MAM
Fast & Up ropes in table tennis marvel Sathiyan Gnanasekaran on it’s fit squad
MUMBAI: Fast&Up has announced the signing of highly celebrated Indian Table Tennis Player Sathiyan Gnanasekaran as a new member of its ‘Fast&Up – Fit Squad’. This collaboration has taken place at a time when Fast&Up is on the cusp of its next phase of growth focusing on a larger share of the fast-moving healthcare goods business in India while associating and supporting many young sportspersons coming from different experiences and backgrounds.
Being the only Indian to have won two ITTF Pro Tour titles, Sathiyan had a spectacular international streak in 2018. He won three medals on debut in India's historic performance at the Commonwealth Games and played a crucial role in bringing home an elusive Asian Games medal. On home ground, he was awarded with the prestigious Arjuna Award. He currently stands in top 25 in world ranking which makes him India’s highest-ranked player in the latest International Table Tennis Federation rankings.
Fast&Up has invariably supported sportspersons, athletes and fitness enthusiasts, to promote active living and the importance of nutritional supplements for enhanced performance. Under the aegis of ‘Fast&Up- Fit Squad’ the brand has actively focused on nurturing top quality athletes representing various sports. The Fast&Up- Fit Squad is currently supporting over 100+ athletes across the country.
Vijayraghavan Venugopal, CEO, Aeronutrix Sports Products Private Limited, Co-Founder Fast&up while sharing his thoughts said,” Sathiyan Gnanasekaran is an exceptionally talented athlete who has brought a lot of pride to the country and we are glad that he is a part of our Fit Squad family now. At Fast&Up, sports is our passion and we strive to identify and encourage talented athletes in their sports journey by ensuring their nutritional needs are met. We believe that Sathiyan has all the qualities to continue his top performer streak for Indian table tennis and we look forward to his engagement with Fast&Up."
Talking about his association with Fast&Up, Sathiyan Gnanasekaran said, “It’s quite important to consume the right nutrition to achieve optimum performance and stay longer in the sport without injury. It is an honour for me to partner with Fast&Up which has a range of top quality nutrition products that will form an integral component in my training, my favourite being Fast&Up Reload – Berry Flavour.”
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.
