MAM
BankBazaar gives a musical tribute to its biggest fans
MUMBAI: India’s leading financial marketplace, decided to ring out the year with a special musical tribute to some of its biggest fans, thanking them for all the love and support through the year. The BankBazaar’s Biggest Fans digital campaign celebrates some of the brand’s biggest fans on social media with personalized musical messages. The week-long activity is being executed on Facebook and Instagram.
Commenting on the new digital campaign,BankBazaar.com at head, brand marketing Prince Thomas said, “As an organization, we believe in keeping our customers at the centre of everything we do, and our social media campaigns are no different. Our fans expect us to be unique and interesting in the way we tell our stories. That’s the reason we experiment with themes and delivery to put our message across. 2017 has been an extremely successful year for Bankbazaar, with several well-received campaigns that made a mark on social media as well as in our fans’ hearts. So we wanted to celebrate our successes with some of our biggest social media fans who made our successes possible, and what could be better than musical tributes to such special fans!”
The whole stunt was planned out to make BankBazaar fans feel special and show them that BankBazaar is listening and feel the love. They contacted two of their biggest fans on social and requested one of them to meet at The Teal Door Cafe, Indira Nagar, and the other at Blossoms Bookstore, Church Street, under the ruse of a gift to thank them for being with the brand all year.
In the meantime, BankBazaar had a band of singers and beat boxers, including Vineeth Vincent, Hannah Mathews, Joshua Selvaraj, and Sheridan Brass, to write a song for each fan. The songs were to be sung as a surprise for each fan at these two locations in a guerilla fashion. With cameras, an ensemble of musicians and a film crew hiding in the respective locations, the fun began.
Watch the video here for the reactions:
https://www.facebook.com/bankbazaar/videos/10156018071619468/
The campaign was conceptualized and executed in collaboration with Bluebot Digital. Speaking about the thought behind choosing this particular way to make their fans feel special, Carl Savio, CEO & CCO, BlueBot Digital, said: “Social media fans and followers are often taken for granted and treated like a statistic by some brands. For the latest BankBazaar campaign, we decided to show our fans how far we are from treating them the same way. So, we dug through social media data to find individuals who have genuinely given the brand love and support on multiple occasions and decided to surprise them using the gift of song! What followed was a crazy shoot (in stealth mode), awestruck fans and much more! Happy to have a client as forward thinking as BankBazaar.”
The videos are already live on Facebook and will go live on Instagram today.
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.
