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At Storyboard18’s Digital Entertainment Summit (DES) 2025, Jayesh Ranjan, Special Chief Secretary, Government of Telangana, made a strong case against blanket bans on online gaming and instead called for a more nuanced, long-term regulatory approach.

“The gaming sector offers economic potential, but also raises concerns like addiction, underage participation, and fraud. Blanket bans don’t work. While Telangana has had its own bans, I don’t believe that’s the long-term solution,” said Ranjan.

He also highlighted the limitations of the current national regulatory structure and emphasized the need for a more effective model:

“The current national approach of self-regulatory bodies (SRBs) hasn’t worked well either due to elite capture and fragmentation. We are now exploring a third model that balances innovation and consumer protection. It’s not an easy solution, but necessary.”

Telangana’s AVGC Push

In the broader context of India’s growing AVGC (Animation, Visual Effects, Gaming, and Comics) sector, Ranjan outlined how Telangana has emerged as a national frontrunner by combining early policy innovation, large-scale infrastructure, and industry-integrated skilling.

“Telangana recognized the potential of this sector much earlier than others. After becoming a separate state in 2014, we identified the AVGC sector as a flagship component of our digital economy. We were possibly the first state to come out with a progressive AVGC policy, and we’re now working on version 2.0. This policy was built bottom-up, addressing real challenges faced by the industry,” said Ranjan.

He added that Telangana’s approach has gone beyond policy announcements.

“Beyond policy, we’ve taken five concrete steps—most notably, the construction of the IMAGE Tower in Hyderabad. This is a 1.6 million sq. ft. Grade A facility with ₹1,200 crore of state investment. It’s expected to generate 30,000 jobs and attract over 150 VFX companies.”

Ranjan also highlighted the city’s growing cinematic dominance and its strong pipeline of industry leaders.

“In the last 15 years, 12 of the highest-grossing Indian films came from the South—9 of them from the Telugu industry. Even films from Tamil Nadu and Karnataka often have their post-production and VFX work done in Hyderabad.”

“We also have a significant leadership presence in this sector—about 15–16% of India’s top AVGC company CEOs are from Telangana.”

Telangana, unlike many other states, didn’t wait for AVGC momentum to build organically. It built a cohesive foundation proactively.

“Unlike many states, we didn’t wait for an organic ecosystem to emerge and then react. We preemptively built a cohesive one—combining policy, infrastructure, talent development, and incentives,” said Ranjan.

Read More:<a href="https://www.storyboard18.com/special-coverage/india-can-lead-in-avgc-but-industry-must-focus-on-finishing-skills-jayesh-ranjan-govt-of-telangana-at-storyboard18-des-2025-72123.htm" rel="noopener" target="_blank">India can lead in AVGC, but industry must focus on 'finishing skills': Jayesh Ranjan, Govt of Telangana at Storyboard18 DES 2025</a>

Read More:<a href="https://www.storyboard18.com/special-coverage/dr-mc-sarangan-of-tnoga-pushes-for-safe-gaming-ecosystem-at-storyboard18-des-2025-72197.htm" rel="noopener" target="_blank">Dr. MC Sarangan of TNOGA pushes for safe gaming ecosystem at Storyboard18 DES 2025</a>

Banning games is not the solution: Jayesh Ranjan, Govt of Telangana at Storyboard18 DES 2025

From packed stadiums to sold-out arenas, India's music scene is in the midst of a historic transformation. In 2024 alone, India hosted 30,687 live events across 319 cities, marking a remarkable 18% growth in live entertainment consumption, according to BookMyShow’s “Throwback 2024” report. The data highlights how live music—once a niche urban weekend plan—has become the benchmark of the new Indian cultural economy.

This evolution reflects not just a surge in audience demand but also a dramatic shift in industry strategy, infrastructure, technology, and brand marketing. International megastars like Coldplay, Ed Sheeran, Dua Lipa, and Bryan Adams now routinely include India on their tour calendars, while homegrown icons such as Arijit Singh, AR Rahman, and Anirudh Ravichander headline massive national tours that sell out in hours.

