MAM
GrabOn Onboards Medlife, OYO Rooms For #BachatWaliDiwali Season 4
MUMBAI: Coupons & Deals market leader aims to provide users with exclusive offers this Diwali, through their interactive games and exciting contests.
As the festive season is underway in full swing, GrabOn, India’s #1 Coupons and Deals marketplace has announced the launch of its fan-favorite annual contest- Bachat Wali Diwali. GrabOn’s Bachat Wali Diwali which is now into its 4th year has drawn in numerous top brands across several verticals over the past few years.
This year’s edition is brought to you by Medlife, and co-sponsored by Adda52. GrabOn has tied up with OYO Rooms as their Gaming Partner along with Tata Sky, Wynk, ixigo, Zoomcar, and Archies as Gifting Partners.
Through interactive games like virtual casino and lucky draw, GrabOn is hopeful of bringing in new users and retaining them on the platform. Exciting games alongside lucrative prizes are expected to draw in more users than before. Also, participants can buy gift cards from GrabOn, on which they can avail 2X the discount by taking part in the contest.
Play now at: https://www.grabon.in/bachatwalidiwali/
‘Our Bachat Wali Diwali campaign is aimed at engaging the participants through games and essentially providing them a platform in GrabOn; gaining new users in the process and contributing to our growing user base’, said Ashok Reddy, Founder & CEO, GrabOn.
Ashok also mentions, ‘As always, we are driven by the desire to help our users save on everything while they shop online. Keeping in line with this, the Bachat Wali Diwali event will offer the participants exciting and exclusive offers from our partners and sponsors’.
Bachat Wali Diwali is scheduled to run from 1st November to 10th November 2018, with prizes worth upto Rs 25 Lakhs to be won.
Earlier this year, GrabOn launched its Gift Cards platform to help shoppers save big on their online gifting expenses. With an aim to win over 40% of the Gift Cards space by 2020, GrabOn hopes to establish itself as an irreplaceable shopping companion for every Indian shopper in the next 5 years.
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.
