MAM
White Rivers Media powers launch campaign for ‘Kehne Ko Humsafar Hain’ S2
MUMBAI: White Rivers Media helped ALT Balaji, the OTT platform from Balaji Telefilms Ltd, in successfully launching the second season of one of its marquee series Kehne Ko Humsafar Hain by creating a three-week long digital campaign ‘Will the heart ever be happy with what it has’, for its promotions. The idea was to establish the show’s premise, where the audience could experience a heightened emotional relatability.
The 360-degree campaign was inclusive of packaged as well as organic content, which pushed POVs of the characters to maximise social sentiments of audience w.r.t each during pre-buzz. With a concentrated approach, the campaign flowed towards the launch, while instigating an equitable conversation around dynamics of a complex relationship, aspirations of an emancipated woman, and life after divorce.
White Rivers Media chief executive officer and co-founder Shrenik Gandhi said, “We’ve been associated with ALTBalaji since its inception. If a show comes from Ekta Kapoor, one knows it has to be about breaking records and much more! This campaign brings back the nostalgia of success we achieved for the brand with this marquee show’s first season. This one is even special because we broke through all pre-set benchmarks from the previous year. We are very happy with the positive response and look forward to a similar response for ALTBalaji’s power-packed line-up this year.”
ALTBalaji senior vice president and head of marketing Divya Dixit said, "Ekta Kapoor undoubtedly understands the pulse of Indian OTT entertainment better than anyone else, and produces one blockbuster after another. Kehne Ko Humsafar Hain is very special to us as a concept, and so was this launch campaign for this second season. Right from the build-up of this campaign to the launch of the show and activity line-up, it has been a data-intensive and strategic call. It gives me immense pleasure to see that what was once up on our whiteboards is now at play on digital grounds with collaborative help from White Rivers Media. We are also grateful to our millions of subscribers for their support and we are glad it is winning hearts.”
February being the month of love #GetLoveZoned being the social theme at ALTBalaji; the launch hit close to home with its matured take on love and relationships. The campaign has already hit 20 million views on social media itself in 2 weeks and is rearing to go forward. Netizens, influencers, and celebrities across the country have flooded all social and digital platforms with outpouring of love.
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.
