MAM
Weddingz.in launches The Wedding Trunk – a bi-annual magazine to serve as the perfect wedding guide
Mumbai: Weddingz.in, India’s Largest Wedding Company unveiled ‘The Wedding Trunk’ a 150- pager, bi-annual magazine – designed to provide readers with the latest trends and updates in the wedding industry. The magazine is a go-to guide for anyone planning a wedding, it offers a mix of nuances that can help orchestrate a wedding within a specific budget in a smooth, seamless way.
The premiere edition of The Wedding Trunk (September 2019 – February 2020) features diverse content including dreamy intricacies of a big fat Indian wedding. Offering an ocean of ideas, it will feature insights from industry experts such as Ojas Rajani, Papa Don’t Preach by Shubika, Kalki Fashions, Amrapali Jewels, Azva, Jhoomer Jewels, Floral Art By Srishti, Atisuto Events, The Photo Diary By Monisha and Knots By AMP amongst others. The first edition of the magazine will be available across 30+ cities with a circulation of 25,000+ print copies. Priced at INR 300, the magazine will be available on Amazon & Flipkart and will be distributed for free across all 750 Weddingz.in venues in India. A digital version (e-magazine) will also be available on Magzter and Weddingz.in website & app.
This edition will showcase upcoming trends for the winter wedding season such as pastels hues for bridal lehengas, wedding decor ideas, do's and don’ts for venue selection, food & diet tips, accessories & jewelry trends, bridal makeup inspiration and honeymoon destinations in India & abroad for various budget ranges.
Sandeep Lodha, CEO, Weddingz.in said, “Being a pioneer in the industry, we aim to establish the brand as a one-stop-shop for everything related to weddings. While we continue to meet the discerning needs of the Indian wedding industry, we wish to establish a physical touchpoint with our consumers while being their go-to brand for all wedding-related woes and requirements. With ‘The Wedding Trunk’ we are consolidating our outreach to the end consumer, to-be married couples and professionals working in the space.”
Commenting on the launch, Ruchita Choudhary, Head of Brand & Content, Weddingz.in said, “With the largest organic social media following (1.4 million followers on Instagram and 500k fans on Facebook) and highest engagement rates in the industry, launching this magazine was an obvious extension to our digital presence. Working on the intricacies of wedding planning and inspiration day in and day out, we felt that putting all this information together in a magazine would help us share this treasure trove of knowledge better and amplify its reach far and wide. The Wedding Trunk aims to help the new age couple plan their wedding better, covering all the tips, trends, do’s and don’ts that one needs to know to plan the perfect wedding!”
With winter weddings as its focus, the first edition of The Wedding Trunk contains over 100+ of the best and trendiest ideas of the season – covering every aspect, offering detailed information to guide Indians across geographies.
A year after its acquisition by OYO Hotels & Homes, India’s largest, world’s 3rd largest and fastest-growing chain of leased and franchised hotels, homes, living and workspaces, Weddingz.in recently announced that it has witnessed 480% growth in revenue. Weddingz.in offers a range of self-managed venues and a team of trusted and curated vendors who believe in delivering nothing but the best including Photography, Make-up, Wedding Planners, Mehendi, Rentals, Pandit/ Priests, Decor, Choreography, Transport, Entertainment, Anchor, Catering, Gifting, DJ, Invites, Band-Baja Ghodiwala. Backed by OYO’s operational capabilities, a unique offering of providing hassle-free wedding experience and 1500+ talented employees, Weddingz.in has become a household name for a great wedding experience.
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.
