MAM
AAP a big draw for media professionals
MUMBAI: As a fledgling party which emerged from the larger ‘India against Corruption’ movement, the Aam Aadmi Party (AAP) had already captured a nation’s imagination.
But when it made a splash at the Delhi Assembly Elections, going on to form the government in the national capital, it made seasoned politicians sit up and take notice as well.
And just in case you thought there was no public relations mechanism behind the phenomenal success of AAP, you couldn’t be more wrong. The party has been a magnet for media professionals ever since its inception with many known names coming forward to support it and in some cases, even going on to join politics.
For instance, the media campaign for the Jan Lokpal Bill was the brain child of former media professional Shaizia Ilmi. Manish Sisodia, who played a key role in the foundation of the anti corruption bill and went to jail with activist Anna Hazare is a former journalist who worked with Zee News and All India Radio. Ditto for Rajan Prakash, who worked as a journalist in TV, print and radio for more than a decade apart from helping write the scripts of over 12 documentaries as well as radio programmes before finding his political calling. At 26, former journalist Rakhi Birla, who won Delhi’s Mangol Puri constituency, is the only woman in Arvind Kejriwal’s cabinet and the youngest one at that. The much talked about addition to AAP has been that of Ashutosh, former IBN7 managing editor who left a high-profile job to join the party.
So what is it about AAP that is encouraging the media fraternity to enter the political circus?
“It’s their honesty which I support,” says Leo Burnett NCD K V Sridhar (Pops) who tweeted and facebooked his support to AAP and joined it through its massive ‘Mai bhi Aam Admi’ campaign that lets anyone be a part of the ‘change’. “Until and unless they make mistakes or become like the others, they have my support,” he adds.
Former COO of Star Network now turned media entrepreneur Sameer Nair, who joined AAP last year, believes any professional with the right principles would support the party. “We all want corporate governance, financial stability, anti corruption amongst all the correct ingredients to run the country in a better way,” he says, pointing out that the Right to Recall is a basic right as one shouldn’t take his/her seat lightly once elected for five years by the junta. “Every day, media professionals walk into the AAP office to support it or help in whatever way they can. We need such enthusiasm from people,” Nair says, stressing that the party needs the expertise of professionals from all walks of life to work together and create a better nation.
Political analyst Dr Suhas Palshikar feels AAP is a refreshing change from the rest. “There are many who want to see a change in the country and the new party brings with it new ideas. It has provided people, especially the middle class, a platform to be part of a change and voice their opinion,” he says.
Writer-entrepreneur-youth expert Rashmi Bansal, who met Kejriwal in 2009 and featured him in her 2011 book ‘I have a Dream’ feels that media professionals have a close-up view of such issues which is why they get more drawn to it. “Media professionals know what goes on behind the scenes and they see AAP as a different entity which will not only hear them but also give them a voice and a platform to make the change they want to see,” she says.
And the list of supporters keeps growing… Late Jaspal Bhatti’s wife Savita Bhatti, Mallika Sarabhai, Tejaswini Kolhapure, Aamir Khan and Salman Khan all believe the party can bring about a change…
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.
