target audience to join the club of Korean Wave. Along with Korean Drama Series, OTMC also caters in Korean Pop commonly known as K-POP.
One Take Media Co. is happy to introduce you to its recent acquisition of a historic romance drama series, Kings Love. Kings Love is a 2017, 20 episodes Korean Drama featuring Se-ha Ahn, Jong-hwan Choi and Soo-Hyun Choo.
Kings Loveis about a story of a young and ambitious monarch Won (Im Si-wan), and two people who shaped his destiny; childhood friend Wang Rin (Hong Jong-hyun) and a beautiful young woman named San (Im Yoon-ah). These three get to know each other and become the closest of friends but feelings of affection and love arise between these three. The young Crown Prince, falls in love with the young woman San and would do anything to save her. He comes to love her more than himself. But on the other hand, is his childhood friend Wang Rin who also fell in love with San at first sight. Even though he loves her so much, he still hid his affection for her because of his duty to his Crown Prince and because he doesn't want to hurt his best friend's feelings. But the time came when San realizes her feelings for Rin and vice versa.
The Satellite TV/OTT/VOD rights for Kings Love are available with One Take Media Co. This Drama Series is available for SAARC Region.
One Take Media Co. is a global Content Production and Distribution company. With more than 10,000 hours of varied content, OTMC caters its services in many genres like Hollywood Movies dubbed in more than 9 regional languages, Kids Animation content, Cooking Content, Korean Content, Music and Web Series.
Mr. Anil Khera, Founder and CEO of One Take Media Co. said, “The Culture of India and Korea is very similar. And that is the reason, I am confident about the content doing great in the Indian Market. And dubbing it in Hindi is helping us to cater a larger audience."
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.
