MAM
Health care services provider LifeCell opts for Kapture CX customer service tool
MUMBAI: Health care services provider LifeCell International has signed up with Kapture CX, a provider of customer experience solutions to enhance its customer support operations across all channels and optimise its omnichannel ticketing management system. As a part of the implementation, a single, unified platform for all customer tickets has been built, eliminating the need to toggle between multiple systems.
Kapture CX has also melded with LifeCell’s order management systems and logistics providers to ensure seamless access to critical customer data for faster, more accurate resolutions. Additionally, Kapture CX enables proactive customer support, such as addressing abandoned carts to improve revenue generation, lead conversions, apart from including outbound call support to empower agents to initiate conversations when necessary, enhancing customer outreach and engagement.
LifeCell found it imperative to integrate all its customer support systems as it offers several services and it reasoned that centralising all of these under one customer response system would improve response time.
Among the services LifeCell offers include: a community banking program which has the world’s largest repository of ready-to-use access to over 70,000+ matching stem cell and tissue units for Indian origin patients seeking a transplant; skincare brand AreoVeda targeted at pregnant women, new moms, and new borns and finally, health investigations for patients seeking discreet self-service offerings from the comfort of their homes through mail-order test kits.
“Integrating Kapture CX into our customer support system will significantly contribute to LifeCell’s journey in providing seamless, efficient, and proactive service,” said LifeCell CTO Pawan Singh. “We look forward to centralising our customer data and improved agent productivity whilst emphasising consumers’ responsiveness and the high-quality care they deserve. We look forward to its positive impact on both our customer relationships and business growth.”
Added Kapture CX CRO Gaurav Juneja: “This collaboration exemplifies how our tech-first approach and AI-driven systems can transform customer engagement, ensuring that LifeCell continues to lead the way in innovation while enhancing overall customer satisfaction.”
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.
