Digital
Sharp rise in childhood myopia in India tied to excessive screen time, say experts
MUMBAI: India may face a myopia epidemic among children, with nearly 50 per centp expected to be affected by 2050 if current screen usage trends continue, according to projections in Ophthalmic & Physiological Optics.
As screens become part of daily life for young users, particularly for entertainment and education, doctors are flagging a spike in eye-related health issues among Indian children, ranging from myopia to digital eye strain, disturbed sleep, and even behavioural changes.
A recent study reported in the Times of India, citing findings from the journal Cureus, revealed that over 50 per cent of children under five who were exposed to extended screen time showed symptoms of digital eye strain. These included fatigue, headaches, sleep disturbances, and mood-related behavioural issues, raising concerns over long-term developmental impact.
“Prolonged screentime puts school-age children at a higher risk of ocular digital stress like increased incidence of myopia or near-sightedness, rapid progression of myopia, squint, and dry eye disease,” said Dr Deepti Joshi, MS, FIPO, Consultant in the Department of Paediatric Ophthalmology and Strabismus at MM Joshi Eye Institute in Karnataka. “Screen-emitted blue light poses a dual threat: damaging the retina due to free radicals and affecting overall health by suppressing melatonin and disturbing sleep.”
Between 1999 and 2019, myopia among urban Indian children aged 5 to 15 rose from just over 4 per cent to more than 21 per cent, according to a Times trend report. If this trajectory continues, researchers warn of a generational spike in vision impairment that may affect education, attention spans, and even emotional well-being.
In Rajkot, a survey by the Psychology Department at Saurashtra University found that 81% of children under 10 were regularly using screens, mostly to watch cartoons, during meals. The study underlines how digital devices have become deeply embedded in routines like eating, learning, and even sleeping.
Health experts now urge a two-pronged approach: limit screen time and encourage the use of devices that reduce visual strain.
“Instilling healthy screen habits early on is the key to safeguarding children’s eye health,” added Dr Joshi. “Setting a strict screen time limit is one-way parents can support the same. When screens are necessary for academics, follow the 20-20-20 rule: Every twenty minutes, take a twenty-second break and stare at something 20 feet away to alleviate digital eye stress. Using blue light filter modes can also help.”
While the bulk of responsibility still lies with caregivers, some tech companies are beginning to design products with eye health in mind. Devices like the OPPO Pad SE, for instance, include TÜV Rheinland-certified low blue light and flicker-free displays, intended to reduce visual strain.
The tablet also features Kids Mode, allowing parental controls on app access and screen time, along with adaptive eye-protection settings that respond to ambient light, helping reduce harsh contrasts in low-light use.
According to Oppo India head of product communications, Savio D’Souza said, “At Oppo, innovation isn’t just about performance metrics, it’s about designing technology that improves life in a measurable, meaningful way.”
What was once dismissed as a parenting challenge is now being recognised as a public health concern. With screens unlikely to disappear from children’s lives, experts agree the focus must shift to how screens are used—and how safe they are.
“It’s not about eliminating digital access for kids,” said Dr Joshi, “but about enabling safer and healthier use—starting with awareness and supported by responsible tech design.”
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.
