MAM
Travel Boutique Online (TBO) acquires strategic equity in Deyor Camps
MUMBAI: Travel Boutique Online has taken strategic equity in Deyor Camps, founded by Dheeraj Jain(Redcliffe Capital), Chirag Gupta, Aakaar Gandhi and Gautam Yadav, to meet the demands of unorganized sector of adventure travel market in India. The teams of Deyor Camps & TBO will work closely to sell campsites offered by Deyor Camps through vast network of TBO.
Travel Boutique Online, backed by Naspers is India’s largest B2B travel portal with more than 19,000 travel agents who are actively involved in selling their travel solutions. TBO enables its partners to serve their customers efficiently with the right pricing and inventory. With strategic equity in Deyor Camps, TBO will now create unique advantage for its partners by enabling them to sell branded campsites at more than 45 locations in India.
“Deyor Camps has been instrumental in sending 10,000 people for camping during its 1st quarter of operations. We have already become the preferred travel partners for backpacker groups, Biker Groups travelling to Leh-ladakh and Lahaul Spiti over the course of the summer. We want to further extend our offerings to every person who is looking to spend their holidays in midst of nature or simply wants to discover something new and adventurous. With TBO as our strategic partner, we will be able to reach out to its well – established database of consumers who trust TBO and its travel agents,” said Dheeraj Jain from Redcliffe Capital.
Speaking on this, Travel Boutique Online MD Ankush Nijhawan too said, “We are excited to announce our strategic equity in Deyor Camps, as the value proposition offered by Deyor Camps is unmatched in this market.”
“We are just a few days away from launching a technology platform, which will make booking camping trips as simple as booking a hotel room, hence, structuring a highly fragmented sector. We will have a dedicated team at Deyor, who will serve the requests received from TBO and to ensure transactions smoothly,” said Deyor Camps co founder Chirag Gupta.
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.
