MAM
Court ruling on political ads may be contested
NEW DELHI: The Indian government is contemplating contensting the Andhra Pradesh high court order quashing a ban on political advertisements on the electronic medium. Reason: to douse the fire that has engulfed not only Congress chief Sonia Gandhi, but also Prime Minister Atal B. Vajpayee.
According to political sources in the Capital, the govermnent is mulling, as one of the options, to go in for a Special Leave Petition (SLP) petitoning the Supreme Court to look into the issue of politcal advertisments, surrogate or otherwise, on television channels.
The sources said that a high-level meeting in this regard was held at the Prime Minister’s residence yesterday where this matter was debated.
It is also learnt that Vajpayee, while expressing his unhappiness at being target of a surrogate advertisment questioning his antecendents during the pre-Independence days, would want the issue to be buried. An ideal scenario would be to have the Supreme Court stay the order of the Andhra high court, which removes the ban on political ads to be carried o TV channels under the Cable TV Network (Regulation) Act.
Amongst the several options discussed, the most plausible looked like the one where the government or an organisation contested the Andhra HC order.
Those who attended the meeting with the PM included his advisor Brajesh Misra, information and broadcasting minister Ravi Shankar Prasad, Solicitor-General Soli Sorabjee and Bharatiya Janata Party president Venkaiah Naidu.
On 23 March, the Andhra HC, based on a petition filed by Gemini Television Network, ETV and Maa TV which challenged rule 7 (3) of the Act invoked by the Information and Broadcasting Ministry and Election Commission to ban telecast of political advertisements, quashed the ban.
The court also observed that the ban order amounted to discrimination between the two media (print and electronic) and was also violative of the right to freedom of trade and business.
Since the order was passed, the issue has snowballed into a controversy with the Election Commissiona nd the government lobbing the ball into each other’s court.
The issue of surrogate political advertisements is echoing not in the Election Commission or on TV channels, but somewhere else. The reverberations of personal attacks can be heard in the Prime Minister’s residence. Apparently, according to political sources, PM Atal B Vajpayee is very upset that an ad allegedly showing him in bad light did a round of TV channels before broadcasters decided to take all such ads off air.
Stung by a surrogate ad put out by a Bharatiya Janata Party front organization questioning party chief Sonia Gandhi’s foreign origin, a seemingly front organization of the Congress hit back by issuing an ad that dwelt on Vajpayee’s antecedents and that he was allegedly involved as an informant for the British during the pre-Independence days of 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.
