MAM
Samsung lines up special promotions for Puja; slew of products launched
MUMBAI: Samsung India has launched a promotion programme for the festival period and has also unveiled a slew of hi-tech AV products – LCD, Plasma, DLP TVs and Home Theatre Systems.
Samsung also announced its consumer promotion, Samsung ‘Pehla Kamaal, Doosra Dhamaal’ offer, which will be available in the east between 15 September – 31 October, 2005 and in the rest of the country between 25 September – 10 November, 2005.
Samsung launched two new 42” Plasma Panels; three new advanced Slim LCD TVs in 20”, 26” and 32” screen sizes, as well as a 50” Samsung DLP TV.
The Samsung PS42S5 model, which is HDTV Ready, is priced at Rs 240,000, while the PS42D5 is priced at Rs 200,000. With the introduction of the new models Samsung Plasma Panel range is available in screen sizes between 42”- 63” and is priced in the range between Rs 200,000 – Rs 900,000.
Samsung’s new advanced LCD range, available in 20” 26” and 32” screen sizes, uses 10 bit processing method and 3.2 billion colours to ensure a more natural and vivid picture that is much closer to the original source image. With a 3000:1 Dynamic Contrast ratio, Brightness Sensor, Wide Viewing Angle 170?/170? and HDTV Ready functionality, the Samsung LCD TV guarantees vivid, razor sharp images.
The Samsung LCD models are priced at Rs 44,990 for LA20S5 (20”), Rs 69,990 for LA26R5 and Rs 109,990 for LA32R5. The Samsung LCD TV range is priced in the range Rs 44,990 – Rs 240,000 (20”~40” screen sizes).
Samsung India deputy managing director Ravinder Zutshi said, “We expect the value contribution of our hi-end CTVs to our total CTV range to grow to 10 per cent this year from around four per cent level last year.”
The Samsung 50”DLP TV, SP50L7, with Samsung’s unique DLP optical technology is priced at Rs 235,000. The Samsung DLP TV range is available in 50”, 56” and 61” screen sizes, priced in the range between Rs 175,000 to Rs 250,000.
The company has also launched three new Home Theatre models in the Indian market. The flagship model of the new Home Theatre range is the HT-P1200, the world’s first HDMi and USB Host Home Theatre System. It has a High Definition Multimedia Interface (HDMI) for 100 per cent Digital to Digital Signal transfer. While the HT-P1200 is priced at Rs 68,000, the HT-RP16 is priced at Rs 16,900 and HT-TP 33 is priced at Rs 23,900.
“We are aiming at a market share of 30 per cent in the Home Theatre category this year,” added Zutshi.
The Samsung ‘Pehla Kamaal Doosra Dhamaal’ consumer promotion for the Festival season, is a scratch based promotion, with a difference. As part of this promotion, any customer buying a Samsung Audio Video or Home Appliance product gets two chances to win exciting gifts instead of one.
The First Scratch or the ‘Pehla Kamaal’ reveals to the customer the sure shot or the assured gift he/she has won. The sure shot gift options include a copper based utensil set, five piece parka container set, microwaveable lunch box and an electric kettle.
The Second Scratch or the ‘Doosra Dhamaal’ reveals the Bumper Gift that a lucky customer can win. The gift options for the Second Scratch include Samsung products like the hi-end Side-by-Side refrigerator, 26” Samsung LCD TV, Samsung Microwave Oven, Samsung DVD Player and a Rs 1500 gift voucher from Reebok.
Purchases above Rs 50,000 will entitle Samsung customers to two scratch cards, so that they win two assured gifts and get two chances to win the Bumper prize. Gifts worth Rs 200 million are being given away during the promotion.
Zutshi said, “The new range of hi-end televisions being launched coupled with the special festival offers will help boost sales during the promotion period. We expect to sell 500,000 CTVs and do business worth Rs 6.25 billion during the promotion period.”
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.