The appetite for live music is no longer confined to metros. As Andre Timmins, Co-Founder and Director at Wizcraft International Entertainment, points out, Tier 2 and Tier 3 cities now represent “the most exciting frontier for growth.” These cities are “culturally rich, digitally connected, and economically rising,” with audiences just as eager for premium, global-standard experiences.

“30% year-on-year growth in major concert footfalls and over 40% repeat audience loyalty underline the strength of this shift,” Timmins says, adding that India has made “undeniable strides” in production capability and event coordination since the days of Michael Jackson’s historic 1996 show. Yet, he cautions, India remains at a pivotal juncture on hard infrastructure: purpose-built, climate-resilient, multi-functional venues are still limited, though global giants like Live Nation and AEG are now eyeing the Indian market.

For fans, the boom has meant an explosion of choice—and a more inclusive space. Rahul Ganjoo, CEO of ticketing and event platform District, notes that India’s live music audience has expanded beyond traditional urban, demographically narrow circles. “Today, the audience is more inclusive, encompassing people from diverse backgrounds, age groups, and geographic locations,” he explains. Demand for big-name tours is no longer just a metro phenomenon: Diljit Dosanjh’s recent tour sold out so quickly it required adding multiple cities and extra shows, while Bryan Adams saw demand high enough to add new cities to his schedule.

“This surge is driven by first-time concertgoers across age cohorts actively seeking new cultural experiences,” Ganjoo adds. Digital discovery has also played a major role, exposing audiences to global fan engagement trends and creating demand for richer, more emotional experiences.

Supporting this evolution is a sophisticated new approach to ticketing. The organized live events segment has surpassed INR 12,000 crore in 2024, creating intense demand spikes that require more intelligent systems. “Ticketing is no longer just a sales mechanism,” Ganjoo says. “It has evolved into a strategic lever for discovery, access, loyalty, and even sustainability.” District, for instance, has introduced virtual queues to manage peak-hour surges, tiered pricing to reward early buyers, and partnerships with fintech players for exclusive pre-sales—like the HSBC deal for Arijit Singh’s tour.

Technology also enables better revenue diversification beyond tickets alone. BookMyShow Live’s Naman Pugalia describes how their events now emphasize “curated food and beverage options, exclusive merchandise, and other bespoke elements” to create immersive, value-adding experiences for attendees.

Pugalia credits a string of recent milestone events for proving India can deliver world-class shows. Coldplay’s Music of the Spheres Tour in Ahmedabad was a “watershed moment,” drawing over 222,000 fans across two nights. While U2’s 2019 Joshua Tree Tour set the early benchmark, the post-pandemic rebound has been even more dramatic, with events like Lollapalooza India and Ed Sheeran’s + - = ÷ x Tour demonstrating the country’s capacity for expansive, multi-city itineraries.

“This expansion signals a new era where live entertainment transcends boundaries,” says Pugalia, who also notes that Tier 2 and 3 cities are now “thriving hubs for out-of-home entertainment.” This decentralisation has been a game-changer not only for fans but for artists, who see strong demand even outside the traditional metro circuits.

The surge in concerts hasn’t gone unnoticed by brands. Music is a cultural heartbeat—and brands want in. Vineet Sharma, Vice President – Marketing & Trade Marketing at AB InBev India, explains that music has long been central to how Budweiser connects with India’s youth. From proprietary platforms like BUDX to global partnerships with Lollapalooza, DGTL, Sensation, and EDC, Budweiser has built its image on “championing bold, boundary-pushing voices.”

More recently, AB InBev’s BUDX NBA House campaign featured a blend of music, sport, and style with artists like Hanumankind, Parimal Shais, Baby J, and Shioriy Bradshaw. Their “Celebration in the Making” campaign for the FIFA Club World Cup is similarly multi-dimensional, featuring content drops, fashion collaborations, and local fan parks.

