MAM
Razorfish India appoints Swapnil Puranik as Mumbai’s head of strategy
MUMBAI: Razorfish has appointed senior team member, Swapnil Puranik, as head of Strategy in Mumbai. He will be responsible for driving strategic business transformation and digital roadmaps for Razorfish’s clients.
“Growth is the real ROI” believes Puranik, “and that businesses today are no longer looking for superficial solutions and metrics, but strategies to transform and evolve their business by maximizing relevant consumer interaction through technology adoption, data analytics, deeper consumer insight and non-intrusive creative ideas”
With 13 plus years of advertising and marketing experience, across agencies, businesses and successfully running his own startup, Puranik has experience across multiple categories like telecom (RCom); Travel & Hospitality (Qatar Airways, Hyatt, Sofitel); BFSI – Aditya Birla Finance MyUniverse, ICICI Prudential MF, Reliance Mutual Fund; Fashion (Lilliput, 109F, Fusion Beats; Electronics (JBL, Harman Kardon); Luxury (Davidoff, Calvin Klein, Roberto Cavalli) amongst others.
He led the digital marketing team and launched many successful campaigns like iPhone 5S/5C launch in India, longest Twitter campaign during WorldT20 2014 (Limca Book of World Records); leading media for Qatar Airways for the SEA region. As Business Head – Worldoo.com, he was responsible for defining product roadmap, product validation and launch the product
He has also helped startups scale up, which led him to build his own business, which successfully got acquired.
Prior to joining Razorfish, he was business head at Anvis Digtial – a young Mumbai based startup, where he grew the business to become a full service digital and tech company and helped win digital mandates for brands like Qatar Airways, Roche Bobois, Davidoff, Calvin Klein, MyTangerineTree amongst others.
“I am super excited about co-writing the India Digital story with Razorfish. I have been following some of their transformational work in India and global regions and clearly this is where the future is,” says Puranik,
Razorfish India COO Gaurav Pathak said, “Puranik’s incredible blend of a probing and intuitive approach coupled with a mature understanding of the latent consumer insights is what we want to bring as an important dimension to our Digital solutions. We are building a strong senior team that can guide clients in their business transformation journey beyond vanilla digital offerings. ”
Charulata Ravi Kumar, CEO Razorfish India adds, “In today’s digital world, increasing discovery, generating conversations and driving advocacy is all clichéd and given. What we look for is a curious mind and fire in the belly. And of course clients who have the appetite for it to take their brands to the next level of this matrix.”
Razorfish India has a team of over 500 (Strategy, Technology, Creative& Media) across Gurgaon, Mumbai and Bangalore.
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.
