MAM
Trivayu Media Works announces its customer success services portfolio
Mumbai: TriVayu Media Works has announced the launch of its new customer success service portfolio. The services will be launched under a new brand called TMW: NBUx (next billion users’ experience). With a presence in over 200 districts, 1,000 villages, and 20+ states across the country, TMW is a private hyperlocal content distribution company and distinguishes itself as a solution that assists India’s leading companies in targeting the hyperlocal market through the development of super-niche content, marketing, and resource services.
TMW: NBUx’s customer success services include live chat support, email support, online reputation management, and telephony (inbound and outbound) in 10+ languages. TMW: NBUx service is a plug-and-play kind of module where clients just have to select their customers and define the aim or queries. TMW’s team will also facilitate the strategy and execution using their in-house CRM ecosystem. Soon, TMW plans to offer short services such as customer response surveys and user intent research surveys as well.
“We are thrilled to announce the launch of our customer success services portfolio under the new brand of TMW: NBUx. The service aims to empower any B2C brand that is keen to enhance its customer loyalty and satisfaction. There are many tier-two-based SMB companies that want to set up a customer success team but are not able to do so due to a low budget and lack of awareness. With our cost-efficient and feasible plug-n-play hyperlocal dialect module, we are driven to serve more brands and help them scale quickly and build customer trust,” said Trivayu Media Works co-founder Ratnendra K Pandey.
TMW offers content in 15+ languages to help brands reach a wider audience in tier two and tier three cities where branding and its associated concepts are challenging to develop. TMW also trains and employs youth in content learning, and the process is completely free until a candidate begins earning money. Candidates are hired based on their performance and work from TMW’s micro-offices, which the company claims no other company offers. By collaborating closely with trained resources from tier two and tier three cities, TMW is able to save its clients up to 30 per cent on project costs.
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.
