MAM
Agoda: Goa emerges as top destination for Republic Day weekend
Mumbai: As India gears up for the year’s first long weekend, domestic getaways are on the card for travellers. Digital travel platform Agoda has revealed the top locales that Indians will be exploring during the upcoming Republic Day weekend. For the second year running, Goa emerged as the most searched destination, followed by Puducherry, Jaipur, Ooty and Mahabaleshwar.
Goa is a traveller’s favourite year-round, and the Republic Day weekend will be no different. The city is known for its vibrant nightlife and is home to pristine beaches, alluring forts, and local delicacies. Coming in second after Goa was Puducherry, another coastal destination, which offers a unique blend of French and Indian cultures. The town is home to mesmerising architecture, and stunning beaches, and is a wellness paradise.
Jaipur, also known as the pink city, claimed the third spot on the list. Jaipur has captured travellers’ attention because of its rich heritage and the abundance of sightseeing experiences on offer. With culinary delights, shopping experiences at the local markets, and the chance to explore landmark palaces, Jaipur caters to the varied preferences of any travel enthusiast.
The growing popularity of the other two destinations in the top five – Ooty and Mahabaleshwar – revealed that scenic beauty is an important driver for travel preferences this Republic Day weekend. The two hill stations offer stunning views and unique experiences, from strawberry picking in Mahabaleshwar to exploring the aromatic tea plantations of Ooty. Both cities provide a perfect canvas to travellers seeking a relaxing weekend trip.
Agoda country director India, Sri Lanka, and Maldives Krishna Rathi shared, “As 2024 kicks off, the first long weekend is clearly marked in the calendars of many Indian travellers. Agoda’s booking data highlights an interest in diverse destinations that offer a mix of cultural, culinary, and local experiences. Mirroring the trend in 2023, Goa, Puducherry and Jaipur have yet again emerged as the top choices for a domestic getaway. We expect to see similar excitement for domestic and international trips from Indian travellers and look forward to helping them see the world for less with the great deals on Agoda’s platform.”
Agoda, offering over 3.9 million holiday properties, flights, and activities that can be booked together, is at the forefront of making travel easy and accessible. For Indian tourists looking to explore domestically or abroad, Agoda’s platform provides an ideal gateway for a hassle-free and memorable travel experience.
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.