Sharma says this approach is all about offering “360° experiences that bring global excitement to local communities.” And they’re not alone. As Pugalia and Ganjoo both observe, brands from auto, CPG, retail, beauty, fintech, and food & beverage are now strategically investing in live events as powerful, immersive marketing touchpoints. D2C brands in particular are going beyond traditional sponsorship to co-create experiences—setting up booths, launching collabs, and building loyal, engaged communities around concerts.

Ultimately, India’s live music boom isn’t just about bigger crowds or global acts. It’s about a fundamental cultural shift, where live entertainment is evolving into a premium, immersive, and highly strategic industry. For fans, it promises more choice, better production, and richer experiences. For brands, it’s a chance to embed themselves at the heart of culture. And for the industry, it’s a sign that the best is yet to come.

<a href="https://www.storyboard18.com/how-it-works/from-concerts-to-cricket-bengaluru-tragedy-a-wake-up-call-for-indias-live-events-industry-68981.htm">Read More: From Concerts to Cricket: Bengaluru tragedy a wake-up call for India’s live events industry</a>

30% surge in footfalls, 40% repeat fans, why India's concert economy is exploding

The radio broadcasting industry in India has emerged as a surprise frontrunner in the media investment landscape for 2024, attracting ₹3,853 crore in Foreign Direct Investment (FDI) — its highest inflow since 2016. The figures, released in the Ministry of Information and Broadcasting’s Statistical Handbook on Media & Entertainment Sector 2024-25, mark a significant resurgence for the sector, which has been reinventing itself in a rapidly evolving audio ecosystem.

Overall, the Information & Broadcasting and Print Media sectors together secured ₹5,408 crore in FDI equity inflows in 2024, according to data published by the Department for Promotion of Industry and Internal Trade (DPIIT).

While the radio segment’s growth trajectory has turned heads, industry leaders are sounding the alarm on persistent structural challenges that could stifle future progress.

Sunil Kumaran, COO, BIG FM said, “The strong rebound in FDI can largely be attributed to the sector’s strategic pivot over the last few years. There’s been a significant shift from being just a radio broadcaster to becoming a holistic audio entertainment brand. The diversification into digital audio platforms, podcasts, on-ground events and influencer-driven content has opened new revenue streams and audience segments." 

Kumaran noted, "What also worked in the industry's favour was its deep hyperlocal connect, especially in tier 2 and tier 3 markets, something brands are actively looking to tap into. The emergence of multi-platform content strategies, where brands engage with audiences across radio, digital and social, also played a key role. This combination of stable cash flows from traditional radio and new growth areas like digital and branded content created a compelling case for investors.”

Talking about challenges faced by the sector, Kumaran added, "Measurement remains a key issue and we need more robust and inclusive metrics that reflect true listenership across cities and formats. Distribution, especially in digital, needs better infrastructure support. There are also policy bottlenecks that need attention, streamlining licensing and enabling smoother transitions to newer formats like digital radio. Ad rate correction is another area of concern; radio still delivers high impact and the rates need to reflect that value more fairly.” 

<a href="https://www.storyboard18.com/how-it-works/indias-ib-sector-draws-%E2%82%B95408-cr-fdi-in-2024-radio-rebounds-strongly-65661.htm">Read More: India’s I&B sector draws ₹5,408 cr FDI in 2024, Radio rebounds strongly</a>

Another veteran from radio industry suggested, “Growth of radio industry depends on the pace of policy that the government adapts. The sustained momentum will require further policy support and innovation in distribution and management. It is important that the government rolls out policies in consultation with the stakeholders to make it more robust and to enhance growth of the sector.” 

Ashit Kukian, Chief Executive Officer, Radio City said, “As we head into 2025, it’s clear the radio industry is standing at the cusp of a transformative era. The rollout of digital radio in 13 Indian cities is not just a tech upgrade but a chance to reimagine how we connect with listeners. With better sound quality, improved spectrum efficiency, and features like real-time traffic updates and visual content, digital radio opens up exciting new possibilities. That said analog radio still plays a vital role, especially across India’s cores. The future is about creating harmony between both.” 

