MAM
Lionsgate partners Dubai Parks & Resorts for ‘Hunger Games’ theme park attractions
MUMBAI: Continuing its roll-out of location-based entertainment venues around the world, Lionsgate has partnered with Dubai Parks and Resorts to bring a Lionsgate zone to motiongate Dubai, the Hollywood-themed park opening in Dubai in October 2016.
The Lionsgate zone will feature state-of-the-art theme park attractions and a retail facility inspired by Lionsgate’s global blockbuster The Hunger Games franchise. It will also incorporate a live stage show based on Step Up: All In and Step Up: Revolution, the two most recent films in the company’s worldwide Step Up franchise.
“Our franchises are continuing to drive location-based entertainment opportunities around the world. We’re proud to partner with the team at Dubai Parks and Resorts to create a thrilling total entertainment experience designed to attract millions of new fans and continue the global expansion of our brands,” said Lionsgate CEO Jon Feltheimer.
The four million square foot motiongate Dubai is anticipated to attract over three million visits a year and will take visitors on an immersive cinematic journey through their favorite films via 27 different latest-in-technology rides and attractions.
Dubai Parks and Resorts CEO Raed Al Nuaimi said, “We are thrilled to be working with a Hollywood studio whose creative resources, spirit of innovation and vision of the entertainment experience are so closely aligned with our own. Lionsgate’s Hunger Games, Step Up and other signature properties are the perfect centerpiece for one of the most visionary new theme parks in the world. Through this partnership we are offering even more for the whole family to enjoy on their visit and are confident that motiongate Dubai will set a global benchmark as the ultimate movie themed destination.”
“motiongate Dubai is poised to become one of the most exciting new entertainment destinations in the world, and we’re thrilled that many of our biggest franchises will be an integral part of it. The Lionsgate section of motiongate Dubai is an important milestone in our ongoing commitment to extend the longevity, broaden the global fan base and enrich the vitality of our most exciting entertainment properties it,” said Lionsgate EVP – global franchise management and strategic partnerships Kerry Phelan and SVP – branded attractions Jenefer Brown. “
Alongside motiongate Dubai, Dubai Parks and Resorts will include LEGOLAND Dubai, the first LEGOLAND theme park in the Middle East; and Bollywood Parks Dubai, a first-of-its-kind entertainment destination that will showcase the authentic Bollywood movie experience. These will be connected by Riverland, a retail, dining and entertainment walkway. The development will also feature Lapita, a Polynesian-themed resort catering to families.
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.
