MAM
Magazines and in-app communication to promote Marriott’s welcome-back discounts
NEW DELHI: The Covid2019 pandemic has led to many businesses within the country shut their shops completely, including the $22billion hotel industry. For the past two months, with stringent travel restrictions in place, the industry faced clumps of losses. However, as the lockdown starts easing, the players are slowly prepping to get back on their feet.
Recently, US-based Marriott International announced the launch of an interesting deal as a welcome-back offer curated specially for South Asian countries including Asia, under which people can make the hotel bookings now within the month of June, choosing between three different complimentary offers, and avail them any time by June 2021. They will be able to save 30 per cent and above on these bookings.
Sheraton Hyderabad GM Vikas Sharma told Indiantelevision.com that it is an initiative by the hotel chain to get the cash flowing within the hotels. He said that just within five days of the announcement of the offer, his hotel has already received bookings for 50 room nights.
“In fact, the whole Marriott chain has been receiving queries and bookings. People have reacted to it pretty well,” Sharma added.
Most of the bookings received are for the month of June and July 2020. “My hotel is an area where most bookings are made for business purposes. However, another trend that I am seeing is people booking the hotel for staycations.”
Marriott is also preparing all its hotels to ensure complete safety for its team members and guests and has been ensuring proper sanitisation of the spaces, and introducing touch-free options for facilities like check-in, bill payments, and food & dining experience, etc.
“The hotels have been working with partners like Ecolabs and Diversey to get the best sanitisation practices in place. We have stringent quality control over each other product that will be used in our hotel, as well,” Sharma said.
Marriott is also working on in-house technologies to provide keyless check-in to its guests using QR codes and innovating to introduce maximum touch-less experience at shared spaces like elevators.
The hotel chain is looking at utilising print media, like magazines, personalised communication to its patrons, and in-app notifications on its Bonvoy platform to communicate about this offer. Sharma added that they are also looking forward to a lot of word-of-mouth publicity about the offer.
While he is expecting a positive response to the discount and thinks people will soon start travelling for business and staycation purposes, he believes that it won’t be before the first quarter of CY2021 that the industry will be able to get back on its feet.
“I have at least 75 per cent occupancy at my hotel in this time period (June-July) and I will consider myself lucky if we manage to get even 25 per cent this time. The industry will take some time to get back to normal,” Sharma concluded.
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.
