Digital
Cashkaro’s ‘GOATies’ Ad Butts Heads with Useless Coins in Roadies-Style Spoof
MUMBAI: It’s loud, it’s bold, and it’s got a goat gunning for glory, Cashkaro’s latest campaign film is baa-rilliantly bonkers. India’s leading cashback and coupons platform has just dropped the third instalment of its tongue-in-cheek #CoinsVSCashback campaign, and this one crashes into pop culture with horns blazing. Titled ‘GOATies’, the ad spoofs the cult-favourite reality show Roadies, swapping wannabe contestants for a coin-hoarding goat that’s out to prove it’s the “Greatest Of All Time” in savings. Spoiler alert: it’s not.
In a hilariously over-the-top audition setup, the goat struts in to face an unimpressed judge and is promptly schooled on the futility of hoarding reward coins you know, the ones that expire faster than leftovers and rarely offer real-world value. In trademark Roadies fashion, the goat’s dreams are roasted, and the message lands with a headbutt of clarity: real cashback is king the kind you can actually transfer to your bank account, courtesy of Cashkaro.
The punchline? “Change the habit of direct online shopping pehle Cashkaro, phir shop karo.”
This ad follows two earlier viral hits under the same campaign, one Ghibli-inspired and another laced with satire à la Latent all hammering home the same truth: coins voins are all bakwaas, real cashback is with Cashkaro.
Speaking about the campaign, Cashkaro and Earnkaro, co-founder Swati Bhargava said, “At CashKaro, we’re committed to making online shopping genuinely rewarding. Real cashback is money in your bank not coins that expire or come with conditions. With #CoinsVSCashback, we’re not just talking about the problem we’re parodying it, challenging it, and offering a better alternative. ‘GOATies’ is a fun but clear message: if it’s not real cashback, it’s not worth it.”
Cashkaro director of brand & creatives Ishan Agarwal added, “With GOATies, we wanted to tap into a format that’s instantly iconic and loaded with drama, just like the intense auditions of Roadies. The kind of pressure those moments created for participants we, as audiences, used to feel it too. That’s exactly the energy we wanted to recreate. Roadies is a show that has resonated with millennials, Gen Z, and even today’s younger audiences, making it the perfect creative playground for a satirical yet purposeful message. By spoofing a format so many people relate to, we’re able to connect with a wide audience and highlight the difference between flashy coin rewards and real cashback and use it to drive home a real truth about how online rewards are being diluted by gimmicks. This ad is satire with a purpose to educate users while entertaining them. As the third film in our #CoinsVSCashback campaign, it reinforces CashKaro’s identity as the true GOAT of Cashback.”
Created entirely in-house, the GOATies film is a clever cocktail of pop culture, parody, and purchase wisdom. And while the goat may not win the crown, CashKaro certainly takes the throne as the GOAT of cashback.
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.
