Digital
Twitter sues Elon Musk for breaching $44 bn deal, he reacts with a meme
Mumbai: Tesla CEO Elon Musk was quick to react to a lawsuit filed against him by Twitter for breaching the $44 billion contract in his trademark maverick style – with a meme.
Twitter recently sued the billionaire for violating the deal to buy the micro blogging platform, accusing him of hypocrisy and asked a Delaware court to order Musk to complete the merger at the agreed $54.20 per Twitter share, according to a court filing.
“Musk apparently believes that he – unlike every other party subject to Delaware contract law – is free to change his mind, trash the company, disrupt its operations, destroy stockholder value, and walk away,” stated the lawsuit.
“Twitter brings this action to enjoin Musk from further breaches, to compel Musk to fulfil his legal obligations, and to compel consummation of the merger upon satisfaction of the few outstanding conditions,” Twitter asserted in the lawsuit.
In response to the news of the lawsuit, Musk took to the microblogging site and simply tweeted, “Oh the irony lol.” Earlier, he had responded to reports of Twitter taking him to court with a hilarious meme which seemed to take potshots at the social media giant’s decision.”
The meme, accompanied by images of a laughing Musk, read: They said I cannot buy Twitter. Then they wouldn’t disclose bot info. Now they want to force me to buy Twitter in court. Now they have to disclose both info in court.
The lawsuit could be the beginning of a long-drawn-out legal battle with both parties unwilling to climb down from their stances, as Twitter seeks to hold Musk to his deal to pay $44 billion for the company. The litigation accused Musk of “a long list” of violations of the merger agreement that “have cast a pall over Twitter and its business.”
Last week, the Tesla CEO said he was terminating the merger because Twitter violated the agreement by failing to respond to requests for information regarding fake or spam accounts on the platforms. Musk said the lack of information about spam accounts and inaccurate representations amounted to a “material adverse event.”
The standoff between the two parties has been ongoing for a while now, specifically since April this year when Musk reached an acquisition agreement with Twitter at $54.20 per share in a transaction valued at approximately $44 billion. Since then, however, Musk has been challenging Twitter’s claim that less than five per cent of accounts on the platform are bots or spam, even putting the deal on hold in May to allow his team to review the veracity of Twitter’s claim.
ALSO READ | The Twitter-Elon Musk tussle: To be ‘bot’ or not to be
In June, Musk had openly accused the social media company of breaching the merger agreement and threatened to walk away and call off the acquisition of the micro blogging site for not providing the data he has requested on spam and fake accounts.
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.
