Digital
Spreading Happiness InDiya Foundation achieves significant milestone
Mumbai: With an aim to empower young students, Spreading Happiness InDiya Foundation (SHIF), a collaboration between former Indian cricketer Sachin Tendulkar (through Sachin Tendulkar Foundation – STF) and Schneider Electric India, a leader in digital energy management and next-generation automation, have reached a major milestone in their mission to empower young minds in rural areas through digital education. Through the flagship SMITA program, the Foundation has positively impacted 60,000 students across 300+ schools in India. Inspired by the success and in celebration of World Literacy Day, SHIF has committed to revitalising 500 rural government schools by 2025. It aims to touch the lives of more than 100,000 young learners across aspirational blocks of India.
At the heart of the SMITA program are ‘Digital’ classrooms, designed to bring digital education to rural areas while promoting sustainability. Till date, SHIF has equipped 300 schools with Digital classrooms, situated in some of the remotest corners of the country, also serve as hubs for fostering a community of ‘Green Ambassadors’ who are empowered to take proactive climate action. These classrooms, powered by renewable energy sources like solar, offer cutting-edge infrastructure and virtual training opportunities, helping schools reduce operational costs and expand access to quality education through virtual training.
Highlighting the importance of expanding digital education access, Sachin Tendulkar expressed, “The Spreading Happiness InDiya Foundation is dedicated to narrowing the digital gap by granting students access to high-quality education, while also imparting the significance of sustainability. SMITA program signifies our dedication to cultivating a generation of responsible and knowledgeable citizens who will guide us towards a sustainable future. Through the foundation, we are working to ensure that every child, regardless of their location, possesses the resources necessary to thrive in the contemporary world.”
Access to quality education is an integral pillar for achieving holistic sustainable development. The evolving digital world has necessitated the timely modernisation and upgradation of educational infrastructure for keeping the students ahead of the learning curve.
In line with this goal, Schneider Electric India zone president – Greater India, MD & CEO Deepak Sharma stated, “Schneider Electric is an impact-driven company, and education is fundamental for creating a lasting, sustainable impact. We believe that access to energy and education is a fundamental human right. Our Digital classrooms exemplify our commitment to leading energy and environmental conservation to empower rural communities. We have already positively impacted 60,000 children in 300 schools and aim to transform 500 schools by 2025. We are honoured to partner with Mr. Sachin Tendulkar to educate and empower our next generation, driving actions on climate change and sustainability.”
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.
