MAM
HealthifyMe launches ‘FitFest 21’; Asia’s first virtual fitness festival
In a bid to rally all those who have had to put their fitness goals on pause due to COVID 19, HealthifyMe, India’s leading AI-led health and fitness app announces the launch of Asia’s first-ever virtual fitness festival, ‘FitFest 21’. The month-long virtual festival spanning the entire January aims to encourage everyone to break the pause, work online from the comfort of their homes, and get back to their fitness goals in 2021. The campaign invites people to access the biggest digital fitness festival for free and win exciting prizes like Apple’s iPad Air, Apple Watch, Bose Headphones, Apple AirPods, and Dyson Air Purifier amongst others. HealthifyMe is promoting FitFest 21 widely on social media, across Twitter, Instagram, Facebook, and LinkedIn, and aims to onboard over 200,000 participants for the fest. FitFest video
The festival aims to focus on every aspect of fitness and brings together a host of activities including daily live workouts and cooking sessions, bite-sized courses on diet and fitness, celebrity master classes, health quizzes, and games as well as exclusive interviews with HealthifyMe users and coaches who have achieved remarkable transformations during the pandemic. The idea is to get users excited and motivated about their fitness goals for 2021 and to show that exceptional results are possible remotely from the comfort of their homes. The users will have to download the HealthifyMe app on their mobile devices to be part of the festival.
Tushar Vashisht, Co-founder and CEO, HealthifyMe said, “We are excited to bring Asia’s largest online festival to HealthifyMe. FitFest will have 200+ special live workouts, masterclasses and tips by top chefs and trainers, and lakhs of rupees worth of daily prizes to be won daily. Through this campaign, we aim to encourage people to make the most of the present circumstances and restart the new year with positivity & zeal. We are also delighted to celebrate stories of fortitude and inspiration – of coaches and customers who have achieved phenomenal milestones and built stronger bodies and minds during the pandemic times. We hope that everyone can #Restart 2021 with renewed hope, inspiration, and fitness, and FitFest aims to deliver exactly that.”
2020 changed the way fitness is delivered with consumers moving away from co-workout spaces like gyms, studios, and even parks due to COVID 19 and instead relying on online fitness services. HealthifyMe saw its user-base grow by 4 million during 2020, as users thronged to the platform to experiment with online workout and diet plans to keep their fitness goals on track. In June, HealthifyMe had introduced HealthifyStudio, which brought together leading fitness coaches from across the world and marked its entry into the online workout space. Hundreds of users today workout virtually daily and the number is growing by 10% month on month.
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.
