MAM
Nielsen’s revised ratings system for NY gets thumbs down
MUMBAI: The efforts undertaken by Nielsen Media Research to change the way it measures television ratings in New York City have been dealt a setback by a leading industry association – the Media Rating Council (MRC) – that audits ratings services.
According to a media report, MRC declined to accredit the new system, using what are known as local people meters, until Nielsen addresses unspecified “noncompliance and performance issues” that turned up in an audit by Ernst and Young.
One media report however said that the decision by the council would not affect Nielsen’s plans to proceed with the change, which the company said would provide local stations more accurate ratings figures. The numbers are used to help set advertising rates and determine programming lineups.
Nielsen had postponed the change, to measure viewership with electronic meters rather than the current combination of meters and paper diaries, from 8 April after critics complained it would result in undercounting of black and Hispanic viewers.
The ratings service has used the electronic boxes since 1987 to gauge daily viewing patterns on a national basis according to age, gender and ethnicity. But Nielsen only recently decided to apply the system to local ratings, starting with Boston in 2002, said another media report.
The MRC panel represents nearly 50 broadcasters, cable organisations, advertising agencies, and trade groups that are Nielsen clients.
Its refusal to recommend accreditation to the MRC board of directors marked a victory for media mogul Rupert Murdoch’s News Corp. Ltd. and a coalition of civil rights activists and politicians who are seeking to block the roll-out of people meters in New York, Los Angeles and Chicago, according to one media report.
Critics opined in some media reports that the local “people meters” undercount minority audiences compared with the old system of measuring local viewer habits through pen-and-paper diaries recorded four times a year for the “sweeps” and have urged Nielsen to delay expansion of the system until an independent review can verify its accuracy.
However, Nielsen insists the new system is sound and that News Corp. is encouraging minority opposition because its Fox television stations in cities like New York and Los Angeles stand to lose local ratings through the more accurate people meters.
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.