Kukian said, “One of the most exciting shifts is how AI and automation are helping us personalize listener experiences. From intelligent playlists to dynamic ad formats, the medium is using data to understand moods, moments, and preferences. And the industry results show—radio ad volumes per station jumped by 80% in 2024 over 2020, with an 18% rise in Q4 alone compared to Q2, according to TAM AdEx. That’s not just growth; it’s renewed confidence in radio’s potential.”

Despite the optimism, a senior radio executive cautioned that the pace of policy evolution will dictate the long-term trajectory of the sector. “Sustained momentum will depend on whether the government acts in consultation with stakeholders to address licensing, distribution, and digital migration concerns.”

In sum, while India's radio broadcasting sector is experiencing a revival powered by investor confidence and tech-driven innovation, the road ahead hinges on policy support, fair valuation, robust measurement frameworks, and infrastructure upgrades — without which the industry’s growth story may face static.

<a href="https://www.storyboard18.com/how-it-works/ministry-of-i-19-bidders-pre-qualified-71714.htm">Read More: Ministry of I&B to hold mock e-auction on June 30 for 730 FM radio channels; 19 bidders pre-qualified</a>

<a href="https://www.storyboard18.com/how-it-works/the-2025-rollout-of-digital-radio-broadcasters-send-mixed-signals-51790.htm">Read More: The 2025 rollout of Digital Radio: Broadcasters send mixed signals</a>

Policy paralysis could stall India’s Radio revival despite ₹3,853 cr FDI boost

In a major regulatory development, the Competition Commission of India (CCI) has ordered an investigation against Asian Paints Ltd. for alleged abuse of its dominant market position, potentially violating provisions of the Competition Act, 2002, according to Moneycontrol.

It is to be noted that the probe stems from a complaint filed by Grasim Industries in November 2024. The complaint accuses Asian Paints of abusing its dominant market position to block fair competition by coercing dealers against engaging with Grasim’s paints division.

Read more: <a href="https://www.storyboard18.com/brand-marketing/birla-opus-vs-asian-paints-paint-wars-intensify-as-cci-set-to-probe-market-practices-69573.htm">Birla Opus vs. Asian Paints: Paint wars intensify as CCI set to probe market practices</a>


With over 53% of the country’s installed paint manufacturing capacity and a distribution muscle spanning more than 74,000 dealers and 1.6 lakh touchpoints, Asian Paints is alleged to have threatened to reduce dealer credit limits and cancel contracts if they stocked or sold Birla Opus products.

The development signals growing tensions in India's Rs 60,000 crore decorative paints industry, where Asian Paints has long held a near-monopoly. But with deep-pocketed conglomerates like Aditya Birla Group entering the fray, competition is heating up, both in the market and now in the regulatory corridors.

The allegations—of restricting dealers from stocking rival brands—mirror similar concerns raised earlier in a dismissed case filed by JSW Paints in 2022. This time, however, the scrutiny is sharper amid Asian Paints’ recent softening financials and the rise of serious contenders like Birla Opus.

CCI's formal investigation marks a significant moment in India’s paints sector, spotlighting long-standing concerns around distribution control, channel exclusivity, and dominance in traditional industries facing disruption from new players.


Read more: <a href="https://www.storyboard18.com/how-it-works/asian-paints-anti-competitive-allegations-raise-questions-on-brand-trust-open-doors-for-competitors-70958.htm">Asian Paints’ anti-competitive allegations raise questions on brand trust, open doors for competitors</a>


Storyboard18 earlier reported that dealers, though historically loyal to Asian Paints for credit support, sales consistency, and promotional backing, may gradually diversify inventories if confidence dips. Real estate developers, procurement agencies, and institutional buyers could also explore alternatives in a bid to mitigate risk.

