MAM
Olyv partners with Disney+ Hotstar for ICC T20 World Cup 2024 showcase
Mumbai: fintechs, committed to empowering India by accelerating Pan-India financial inclusion, announced its association with Disney+ Hotstar for the ICC Men’s T20 World Cup 2024.
Launching this campaign with Disney+ Hotstar has enabled Olyv to showcase its refreshed brand identity and comprehensive multi-product digital platform during one of the world’s most watched and anticipated sporting events. Recognizing the unparalleled popularity of the ICC Men’s T20 World Cup, this initiative is designed to resonate with a broader audience,
particularly, ensuring that the message of financial freedom reaches every corner of India.
The brand films under Olyv’s first-ever branding campaign, #JahanSapneWahanOlyv, will leverage the extensive reach and popularity of the tournament, strategically positioned during the live matches to drive awareness around Olyv’s offerings and differentiators, including their focus on serving both salaried and self-employed segments. This association marks a significant milestone in Olyv’s mission to connect with and engage diverse customer segments in India.
With the vast audience of Disney+ Hotstar and the global appeal of the ICC Men’s T20 World Cup, Olyv is poised to deliver its message of financial empowerment to an unprecedented audience base.
Speaking of the collaboration, Olyv India co-founder & CEO Rohit Garg, said “Cricket is a collective passion that unites India like nothing ever can. The T20 format at an international level adds to the cult following of this sport. Our campaign on Disney+ Hotstar for the ICC Men’s T20 World Cup 2024 is a game-changer for Olyv. With the event’s unparalleled global viewership, we are poised to connect with an incredibly diverse and engaged audience on an unprecedented scale. This collaboration allows us to showcase our dynamic new identity and reinforce our commitment to financial empowerment with a platform that can serve Aspirational India’s diverse financial needs. We are excited to engage millions of cricket fans and potential customers across the nation.”
As Olyv prepares to spotlight its enhanced brand amid the excitement of the ICC Men’s T20 World Cup 2024, it reaffirms its commitment to delivering simple and revolutionary financial solutions to people across India.
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.
