MAM
FlowerAura & Tinder Mixers partner for a Floral Fusion workshop
Mumbai: FlowerAura, the leading online gifting platform in India, is pleased to announce its collaboration with Tinder Mixers scheduled to be held on the 18 and 25 May 2024 in Delhi and Mumbai, with Bengaluru and Hyderabad soon to follow; the much-anticipated event promises to be an evening of creativity and fun as it offers attendees an opportunity to connect with new people while indulging in the artistry of arranging flowers and crafting cocktails.
Tinder Mixers bring like-minded people together in an offline social setting to discover new experiences and always leave with a good story. One such discovery offered within the mixer is Floral Fusion created by FlowerAura. The workshop offers floral bouquet crafting as well as a flower-infused cocktail-making session. This workshop adds a new dimension to the clutter-breaking engagement that Tinder Mixers are known for; a relaxed, indoor environment where attendees can explore their creative sides all while associating with new.
Sharing his thoughts on the partnership and upcoming event, FlowerAura co-founder Shrey Sehgal said, “We are thrilled to partner with Tinder, one of the leading dating platforms, for the upcoming event, Tinder Mixers. FlowerAura, as purveyors of floral elegance, understands the parallels between new blossoming connections and their expression through flowers, as every flower tells a unique story. Through our meticulously crafted floral arrangements, we seek to capture the essence of these connections, and with this collaboration, we aim to celebrate the myriad expressions of human emotions. Together with Tinder, we unveil an enchanting flower arrangement workshop, a celebration of newfound experiences, affection, and the power of human connection. Our immersive flower arrangement workshop will guide people towards meaningful conversations and connections that have the potential to last a lifetime.”
The event is limited to 40 people and is exclusively curated to offer them the best time, this includes two complimentary cocktails to kick-start the evening, two complimentary appetizers to satisfy your taste buds, and all the necessary ingredients for the workshop, ensuring a seamless and enjoyable experience for all participants.
Tickets for Tinder Mixers are now live, so don’t miss your chance to be a part of this unforgettable event.
For Delhi Tickets: https://insider.in/tinder-mixers-delhi-may18-2024/event
For Mumbai Tickets: https://insider.in/tinder-mixers-mumbai-may25-2024/event
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.
