India’s creative ambition has swept the world

India’s Media and Entertainment (M&E) sector is standing at the cusp of remarkable innovation, transformation, creativity and quest for being the global content hub. What was once a conventional industry is now a pulsating creative force, where traditional storytelling merges with cutting-edge technology, and content creators are quietly and consistently pushing the boundaries of what digital entrepreneurship can look like.

This isn’t just about numbers or growth charts anymore, it’s about shaping culture, inspiring movements, and placing India firmly on the global creative map. Welcome to India’s M&E sector, a sprawling canvas we’re filling with vibrant orange hues, one bold stroke at a time. We’ve stepped into what economists now call the Orange Economy, a creative economy rooted in intellectual property, culture, and innovation. And in India’s case, this isn’t theory, it’s being lived every day. Whether it’s a film shoot in Ramoji, a gaming studio in Bangalore, a web series in Delhi, or a podcast in someone’s bedroom in Lucknow, this economy spans every shade of creativity and expression.

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The shift is clear; creativity isn’t just celebrated, it’s finally being counted as economic capital. What began as baby steps eleven years ago, has culminated in a giant leap that has transformed the Media and Entertainment ecosystem 360° with focus on harnessing India’s potential as a creator of rich content, cross-cultural dialogue, knowledge and storytelling within this ecosystem At the WAVES 2025 summit, Prime Minister Modi laid it out with clarity; India isn’t here to play catchup. The theme, “Connecting Creators,” wasn’t just a line, it was a declaration. We are looking at a future where collaboration, across platforms, formats, and even countries, is the heartbeat of progress.

And the data? It’s not just promising, it’s staggering. According to EY, India’s creator economy is growing at a compound annual growth rate of 18 per cent. From Rs 19 billion in 2023, we’re heading toward Rs 34 billion by 2026. But beyond the numbers lies something more vital, the proof that India’s creative backbone is getting stronger, bolder, and more indispensable to the larger economic narrative. By 2028, India is set to become the third-largest M&E market in the world. Let that sink in. We’re no longer a satellite orbiting global culture; we’re becoming one of its primary sources. That shift is visible everywhere: in the deals being signed, the global remakes of Indian IPs, the Oscar shortlists, and in the cultural fluency with which Indian stories are now received.

We’re living in a moment where Indian content flows across borders faster than a meme. Geography and language are no longer barriers; they’re launchpads. Whether it’s a Tamil thriller trending in Tokyo or a Punjabi track tearing through charts in Toronto, one thing’s clear: our stories are being heard, seen, and felt. And no, they don’t need translation, but subtitles help. The beauty of India’s M&E sector today lies in its multi-dimensional value. It informs, through news, educational content, and civic platforms. It entertains, through immersive films, short reels, and expansive gaming worlds. It sells, by blending content with commerce in ways that feel seamless.

And it builds, by giving people platforms to express themselves, grow professionally, and turn creativity into livelihood. That’s the magic of this moment. Creation and consumption are both democratized. A 15-second reel can spark conversations; a Twitter thread can reshape public opinion. You can go from scrolling to storytelling in seconds. The lines have blurred, in the best way possible. And while audiences are hungrier than ever for fresh, authentic content, the real gamechanger has been technology. New revenue streams are emerging by the minute, from virtual reality shows to AI-generated music, blockchainbacked ownership of content, and participatory storytelling that lets the viewer shape the plot.

What felt like science fiction five years ago is now just another day at the M&E office. This sector is no longer about delivering content, it’s about delivering experiences. Think unified search tools across OTTs, seamless logins, subscription management, and personalized recommendations so sharp they know you better than you know yourself. These aren’t just tools; they’re the future of audience loyalty. Over the past eleven years, evolution has been nothing short of a metamorphosis. We’ve moved from linear, one-way broadcasting to a dynamic, two-way ecosystem of storytelling, discovery, and emotional connection. Today’s M&E sector is not just a marketplace; it’s a movement that has been given the push of “Vasudhaiva Kutumbakam” by the Prime Minister.

We are witnessing a “Jugalbandi” of themes, ideas coupled with new approaches and strategies. And if there’s one way to frame this transformation, it’s through the 4 Vs: Vision, Value, Voice, and Variety. Together, they’ve created a foundation where M&E isn’t just a sector; it’s a statement. Of intent, of identity, of India’s global creative ambition. We’re at a point now where opportunities are overflowing. There’s space for consolidation, fresh formats, new partnerships, and business models we haven’t even imagined yet. Whether you’re a legacy broadcaster or a lone content creator, there’s a seat at the table. Because this isn’t just an industry; it’s a revolution.

Call it what you will, a cultural moment, a creative uprising, or simply a sector on steroids. But one thing’s for sure: the M&E space has become a Mahakumbh of ideas. Everyone’s converging, techies, artists, marketers, musicians, animators, producers, dreamers. And what’s coming out of that confluence? Something bold, something original, something unmistakably Indian. As India walks, runs, and sometimes sprints toward becoming a global entertainment superpower, one truth emerges above all: the orange economy is not just a metaphor anymore. It’s real, it’s roaring, and it’s redefining not just how the world sees Indian creativity, but how Indian creativity sees the world.

(The writer is a former civil servant, who writes on cinema and strategic communication. The views expressed are personal. Inputs for this article were provided by Zoya Ahmad and Vaishnavie Srinivasan.)