Asian Paints' profit and revenue dropped significantly in fiscal year 2025. The company clocked a profit of Rs 3,585 crore in FY25, down 35% year-on-year. Whereas, the revenue from sales declined from Rs 31,093 crore in FY24 to Rs 29,421 crore in FY2025.

CCI orders probe against Asian Paints for alleged abuse of dominant position

While political tensions between India and Pakistan remain high, Sardaar Ji 3, the film starring Diljit Dosanjh and Pakistani actress Hania Aamir, has emerged as a cinematic flashpoint—celebrated across the border, yet controversial at home.

Premiering overseas on June 27, the Punjabi-language film has shattered records in Pakistan, becoming the highest-grossing Indian film in the country with a day-one earning of Rs 3 crore, surpassing Salman Khan’s Sultan (2016). Videos shared by Diljit on social media capture jubilant reactions from packed Pakistani cinemas.

The controversy stems from Hania Aamir’s involvement and the film’s release amid strained bilateral relations following the Pahalgam terror attack and subsequent Operation Sindoor. Though Sardaar Ji 3 skipped release in India due to the sensitive timing, its overseas success has reignited debates around cultural exchange, nationalism, and the role of artists during political crises.

Diljit and the producers have repeatedly clarified that the film was shot well before the Pahalgam attack, specifically in February 2024, when geopolitical tensions had not yet escalated. “When this film was made, everything was fine,” Diljit told BBC Asian Network, adding that the decision to release it internationally was driven by producers’ business interests.

Despite this, industry backlash continues. The Federation of Western India Cine Employees (FWICE) has threatened action against the singer-actor, while unconfirmed reports claimed he had been dropped from Border 2. 

Read More: <a href="https://www.storyboard18.com/how-it-works/bombay-to-goa-to-yeh-jawaani-hai-deewani-why-bollywood-classics-are-back-on-big-screens-52342.htm">'Bombay to Goa' to 'Yeh Jawaani Hai Deewani': Why Bollywood classics are back on big screens</a>

Diljit Dosanjh's 'Sardaar Ji 3' breaks records in Pakistan amid boycott calls in India

Somasree Bose Awasthi has officially stepped down as Chief Marketing Officer at Marico. She joined the homegrown consumer goods company in 2022. 

The company's spokesperson told Storyboard18, “Somasree Bose Awasthi was associated with Marico as its Chief Marketing Officer and stepped down from her role due to personal reasons. 

During her tenure at Marico, Somasree played an institutional role in strengthening marketing talent, processes, and ways of working, and helped shape a robust innovation pipeline. We wish Somasree continued success in her future endeavours.”

Read more: <a href="https://www.storyboard18.com/brand-makers/marico-appoints-somasree-bose-awasthi-as-chief-marketing-officer-3146.htm">Marico appoints Somasree Bose Awasthi as chief marketing officer</a>


Awasthi joined Godrej Consumer Products in 2007 as Deputy General Manager and went on to become Chief Marketing Officer in 2021. She worked on various brands including Godrej No. 1, Cinthol, Protekt and Aircare (Godrej Aer).

Before Godrej Consumer, Awasthi worked with Godrej Sara Lee as Manager (Marketing). She started her career with CavinKare in 2002 as a Summer Intern.

Awasthi completed her MBA from Xavier Institute of Management (Bhubaneswar) in 2003 and Bachelor of Engineering (BE), Industrial Engineering from RKNEC, Nagpur in 2001.

Somasree Bose Awasthi steps down as Marico CMO after two years in role

The Supreme Court on Monday dismissed a plea filed by former cricket administrator Lalit Modi seeking an order to the Board of Control for Cricket in India (BCCI) to pay a penalty of ₹10.65 crore imposed on him by the Enforcement Directorate (ED) for violating the Foreign Exchange Management Act (FEMA).

A Bench of Justices P. S. Narasimha and R. Mahadevan, however, clarified that Modi will be entitled to avail civil remedies as available according to law.

