Digital
TAM Ad Ex: YouTube leads as both a web publisher and an app in terms of ad impressions, in Jan-Mar’23
Mumbai: As per the recent TAM Ad Ex report on Digital Advertising for the period Jan-Mar’23, the digital medium witnessed an increase in ad impressions by 33 per cent in Jan-Mar’23, compared to Jan-Mar’21. Ad impressions in Jan-Mar’23 observed a minor drop i.e. one per cent compared to Jan-Mar’22.
Services was the leading sector with 45 per cent share of ad Impressions during Jan-Mar’23. The top two sectors together added 54 per cent share of ad Impressions on digital. Personal accessories and textiles/clothing were the only two new entrants in the top 10 list of sectors.
Amongst the leading categories, six out of the top 10 categories were from Services sector. Ecom-media/entertainment/social media was the prominent category with 8 per cent share of ad Impressions during Jan-Mar’23. Cars, ecom-food/grocery and life insurance were the new entrants among the top 10 categories in Jan-Mar’23 compared to Jan-Mar’22. The top 10 categories added 41 per cent share of digital ad impressions.
There were 40k+ exclusive advertisers present in digital and 1200+ common advertisers between TV and digital mediums during Jan-May’23. Snapchat was the leading exclusive advertiser among the digital and TV mediums during Jan-Mar’23.
240+ categories registered positive growth. Based on the difference in ad impression, ecom-online shopping leads the list of top 10 growing categories in Jan-Mar’23 over Jan-Mar’22. In terms of growth percentage, the hosiery category witnessed the highest growth among the top 10 i.e. 12 Times followed by aerated soft drink, and airlines with 6.1 times and 5.7 times respectively. The hosiery category witnessed growth by 11 times during Jan-Mar’23 compared Jan-Mar’22.
YouTube leads as both a web publisher and an app in terms of ad impressions. YouTube, followed by Aajtak.in leads the list of web publishers in the Jan-Mar’23 quarter. While among apps, again Youtube leads the list, followed by Cricbuzz. During Jan-Mar’23, YouTube alone had 36 per cent of ad impressions.
Mobile display was the leading digital platform with 29 per cent share of ad impressions during Jan-Mar’23 followed by in-app display with 27 per cent share. Programmatic was the most popular method for promoting ads on digital platforms, accounting for 63 per cent of total ad impressions, followed by the ad network method with an 18 per cent share in Jan-Mar’23.
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.
