MAM
Faasos launches an all-new range of Shawarma
Mumbai: The flagship wrap brand by Rebel Foods, the internet restaurant, Faasos, steps up its game with the launch of an all-new Sharama range. Already making waves across 335 locations in over 75 cities, Faasos’ Shawarma is pegged to be more than a dish but an emotion-binding food enthusiast nationwide. This launch establishes Faasos as the biggest Shawarma player in the country, introducing a line of eight extraordinary Shawarma variants, each promising a seared, smoked, and sizzling experience. These new variants include Classic Peppy Chicken, Special Smoky Chicken, Sizzled Falafel, Paneer Tikka to name a few.
Some of the new variants include:
Classic Peppy Chicken Shawarma- Wrap your taste buds around warm kuboos or rumali roti with spiced chicken, creamy hummus, garlic mayo, pickled veggies, and french fries. You don’t need a genie to satisfy this food craving!
Special Smoky Chicken Shawarma- Brace yourself for a Mediterranean treat inside warm kuboos or rumali roti, loaded with juicy, marinated grilled chicken, velvety hummus, garlic mayo and french fries!
Sizzled Falafel Shawarma- Experience Turkish magic wrapped in warm kuboos, with loaded toppings of crispy fried falafels, garlic mayo, creamy hummus, french fries and pickled veggies inside.
Paneer Tikka Shawarma- Your Lebanese cravings have met their match! Bite into paneer shawarma wrapped in warm kuboos, loaded inside with marinated paneer tikka, garlic mayo, hummus, french fries, pickled veggies and cabbage!
Building on this excitement, Faasos has amplified this launch with a Shawarma Fest, between the 11th and 17th of December. This week-long celebration is not just about showcasing the new Shawarma range but is also a customer’s delight raining a multitude of exciting offers every day.
Rebel Foods Vice President of Marketing Pragati Dalal said, “At Faasos, we take pride in our commitment to innovation and exceeding expectations. We understand that indulging in the same meals over and over can be boring. The vast variety of flavours and options that come with Faasos wraps is the perfect solution to this problem. With this new range of Shawarmas, especially with the New Year celebrations approaching, we are elevating this festive spirit with more delightful food options to choose from. This launch also marks another milestone in the brand’s journey to reach new customers with unparalleled culinary experiences, making every meal memorable.”
Known for its quirky campaigns, Faasos will continue to engage with customers with multiple activities during the Shawarma Fest. In major cities, vox pop creators in collaboration with Faasos, will adorn as Arab sheikhs, taking to the streets, and transforming everyday locations into hubs of excitement and engagement. The idea behind the approach is to blend entertainment with education, making every interaction with the public an opportunity to share the joy and some delicious Shawarma.
Customers can order the new Shawarmas from the Faasos app, EatSure app and web, and other food aggregators.
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.
