MAM
Indian advertising stalwart AG Krishnamurthy passes away
MUMBAI: An entrepreneur to the core… a creative disrupter who did not care about the establishment and the way it functioned in the late seventies and eighties. This perhaps best describes Atchyutani Gopala Krishnamurthy, fondly known as AGK, who passed away at the age of 73 in Hyderabad following a brief hospitalisation on 5 February.
The founder, chairman and managing director of Mudra Communications, AGK was regarded by many in the industry as a legend — an adman, a creative genius, a pioneer in business and marketing, and an author — all rolled into one. His sudden demise after a brief illness came as a shock to many. Incidentally, 5 February, 2016 also marked the silver jubilee of MICA – the advertising institute, which Krishnamurthy established.
Krishnamurthy had been an inspiration for many generations of advertising enthusiasts and veteran creatives in the country, and his ‘rags to riches’ story of setting up Mudra Communications from a Rs 35,000 and one client company to an empire worth millions, is one of the biggest success stories of our times.
Born on 28 April, 1942 in Vinukonda, in the southern state of Andhra Pradesh, Krishnamurthy didn’t start off his career in advertising but chance and impromptu necessity led him in. In 1968 he joined the Calico Mills, a big textile name in the 60s and 70s, to assist Giraben Sarabhai. Later, he was commissioned by Reliance Dhirubhai Ambani to come up with “the best possible advertising in textiles” for Reliance’s in-house fabric brand, Vimal. And from him came the brand’s tagline – ‘Only Vimal.’ He was also the man behind the simple yet evergreen tagline – ‘I love you Rasna.’
By 1980, AGK had christened ‘Mudra’ as an independent advertising agency while scouting for like minded business partners. With his insights and leadership, it didn’t take long for Mudra to become a full-service national-level advertising house.
He later penned a biographical book titled Dhirubhaism on Dhirubhai Ambani’s business philosophy and the anecdotes that he shared with Krishnamurthy when they worked together, which is still referred to by many management and business students.
Although his creative works are revered and celebrated even today, his biggest contribution to the advertising fraternity is no doubt, setting up of MICA or Mudra Institute of Communications, Ahmedabad as it was earlier called. It was the first of its kinds in all of Asia when it was established in 1991.
AGK’s talent for starting new businesses and establishing its success in the market didn’t end there. After retiring from Mudra in 2003, he founded AGK Brand Consulting as ran it as chairman.
A few ad men took to social media to express their grief.
Cartwheel Creative founder Ramakrishna Desiraju, popularly known as Ramki tweeted, “Flooded by memories of AGK. What a remarkably atypical adman he was. MICA, perhaps more than Mudra, will be his lasting legacy. RIP. Much too late, I regret not staying in touch with AGK. His strange accent, his warm smile, and his earthy wisdom will always stay with me.”
R K Swamy Hansa Group chairman SK Swamy tweeted, “Hardly 74 years Founder of Mudra Communications AG Krishnamurthy is no more. He changed the rules when he ruled….”
Krishnamurthy is survived by his wife, three daughters and son. We at Indiantelevision.com express our heartfelt condolences to the family. May his soul rest in peace.
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.