Earlier, on December 19, 2023, the Bombay High Court had imposed a cost of ₹1 lakh on Modi while dismissing his petition seeking the same relief. The high court ruled that the petition was “frivolous and wholly misconceived” as the adjudication authority under FEMA had imposed the penalty on Modi in his personal capacity.

During Monday’s hearing, the Supreme Court posed a direct question to Modi’s counsel: “Why have they not given it (interim relief) to you?”

To this, the lawyer responded: “It is personal... But in all fairness, when I filed it before an appellate authority of PMLA — not only was I a party but Mr. N Srinivasan and other officers were also parties. The interim order protects these people on the same footing, saying that BCCI should deposit ₹10 crore. That order is also placed on record.”

In his plea, Modi had argued that he was serving as vice president of the BCCI and chairman of the Indian Premier League (IPL) governing body — a subcommittee of the BCCI — at the time of the alleged violation. He claimed that BCCI was obligated to indemnify him under its bylaws.

“All I am saying is that, today, in case that appeal is not held in my favour — ultimately it is an interim order — I may at least be relegated to a civil suit,” Modi’s counsel submitted.

The Court agreed, stating: “Then we will say that... You withdraw this, your rights are kept intact to approach the court by filing civil suit.”

Accordingly, the plea before the apex court was disposed of. The official order read: “Counsel for Lalit Modi very fairly stated that even if the petition under Article 226 is not maintainable, the appellant should be entitled to avail civil remedies... Recording this statement, the Special Leave Petition is disposed of.”

The Bombay High Court had, in its ruling, cited a 2005 Supreme Court judgment stating that the BCCI does not fall under the definition of a “state” under Article 12 of the Constitution. The HC noted that “despite clear orders from the apex court, Modi filed this petition in 2018.”

It added: “In matters of alleged indemnification of the petitioner [Modi] in the context of penalties imposed upon the petitioner by the ED, there is no question of discharge of any public function, and therefore, for this purpose, no writ could be issued to the BCCI.”

“In any event, the reliefs are wholly misconceived. This petition is frivolous, and accordingly, we dismiss this petition,” the court concluded, directing Modi to pay ₹1 lakh to Tata Memorial Hospital within four weeks.

SC rejects Lalit Modi’s plea seeking BCCI to pay ₹10.65 cr FEMA penalty

Innerwear and athleisure brand Jockey has launched JKY Groove collection to target India’s Gen Z and younger fashion-forward consumers with a foray into athleisure and trend-first styling. “JKY Groove is built for the younger consumer as it reflects their lifestyle and aspirations. Our USP continues to be the best in terms of comfort and quality. We’ve layered trend on top of it,” said Nihal Rajan, Chief Marketing Officer, Jockey India. 

With 3 to 3.5% of net revenue allocated to marketing, the brand opts for flexible, objective-led budget deployment rather than a fixed media mix. Mass categories continue to leverage outdoor and digital. For JKY Groove, the brand is rolling out a digital-first campaign, led by influencers across social platforms. “This is a digitally native consumer, so the campaign is digital-first. We don’t start by saying we’ll spend X% on a channel. We begin with the objective. Our influencers reflect brand philosophy and brand authenticity,” Rajan said.

Visual merchandising in stores, including eye-catching window displays and dedicated VM units, will complement the online blitz. The creative idea, developed by agency Fundamentals, hinges on the theme “Fit Check? Checked.”

The innerwear market in India is expected to reach a projected revenue of $20,478.1 million by 2030 with a compound annual growth rate of 7.6% from 2024 to 2030, as per a report by Grand View Research. Victoria's Secret & Co, Amazon.com Inc, Hanesbrands Inc and Jockey International being the market leader.

In Q4 FY25, Jockey reported a sales volume growth of 8.5% year-on-year. While revenue for the quarter stood at Rs. 1,098 crore, marking a 10.6% YoY increase. The profit after tax (PAT) rose 51.6% YoY to Rs. 164 crore. For the full fiscal year FY25, the company recorded revenue of Rs. 4,934 crore, reflecting 8.0% YoY growth and PAT growing 28.1% to Rs. 729 crore. 

