MAM
Select CITYWALK celebrates Christmas on an uplifting note with their #CityHopesAgain campaign
In the true spirit of bringing good cheer and optimism, the very tenets of Christmas celebrations, Select CITYWALK, the most popular shopping centre in Delhi NCR, calls on us to experience the joy of giving and celebrating togetherness now more than ever. While 2020 was never how any of us envisioned, this year taught us that kindness is what matters more than anything else. We got to give, share, and love a lot more.
And so, to bring that spirit of compassion, kindness and togetherness to the forefront this festive season, Select CITYWALK encouraged its patrons to take the time this festive season to enjoy the small and beautiful things in life and create magical memories with family and friends. Conceptualised and created by RepIndia, the campaign showcases that the secret to a happy holiday season lies in giving. It aims to inspire the idea of spending quality time with family and celebrating the warmth and safety of home regardless of the circumstances.
The campaign's video features an original song with a moving narrative. A sweet melody that resonates with the warmth of the holiday season, this song was written, composed, and sung in-house by Pallavi Malhotra. The song's video is a beautiful representation of the thought that ‘the greatest gift isn't the one you get; the greatest gift is the one you give’.
Evidently, the song has struck a chord with many online viewers and garnered massive reach on all of Select CITYWALK’s social media platforms. Commenting on the campaign launch, Gitanjali Singh, Vice President- Marketing, Select CITYWALK said, “We are ending the year on a positive and hopeful note.
We have adapted and evolved this year without compromising on experience. Through our festive campaign, we aim to spark a sense of giving by caring for all those people in our lives who matter to us so much.
Also, with people fulfilling others’ wishes in place of their own, it’s a showcase of filling others with hope in an otherwise trying year and how Select CITYWALK is at the center of it all.” Archit Chenoy, Managing Director at RepIndia said,” When we think about the essence of Christmas there is one very special gift that stands out above the rest. That’s the magical feeling we wanted to bring to life this year – in spite of the precarious situation we are experiencing together.
We wanted to showcase the magic of Christmas and the importance of togetherness, which truly is more than just a gift.
With this campaign, we hope to remind customers of that special moment during Christmas time, and give them an avenue to be able to treasure those moments.”
Experience the joy of making someone else's wish come true, for the secret to a happy holiday season lies in giving.
So, whose wish are you fulfilling this season? #CITYHopesAgain #Christmas #ChristmasIsHere #ChristmasAtSelectCITYWALK #HolidaySeason #NewYear #NewYear2021 pic.twitter.com/7Sfx64fHwL— Select CITYWALK (@SelectCITYWALK) December 21, 2020
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.
