MAM
Imagica kicks off summer with its brand new #Groupbaazi campaign
MUMBAI: Summer being the peak season for vacation and short getaways in India, Imagica, India’s largest themed entertainment destination, has launched its brand new summer campaign with an ad film derived from strong consumer insight and integrated appealing message #Groupbaazi which propagates the idea of maximizing fun in groups.
The ad campaign which has been released in two different versions, a 45-second-version for TV media and a 60-second-version for the digital platforms and cinemas, has woven a story around three families describing their unforgettable time they had at Imagica leading to a memorable experience. It brings forward the fun, exciting time; men, women and kids have within their own groups. The ad also encapsulates the childlike enthusiasm that turns adults into kids as they enjoy the varied rides, attractions and entertainment options with their respective groups laying the foundation for the campaign tagline #Groupbaazi Mein Mazaa.
“Imagica is synonymous with fun, excitement, entertainment and the idea of having a great time together, establishing its brand archetype as ‘Entertainer’. In India, people always bond with each other and form big groups to have fun and it starts right at home extending to every phase of an individual’s life. This is validated by the visitors’ trend observed at Imagica where people usually come in groups of families or group of friends beyond only a single family unit. We are truly excited to see how the campaign unfolds and resonates with our target audience.” said, Raveendra Singh, Head of Marketing, Sales and Strategy, Imagica.
Joy Ghoshal, Co-Founder and Head – Creative Strategy, Marching Ants, which has conceptualized and shot the campaign added, “Going beyond the predictable way of advertising the key attractions of a theme park, the campaign was aimed to bringing to the fore beautiful moments of fun and pleasure with a larger group of like-minded sharing a similar mind-set in the simplest way. And, to highlight the feeling of freedom interspersed with comfort amongst the crazy experiences and the inside jokes shared within a group. The story of the ad film has been structured to appeal and build connect, with the right audience.”
The campaign media mix supported by TV, digital and Out-of-Home is set to be further amplified through associations built with Carnival Cinemas, Jio IPL 2019 Play Along, and Big FM Radio.
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.