Q-Comm gathers pace!

Despite being a traditionally offline-led category, Jockey is seeing solid traction on quick commerce platforms like Blinkit and Instamart, especially for essentials like innerwear, tees, shorts and towels. “We’ve seen good traction even for a category like ours that’s usually store-driven. We view it as a long-term opportunity as dark store networks and urban pin-code coverage expand. These are still early days… as quick commerce matures, the market and business will evolve,” he added.

Across channels, e-commerce delivered double-digit growth in the past year, with Myntra and Amazon emerging as key drivers. While retail and distribution remain strong, the brand maintains an omnichannel balance. “We wouldn’t compromise one for the sake of growth of another. Expansion in tier 2, 3 and 4 towns through exclusive brand outlets and multi-brand formats is also fueling wider accessibility."

The core men’s innerwear category continues to dominate sales, followed by women’s innerwear and athleisure. “We still are dominated by innerwear, which really is our market leadership position.”

Read More: <a href="https://www.storyboard18.com/brand-marketing/beyond-bras-enamor-to-launch-new-brand-avatar-in-october-to-target-genz-67739.htm">Beyond Bras! Enamor to launch new brand avatar in October to target GenZ</a>

Jockey taps GenZ with trend-first styling; ups spends on digital and Q-Comm

At a time when India is seeking a larger role in the global entertainment economy, policymakers and industry leaders gathered in New Delhi last week to chart a path forward. The Storyboard18 Digital Entertainment Summit, held on June 27 at The Leela Palace, convened government officials and business executives to outline India’s ambitions in digital entertainment, emphasizing the convergence of talent, technology, and governance as the drivers of growth. The event, reflecting the ambitions set at the government’s World Audio Visual and Entertainment Summit (WAVES), drew a roster of industry luminaries who shared insights on the opportunities and challenges shaping India’s digital future.


<img src="https://images.storyboard18.com/storyboard18/2025/06/RAVI5803-2025-06-c2fd79b7c62d997d83492f7bc41327a5-scaled.jpg" alt="" width="2560" height="1707" class="aligncenter size-full wp-image-72430" />


- L Murugan, Minister of State for I&B and Parliamentary Affairs, Government of India discussed on 'Empowering Bharat Through Digital Entertainment'.


<img src="https://images.storyboard18.com/storyboard18/2025/07/RAVI5829-2025-07-b48fdb7b55c7a4213f6905243f543d86-scaled.jpg" alt="" width="2560" height="1707" class="aligncenter size-full wp-image-72483" />


- (From left to right) Ananay Jain, Partner, Grant Thornton; Piyush Kumar, Founder & CEO, Rooter; and Shivani Jha, Founder, EPWA spoke on 'Responsible Digital Entertainment'


<img src="https://images.storyboard18.com/storyboard18/2025/07/RAVI5851-1-2025-07-84b178c75886ec5b15f07e72a6b28776-scaled.jpg" alt="" width="2560" height="1707" class="aligncenter size-full wp-image-72484" />


- Brijesh Singh, Principal Secretary, Directorate General of Information & PR, Maharashtra discusses on 'Role of States in promoting gaming industry'


<img src="https://images.storyboard18.com/storyboard18/2025/07/RAVI5823-1-2025-07-ef9e0654bef0b8aa96020c0f2190c680-scaled.jpg" alt="" width="2560" height="1707" class="aligncenter size-full wp-image-72482" />


- Minister Murugan captured having a light hearted moment with MC Sarangan, Member, Tamil Nadu Online Gaming Authority


<img src="https://images.storyboard18.com/storyboard18/2025/07/RAVI5879-2025-07-18b93dc328533b7cd927b990641e2a02-scaled.jpg" alt="" width="2560" height="1707" class="aligncenter size-full wp-image-72487" />


- (From left to right) Harnit Khatri, gaming influencer; Tanmay Singh, Esports athlete and influencer; and Mehek Sayed (Miz), gaming influencer touched upon 'Gaming and the creator economy' with CNN-News18's news anchor Toya Singh


