MAM
Who is the most valuable celebrity brand in India?
MUMBAI: A flip through various channels and one can see film stars and cricketers selling chocolates to balms to the consumers.
There is no doubt that celebrity brand endorsements have come a long way in the country over the past three decades. As television spread to the masses and Doordarshan found its way into several homes in the country, companies and advertisers were quick to tap the new medium, giving several memorable advertisements to consumers, that some would say did more for the stars than they did for the brands.
Over the last decade, the celebrity endorsement space has evolved significantly. Not only have new mediums of advertising sprung up (internet, digital media and social networks), but also “celebritydom” is no longer limited to just Bollywood stars and cricketers. The Indian Premier League, Pro-Kabaddi League and Indian Badminton League have given several new sports stars in addition to our Olympians, Asian and Commonwealth Games medal winners and World Champions.
American Appraisal, an independent global firm providing valuation and related advisory services for business, financial, legal and tax purposes, has launched the first edition of ‘Waiting for the Encore’, a concise report on India’s most valuable celebrity brands.
The report tries to answer a few questions. Who is the most valuable celebrity brand in India? More importantly, how can one assess the value of a particular celebrity’s brand?
The baadshah of Bollywood, Shah Rukh Khan, tops the brand chart and is valued at $164.9 million, leaving behind the legend, Amitabh Bachchan. The shenshah stands at number 13 with $28.4 million while Indian cricket team captain MS Dhoni ranks higher than other Khans at number 3 and valued at $71.9 million.
“While the youth brigade of Indian celebritydom ranks high on the popularity scale, brand values remain highest for celebrities who have stood the test of time. Brand Shah Rukh, valued at over $160 million, is here to stay,” says American Appraisal vice president Kapil Bellubi.
The report goes on to highlight that the top 15 celebrities generated over Rs 11 billion in endorsement fees in 2013-14 alone. Celebrities themselves are no longer just using brand endorsements as something to bridge an income gap between films and games. A significant proportion of a celebrity’s annual income, close to 50 per cent to 75 per cent, is generated through brand endorsements.
It goes on to report that celebrities understand that being affiliated with brands like Coke or Pepsi means that their images and likenesses may be associated with Coke or Pepsi whose reach even to the remotest part of the country can be more valuable to the celebrity than the fee that they hope to receive. Similarly, youth-centric iconic brands like Levis, Guess and luxury brands like Rado, Tissot or Louis Vuitton command immense brand presence and celebrities are normally happy to be associated as brand ambassadors for even a fraction of their normal fees. Alcohol and tobacco brands provide the best compensation, though A-Listers tend to steer clear of promoting these brands mainly on account of the potential for negative publicity.
The report states that viewers have higher recall for celebrity endorsed brands and associated credibility were the most compelling reasons for running a celebrity campaign.
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.
