MAM
Online is second most consumed media after TV in rural India: Report
Mumbai: There has been an internet revolution in rural India, with online being the most consumed media after television, according to a joint report released by media agency GroupM and insights and consulting firm Kantar on Wednesday.
With respect to online content consumption, music/audio leads the pack at 69 per cent followed by news at 49 per cent and gaming at 33 per cent. Usage of video/OTT apps is driven by YouTube at 87 per cent (most in Rajasthan, AP/ Telangana, TN, and Bihar), followed by Disney+ Hotstar at 30 per cent (highest usage in UP, TN, Gujarat, Kerala), the report said.
WhatsApp and Facebook are the most used social media/ messenger platforms at 87 per cent (most in Rajasthan, AP / Telangana, Karnataka) and 66 per cent (most in Odisha, UP, Gujarat and West Bengal) usage respectively, according to the second edition of the Rural COVID Barometer report.
The report explores rural India’s concern about the impact of the second wave and how it alters consumer behaviour and purchase patterns. The research was conducted with Kantar’s data and insights network and Dialogue Factory’s rural marketing intelligence in eighteen Indian states, across rural adults (18+ years in age) with representation across gender, NCCS, and age groups.
Phone Pe is the most used digital payments app with 19 per cent of rural consumers having used these services in the last 6 months, says the report. Usage of Phone Pe is driven by Karnataka at 46 per cent followed by Rajasthan at 38 per cent.
Growth in the consumer durables and automotive (two-wheeler) sectors is likely to slow down in the next six months. However, the smartphone category is expected to see fast growth in the near future.
The construction sector is also expected to see a bounce-back with consumers expected to spend on building a house/undertake smaller construction work in the next six months.
As a result of the pandemic, rural consumption and shopping patterns have witnessed a major shift. With respect to retail channels, 56 per cent of consumers prefer local village shops for purchasing groceries, and 49 per cent for personal hygiene, and 45 per cent for cleaning products. Even big-ticket items like consumer electronics and durables are preferred to be bought at these local shops at 50 per cent and 46 per cent respectively.
Rural consumers are saving 25 per cent of their income, the report stated. Southern India (except for Tamil Nadu) is saving more in comparison to other parts of the country. As expected, expenses are higher on personal care, hygiene and cleaning products while spends on indulgence and beauty products have been deprioritised.
“The pandemic has evolved the rural consumer’s decision-making process. They are watching their spending and prioritising their buying patterns by the need of the hour,” said GroupM Dialogue Factory, head of experiential marketing – APAC, Dalveer Singh. “There is a positive acceptance of the vaccination and the upper- and middle-class rural Indians are being more proactive in financial planning to deal with covid constraints, which make these markets a significant place to introduce investment and savings products. There is a deep sense of uplift on the subject of India’s economic future.”
While rural India is concerned about the COVID situation in the second wave, most are also positive about economic recovery once the situation normalises. Nearly three in four rural households have received some form of assistance via government schemes, thus providing the much-needed financial cushion to consumers, the report stated.
“With a highly concerned rural consumer, rural India is planning finances better and inclined towards a savings mindset,” stated Kantar Insights Division, senior executive director, Puneet Avasthi. “We are witnessing a significant rise in digital payments as an important mode of transaction. With the change in consumption priorities in favor of health and hygiene products, FMCG marketers should leverage this trend for planning their innovation pipeline.”
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.
