MAM
Time Warner is world’s top media owner: Zenithoptimedia
MUMBAI: Time Warner occupies the top spot in Zenithoptimedia’s ranking of the leading 30 global media owners.
Time Warner generates US$30 billion which is 13 per cent out of the total $215 billion that the top 30 global media owners earn in media revenue
The US has by far the most media owners in the ranking, followed by – in descending order – Japan, France and the UK, Germany, Italy and Mexico.
Two new-media companies – Google and Yahoo – are in the top 30. ZenithOptimedia’s ranking of the world’s biggest media owners is based on their revenues from activities that support advertising.
Some companies on the list are entirely media-focussed; others are corporate giants for which media forms only a small part of their overall turnover. ZenithOptimedia’s ranking strips out the non-media revenues to provide a true measure of each company’s size and power in the media market.
The ranking is based on revenues for 2005, or the nearest equivalent for companies whose financial years are different from calendar years. Some companies’ media revenues are therefore from the financial years ending in March 2006 or June 2006.
Time Warner is by some distance the largest media owner in the world, with $30 billion in media revenue. News Corp, the second-largest, generated just over half that – $17 billion.
The five top media owners are all based in the US. Each has at least a half share in a US television network, but their other holdings vary in nature and international extent. In all, 16 of the top 30 media owners are from the US. The other countries with media owners in the top 30 are Japan (with four representatives), France and the UK (with three each), Germany (two) and Italy and Mexico (one each).
Two new-media companies are in the top 30: Google, at 13th, and Yahoo! at 15th. The ranking forms part of a new report from ZenithOptimedia called the Top Thirty Global Media Owners. The report provides an overview of each media owner’s operations and lists the media properties they own, along with key personnel, media shareholdings, and financial data.
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.
