MAM
First win for Ad Club prez Raj Nayak: McCann back in Goafest fold
MUMBAI: After a consecutive no-show for the last two years at the Abby Awards and Goafest, the Prasoon Joshi led McCann Worldgroup India has announced that the agency will take part in the 11th edition of the advertising festival.
The move comes close on the heels of the new Advertising Club president and Colors CEO Raj Nayak announcing his intention to make Goafest 2016 more inclusive.
Confirming the agency’s presence at the festival, McCann India Asia Pacific chairman and CEO Prasoon Joshi says, “We will send symbolic token entries to honour the festival in all the categories but our delegates will participate and attend the fest in large numbers. We believe that genuine efforts have been made by the organisers this year to overcome the shortcomings and we also want to partner them in this journey positively. In the future, we will see the festival touching newer heights.”
Last year, though the agency did not participate in the Creative Abby, Joshi did attend the ceremony where he was felicitated by the Ad Club.
On McCann’s participation this year, Joshi further adds, “We take immense pride in our creative product and the decision of participation in award shows is collectively taken by our global/local creative councils. We wish GoaFest the very best.”
Nayak’s intent to make the 11th edition of the advertising festival more inclusive was primarily in relation to reinstate the participation of major creative agencies in the country who had long refrained from attending the Creative Abbys. Word had it that ‘cheerful’ Raj, as the Colors CEO is often called courtesy his Twitter handle, had personally reached out to the respective executives and agency heads to hear and address issues that stood in the way of them and Goafest 2016. Therefore, the recent development with McCann definitely comes as a step forward in Nayak’s “inclusive” vision.
Now it remains to be seen whether other creative heavyweights like Ogilvy and Mather, Leo Burnett and Lowe Lintas will also follow suit and brighten up the spirit of the Abby and Goafest 2016 at large with their participation.
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.
