MAM
New launches in a tough Gujarati TV news market
MUMBAI: Narendra Modi is not only shaping a new Gujarat but also breathing life into a dead TV news market. A slew of Gujarati news channels are getting readied for launch ahead of the assembly elections as Modi weighs his prospects of being named as the next prime ministerial candidate for BJP.
TV9 and VTV are the only two pure Gujarati news channels and their business life has not been too easy so far. But unnerved by the thin ad revenue market pegged at Rs 200 million this year, two leading dailies, Sandesh and Gujarat Samachar, are planning launch of their Gujarati-language TV news ventures in November, a month ahead of the December assembly elections.
“There has been no great improvement in the market potential of Gujarati news channels. But the new launches are extensions of print media businesses. The local print market is quite strong in Gujarat and it has been more or less politically aligned,” says ABCL vice president operations KVN Murthy.
Murthy should know. TV9 Gujarati, the channel owned by Associated Broadcasting Company Ltd, runs the most successful TV news channel in Gujarat from a viewer‘s perspective and its footage has been used by national news networks. Gujarat News Broadcasters‘ VTV launched last year and is still struggling to find space in the nascent Gujarati TV news market while ETV Gujarati airs daily news bulletins in between its main general entertainment content.
The Gujarati news channels also have to adjust to the reality that the national news networks are quite popular there. National news broadcasters have not yet forayed into Gujarat as they realise there is a high level of cannibalisation from their Hindi and English channels. Zee, which runs a clutch of regional entertainment and news channels across India, had an entertainment channel, Zee Gujarati, which it shut in 2009.
“Hindi general news and business channels do well in that market. The Gujarati news market will take time to evolve,” says Murthy.
Aas Pass TV, floated by Gujarat Samachar co-promoter Shreyans Shah, and Sandesh hope to change that feeble marketplace with the backing of their strong print lineage.
Says Gujarat Samachar’s Aas Pass TV director-sales and marketing Nilesh Thakkar, “Compared to the markets in Bengal and
Maharashtra, Gujarat is at a very nascent stage. But there is scope for growth here. Only the right strategy has to be employed and patience is required.”
The right strategy will mean a heavy load of political and crime news. And some industry sources who did not want to be named said paid news will also play a part.
TV9 content head Vikas Upadhyay believes that pure news lineup will not work in Gujarat. “People are not interested in only news. They want a mixed offering. Also, Gujarat is a quiet place. Barring the elections, nothing unusual happens to grab eyeballs. So mixing up content is a good option.”
Which is why TV9 has a cookery show in its lineup. And Aas Pass TV will also have other content that will help in generating revenues.
The ad market for Gujarati news channels is set to expand. Says Thakkar, “There will be a conversion from print to TV news channels in Gujarat. This is what has happened in other regional markets as well and here it will be more obvious as two print players are entering the TV business. We will also be launching AFP (advertiser funded programme) and see great potential in real estate and retail advertisers supporting the local news channels.”
What will also help in Gujarat is that its four main cities – Ahmedabad, Rajkot, Surat and Vadodara – are turning into mini metros. The spending capacity in these cities is increasing steadily and advertisers will want to capture this market.
The distribution cost will also ease as the main cities of Gujarat fall under digitisation in the second phase. “The carriage cost should fall after digitisation comes in in the next phase,” avers Murthy.
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.
