MAM
Veera promotes Aniruddha Jaju to head of revenue
Mumbai: Veera, a mobile-only internet browser, has announced the elevation of Aniruddha Jaju to head – revenue at the company. Aniruddha, a graduate of IIM-Ahmedabad with over 12 years of rich and diversified experience, started his journey with Veera as chief of staff, showcasing exceptional leadership and strategic acumen. His promotion to this pivotal role underscores his invaluable contributions and unwavering commitment to driving growth and innovation within the organization.
Prior to joining Veera, Aniruddha was the director & chief of staff, corporate strategy at MX Player, where he led fundraise and investor relations, business planning, corporate strategy and led high-priority strategic initiatives across content, revenue, growth, tech, etc. Before joining MX Player, he was at Accenture for seven years as a member of the TMT Consulting practice at Accenture Strategy (India Business). Beyond his corporate endeavors, Aniruddha epitomizes the spirit of entrepreneurship and investment. He has passionately supported numerous startups, serving as an angel and growth investor in prominent ventures such as, Botlab Dynamics, KnockSense, Zypp Electric, and Board Infinity. Additionally, he co-founded a pioneering product consulting startup aimed at empowering startups and SMEs to actualize their digital product aspirations, aptly named ‘Zero to One (Z21)’. He is also passionate about mentoring students, and has provided counseling and guidance to over 200 plus students.
On this promotion, Veera founder Arjun Ghose said, “Aniruddha’s diverse portfolio and steadfast dedication to innovation harmonize seamlessly with Veera’s vision for growth and evolution. As Head of Revenue, he will champion initiatives focused on amplifying revenue streams, cultivating strategic partnerships, and fostering sustainable business expansion. His strategic foresight and unwavering commitment epitomize the values we cherish at Veera. We extend our heartfelt congratulations to Aniruddha on his well-deserved promotion to this pivotal role and harbor absolute confidence that his leadership will propel us to unprecedented success.”
Said Aniruddha, “I am truly honored to step into the role of head of revenue at Veera. It’s an exciting opportunity to further align our strategic objectives with innovative and diverse revenue-generation strategies. I am grateful for the trust and confidence placed in me by Arjun, Sukhdeep, and the entire team. Together, we will chart new territories and drive Veera towards unparalleled success.”
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.
