MAM
Home Credit India launches Diwali campaign
New Delhi: Home Credit India, a local arm of the international consumer finance provider with operations spanning over Europe and Asia and committed to driving financial inclusion in India, today launched its Diwali campaign #ApneStyleKaTyohaar to celebrate this year’s festivities in one’s own style. As a part of the campaign and to support consumers in various ways, Home Credit India has partnered with Reliance Digital and My Jio Store, Samsung, LG, OPPO and Vivo to roll-out special festive offers and customer-friendly finance schemes on smartphones and home appliances.
Consumers can celebrate the festivities of Diwali in their own style with Home Credit as the company is ready with offers across industry’s favourite brands. Consumers can now purchase a Vivo, OPPO, LG and Samsung smartphone/home appliance with Home Credit at easy and affordable EMIs.
Home Credit India chief marketing & customer experience officer Marko Carevic said, “Customers can now celebrate the festivities in their style, with us. With #ApneStyleKaTyohaar campaign, customers will be facilitated with our latest offerings and partnerships this festive season. They can choose the product of their choice from their favourite brands and can easily purchase with Home Credit’s easy finance options. Through this campaign, we hope to share the warmth of this Diwali season with everyone as we prepare to celebrate India’s biggest festival.”
The campaign #ApneStyleKaTyohaar will be aired on Home Credit’s social media channels including Facebook, Twitter, Youtube and OTT platform like Hotstar, highlighting the company’s customer-centricity to enable consumers during these challenging times and inspire them to spread joy and rekindle hope & optimism for life.
Home Credit serves 11.3 million customers with a plethora of hassle-free financing options which can be availed from a strong network of around 31,500 points-of-sale (PoS) presents across 350 cities. The company is committed to drive credit penetration and broaden financial inclusion through responsible lending in the country.
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.
