MAM
Mrityunjay Kumar’s Mashrise to monetise Railyatri and Intrcity Smartbus platforms across digital and physical touchpoints
MUMBAI: Railyatri and Intrcity Smartbus, under Stelling Technologies, have onboarded digital marketing agency Mashrise as their official monetisation partner. The deal will see Mashrise spearhead integrated revenue strategies across the brands’ extensive digital and offline ecosystems, tapping into the fast-evolving intercity mobility segment.
With this mandate, Mashrise will design and execute brand campaigns across mobile apps, in-app integrations, branded content, and transit media on Railyatri and Intrcity buses. Offline activations will include smart screens, on-ground events, and experiential zones inside premium buses operating across major Indian corridors.
“We are excited to partner with Intrcity & Railyatri, who have modernised the Indian travel experience. With this mandate, our goal is to create innovative, high-impact monetisation solutions that not only unlock new revenue channels but also enhance the commuter experience for millions of users”, said Mashrise co-founder Mrityunjay Kumar.
Railyatri and Intrcity have emerged as leading players in long-distance mobility, with Intrcity Smartbus offering features like onboard washrooms, AI-led fleet tracking, and real-time customer support. The partnership aims to blend these technology-led services with tailored brand experiences.
“We take pride in deeply integrating with brands and providing them solutions that are both digital and on-ground. Our partnership with Mashrise, given their strong foothold in the media and advertising world, will elevate the brand solutions we offer”, said Railyatri & IntrCity founding member Dinesh Rathi.
With Railyatri servicing millions of train travellers and Intrcity operating on key interstate routes, this tie-up is poised to generate high-ROI brand integrations, giving advertisers access to a highly engaged and mobile-first audience.
The partnership signals Railyatri’s next growth leap as it sharpens its commercial focus and enhances its position as a key media asset in India’s travel-tech sector.
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.
