MAM
Dentsu snaps up Brian Tellis’ Fountainhead; to merge it with psLIVE
MUMBAI: Dentsu Aegis Network has acquired Indian event and experiential agency Fountainhead Entertainment founded by Brian Tellis.
It is envisaged that in 2016, Dentsu’s existing experiential offering of psLIVE, with 86 people in India, will be merged with Fountainhead, making the combined agency India’s largest experiential and activation agency business.
As per industry sources, the acquisition is pegged in the region of Rs 350 – 400 crore.
Fountainhead’s expertise and presence within the fastest growing sector of India’s advertising industry adds scale to Dentsu Aegis Network’s growing presence within the country.
Founded by chairman Tellis, managing director Neale Murray and director Otis D’Souza, Fountainhead was later joined by co-directors Pradeep Guha, VG Jairam and Owen Roncon.
Post-acquisition, Fountainhead will continue to be led by Tellis. The current management team will also continue as is. Tellis will report into Dentsu Aegis Network South Asia chairman and CEO Ashish Bhasin.
This acquisition will be one of the largest in India within this sector.
Established in 1994 and now with more than 205 experiential specialists, Fountainhead is headquartered in Mumbai and has offices in Delhi and Bangalore.
Fountainhead supports its client base of more than 100 on all types of events, digital initiatives, product launches, brand activation and meetings, incentives, conferences and exhibitions. The five brands within the business are: Fountainhead Events, Oranjuice Entertainment, Fountainhead Activations, Fountainhead Corporate Journeys and Fountainhead Digital. Together, they deliver in excess of 350 events annually.
Dentsu Aegis Network Asia Pacific CEO Nick Waters said, “Fountainhead’s reputation in the event and activation market, and their extensive experience in both music and sports marketing, complements and strengthens our experiential offering in one of the region’s most exciting markets. This move represents a further step in our continued investment programme in the Indian market. We welcome Brian and the wider team to the network.”
Bhasin said, “As the fastest growing network in India, we are continuing to expand our portfolio of diverse specialisations available to our growing client base. Fountainhead’s creative quality and reputation in the market make it the perfect addition to Dentsu Aegis Network India. Our unique ‘One P & L’ philosophy will help us bring their expertise to all Dentsu Aegis Network clients. This is another big step forward in helping us achieve our mission of being the second largest agency group by end 2017 in India, overturning for the first time the existing ranking which has historically been in place for over 80 years in India.”
Tellis added, “Our vision is to deliver world class experiences to our stake holders. To set benchmarks in delivery through cutting-edge creativity, innovation, value pricing and practices and processes. We are thrilled to join Dentsu Aegis Network. The sheer dynamism of the group will open up opportunities for us. Our values are well aligned and the potentially combined entity of Fountainhead and psLIVE will become the most comprehensive experiential offering in India. We are very excited about this opportunity and the growth potential it offers. Fountainhead, a full service experiential agency, will now start to align with an enviable spectrum of brands through the Dentsu Aegis Network.”
Fountainhead will retain its identity and branding, working alongside the other specialist Dentsu Aegis Network brands locally: Carat, iProspect, Isobar, Posterscope, Vizeum, Amnet, Dentsu media, Dentsu branded agencies (Dentsu Creative Impact, Dentsu Marcom, Dentsu Communications, Taproot Dentsu, Dentsu Webchutney), WATConsult and Milestone Brandcom.
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.
