MAM
Rainshine Entertainment produces web series for Maruti Suzuki
Mumbai: Rainshine Entertainment’s brand solutions arm has conceptualised and produced Maruti Suzuki’s first long format fiction series “Ek Extra Mile.” The project is supported by dentsu Impact.
The show, starring Anuj Sachdeva and Meghana Kaushik, will be available on OTT streaming service Voot and social media handles of Being Indian. The web series revolves around the life of a nuclear family that embarks on a quick road trip journey to reconnect with each other.
“The show is our endeavor to position what ‘Maruti Suzuki Arena’ embodies to their target audience and gives them another touchpoint to experience the brand ‘Dzire’,” said Rainshine Entertainment CEO Anuraag Srivastava. “As the forerunners in providing integrated solutions, we’re proud to have seamlessly integrated Maruti Suzuki Dzire’s philosophy through the show. With our projects and campaigns receiving their due acclaim in the past, our key challenge is to keep growing and delivering consistently to our brand partners. We’re confident that ‘Ek Extra Mile’ will be another step in that direction.”
“We at Voot Studios are thrilled to bring a beautiful and heart-warming show like Ek Extra Mile onto our platform and are looking forward to associating with Rainshine Entertainment and Maruti Suzuki in the times to come,” said Voot Studios head Ranjitha Priyadarshini. “Just like the journey embarked by the protagonists, audiences too will experience the many ups and downs and relate to its fascinating narrative. On the back of relatable characters and an engaging plot, it promises to be an offering that our viewers will thoroughly enjoy.”
“We at dentsu Impact, have always believed in the power of storytelling for our brands,” said dentsu Impact vice president Binodan Sarma. “Our association with Rainshine Entertainment and Voot is an extension of this belief. Not only has this association opened up new frontiers for branded storytelling but the experience of working on this project has helped us as a creative agency to discover fresher insights to brand building, which we plan to continue with clients going ahead.”
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.
