MAM
MagicBricks.com rolls out new campaign
MUMBAI: MagicBricks.com‘s has launched a new brand campaign titled “The curious case of Rajan!”.
The campaign features “Rajan” (RJ Mir Afsar Ali) as the face of the brand. He is a 35-year-old property seeker who‘s been a regular user of MagicBricks.com. Thereby, he has picked up some idiosyncratic traits, which exemplify the most important needs that a typical property seeker seeks from his property portal.
The new brand campaign spans television, print, mobile, online and social media.
The television commercials have been conceptualised and created by Genesis Advertising. The TVCs will be aired in five languages – Hindi, Tamil, Telugu, Malayalam, Kannada, Marathi and Bengali.
Genesis Advertising creative director and CEO Ujjal Sinha feels the commercial will work well for the brand and will have a good recall.”Rajan‘s quirky wisdom will work wonders for the brand. It was a wise decision to have a brand mascot who‘s not over-exposed. Despite the clutter, I firmly believe that the audience will love Rajan, and the simplicity,” he says.
MagicBricks.com business head Sudhir Pai says, “We‘ve chosen to develop a positioning around “choice of properties”. Not only is such a positioning unique within the category, but it also resonates with the primary need of an online property seeker. MagicBricks.com by virtue of being India‘s No. 1 property site, is in the best position to fulfill this promise of “manpasand properties ke sabse zyada options” (the most options in the properties you desire). We wanted to create a character through this film that our target segment (SEC A+ to B, 25–45 male) can relate to. Someone like a â€?been there done that‘ elder brother, whose wisdom you can trust for all major decisions in life – Rajan.”
Rajan is a self-made man, confident of what he wants and not hesitant to speak his mind. He is obsessed with options. He is used to getting the maximum options of the best properties on MagicBricks.com. This is the central idea behind the first film, where Rajan with his wife and younger brother goes to a prospective bride‘s house. His wife and brother are sold on the girl and are convinced that she is the one. That‘s when the penny dropping moment comes as Rajan nonchalantly asks for more options!
The film has been directed by Abhijit Chaudhuri of QED Films.
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.
