MAM
IndusInd Bank ignites excitement with ICC Men’s T20 World Cup 2024 trophy experience
Mumbai: IndusInd Bank, a global partner of the International Cricket Council, concluded the much-coveted Trophy Experience in Mumbai and Gurgaon, held in anticipation of the upcoming ICC Men’s T20 World Cup. The trophy experience reflected the Bank’s faith in the transformative power of sports and its commitment towards nurturing lasting emotional bonds among fans.
Hosted across ten distinct branches and offices, the trophy experience strengthened the Bank’s brand presence and helped forge deeper bonds with its customers, employees and cricket fans. This immersive experience not only celebrated the spirit of cricket but also emphasised the Bank’s dedication towards uniting cricket enthusiasts, providing enriching fan experiences to them and weaving unforgettable memories in their lives.
IndusInd Bank head of consumer banking and marketing Soumitra Sen said, “We’re thrilled to offer one-of-a-kind experiences to fans and cricket enthusiasts leading up to and during the ICC Men’s T20 Cricket World Cup 2024. We deeply believe in the transformative impact of sports and strive to ignite passion among fans. The fantastic response to the trophy experience reaffirms our commitment as we work to deepen our bond and connect with cricket enthusiasts globally.”
The trophy experience traversed across select branches and offices of IndusInd Bank at iconic locations in Mumbai and Gurgaon, including Nariman Point, Colaba, Marine Drive, Peddar Road and Opera House in Mumbai, and Palm Springs and DLF Cyber City in Gurgaon. Here are experiences shared by fans who had the opportunity to experience the trophy up close during the tour:
IndusInd Bank Gurgaon branch customer Padamjeet Sehrawat expressed his enthusiasm,
“Seeing the trophy, I had goose-bumps, and my heart was pounding. All the best to Team India!
May we achieve glory with the Indian team lifting the trophy this year. Go Team India!”
IndusInd Bank Gurgaon branch customer Padamjeet Sehrawat expressed his enthusiasm,
“Seeing the trophy, I had goose-bumps, and my heart was pounding. All the best to Team India! May we achieve glory with the Indian team lifting the trophy this year. Go Team India!”
IndusInd Bank a Gurgaon branch customer
Rakesh Srivastava exclaimed, “It’s great to see the trophy experience organised by IndusInd Bank. May the best team win the trophy. As an Indian, I hope that the winning team is India. It will be amazing to see the winning trophy in the hands of the Indian team, with over a billion Indians enjoying the tournament and the victory.”
IndusInd Bank a Mumbai branch customer V. E. Belani
said, “It was a great honour and privilege to see the trophy. I hope Team India brings it home!”
IndusInd Bank a Mumbai branch customer Usha K Lulla expressing her joy, exclaimed, “It was a wonderful feeling to see the trophy, and a prestigious and glorious moment for the bank to host it in their branch! My experience with the bank’s staff during my visits to the branch has always been great.”
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.
