MAM
Electrolux launches promotion for the festive season
MUMBAI: To celebrate Diwali the festival of lights Electrolux Kelvinator has announced the launch of Tathasthu Baba.
This is a Diwali Scratch Card promotion. ‘Tathasthu‘ which is a Sanskrit word, literally signifies ‘granting of a wish’ and ‘Baba’ signifies ‘saint’. Therefore, Tathasthu Baba is that magical and mystical saint who has the power to grant everyone’s wishes. Through this promotion, Electrolux is bringing alive its brand proposition of making the dreams come true.
With the ‘Tathasthu Baba’ promotion, Electrolux is eyeing an overall sales growth of 40 per cent during the festive season. The company is also targeting to achieve over 300 per cent growth in microwaves category, 150 per cent growth in air conditioners category.
Electrolux has ear-marked heavy promotional spends to the tune of 10 per cent of the total festival turnover for the ‘Tathasthu Baba’ scratch card promotion. The marketing strategy encompasses both, a mass media campaign as well as ground level activations to create hype and excitement amongst the customers. This will be achieved through high frequency advertising backed up by in-shop promotions, radio contests, shopping mall promotions etc. The company will also explore micro marketing through SMS and e-mailers.
Electrolux has announced a prize with every purchase. Customers can try their luck and win prizes ranging from Hyundai Getz, Hyundai DVD players, Swatch wrist watches, Electrolux refrigerators, Electrolux washing machines, Electrolux split air conditioners and Electrolux microwaves.
In addition, the company will offer exchange prices on high end frost free refrigerators, fully automatic front loading washing machines and split air conditioners. Special prices would be offered on microwaves and semi automatic washing machines.
Electrolux Kelvinator MD Anirudh Dhoot said, “Electrolux is all about making your dreams come true. With the Tathasthu Baba promotion we will take our Sapney Nikhare, Jeewan Sawarey positioning to a new dimension. Our customers will be able to buy Electrolux products at dream prices and also have a chance to win prizes.”
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.