<img src="https://images.storyboard18.com/storyboard18/2025/07/RAVI5895-2025-07-2d2e92e046595ec85cd0d9a284553059-scaled.jpg" alt="" width="2560" height="1707" class="aligncenter size-full wp-image-72489" />


- Rohit Gupta, CEO & Founder, Dream Game Studios


<img src="https://images.storyboard18.com/storyboard18/2025/07/RAVI5908-1-2025-07-a317755535b69fb19550ca578f029a90-scaled.jpg" alt="" width="2560" height="1707" class="aligncenter size-full wp-image-72490" />


- (From left to right) Gopal Jain, senior counsel; Dhruv Garg, gaming and tech lawyer; Nandan Kamath, Principal Lawyer, LawNK; and Rakesh Maheshwari, former senior director, Meity conversed on 'Effective regulatory structure for online gaming in India' with independent legal advisor Gowree Gokhale


Read More: <a href="https://www.storyboard18.com/special-coverage/in-photos-at-des-2025-india-charts-ambitious-course-for-digital-entertainment-leadership-72333.htm">In Photos: At DES 2025, India charts ambitious course for digital entertainment leadership</a>

In Photos: Policymakers, stakeholders map a digital entertainment future at DES 2025

At the Leela Palace in New Delhi last week, the Storyboard18 Digital Entertainment Summit unfolded as India sharpened its ambitions to lead the global digital entertainment economy. The gathering, held on June 27, reflected the ambitions set at the government’s high-profile World Audio Visual and Entertainment Summit earlier this year, highlighting the sector’s growing weight in the country’s economic strategy.

Senior policymakers laid out how India plans to harness talent, technology, and governance to drive growth in the fast-evolving digital entertainment landscape. The event drew a roster of industry leaders and government officials who shared insights on charting a future-ready path for one of the country's most dynamic sectors.

Here are some of the voices who offered a closer look at how India aims to shape the next chapter of its entertainment economy.

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- Jayesh Ranjan, Special Chief Secretary, Government of Telangana engaged in a fireside dialogue

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- Sanjay Jaju, Secretary, Ministry of Information &amp; Broadcasting, Government of India

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- Rohit Gupta, CEO &amp; Founder, Dream Game Studios, discussed on 'Game On: How Dream Cricket 25 Is Leveling Up India’s Digital Entertainment Landscape'

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- Jaju spoke on 'India's Growth as a Global Entertainment Leader'.

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- Dilsher Singh Malhi, Founder &amp; CEO, Zupee

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- (From left to right) Industry experts Manvendra Shukul, Founder, Lakshya Digital; Sridhar Muppidi, Chairperson, Game Developer Association of India; Akshat Rathee, Co-founder &amp; MD, Nodwin Gaming, engaged in a discussion on 'Gaming as a global cultural soft power for India'.

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- (From left to right) Deepak M V, CEO, Open Play Technology; Roby John, Founder, SuperGaming; Anurag Choudhary, Founder, Felicity Games; and Abhishek Ravi, CIO, Dream Sports.

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- (From left to right) Nodwin Gaming's Rathee, Lakshya Digital's Shukul, Game Developer Association of India's Muppidi, and Zupee's Malhi caught in one frame.

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- MC Sarangan, Member, Tamil Nadu Online Gaming Authority

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- (From left to right) Roland Landers, CEO, All India Gaming Federation (AIGF); Salone Sehgal, Founder &amp; Managing Partner, Lumikai; and Meghan Bal, Director, ESYA Centre, speak on 'Online Gaming - A key Contributor to India's Trillion Dollar Economy'.



Read More: <a href="https://www.storyboard18.com/special-coverage/in-photos-policymakers-stakeholders-map-a-digital-entertainment-future-at-des-2025-72406.htm">In Photos: Policymakers, stakeholders map a digital entertainment future at DES 2025</a>

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