MAM
Razorfish India appoints Piyush Aggarwal as national director digital media
MUMBAI: Razorfish is bringing on board the top digital talents in the country to join its already formidable team across Mumbai, Delhi and Bangalore and strengthening its core capabilities in digital media and marketing, technology and creative. For the same, Razorfish India has got on-board Piyush Aggarwal as national director digital media based out of Gurgaon.
Aggarwal commented, “Razorfish brings the true amalgamation of creative, technology and digital media for all its clients. Their core approach of bringing a complete digital transformation to their client’s business is revolutionary and defines lives tomorrow.”
“Media is a core offering that complements and actively catalyses the future we work towards in redefining our client’s business.” With a strong digital media background and in-depth understanding of business transformation to boot, it is a unique combination that is not easy to come by,” said Razorfish India COO Gaurav Pathak.
“His 10+ years of rich experience in mobile, digital and media domains will be valuable for us to strengthen Razorfish’s capabilities in business transformation,” added Pathak.
Razorfish India CEO Charulata Ravi Kumar explained, “We are constantly seeking out the most curious and innovative minds with fire in the bellies! And of course those who are not bound by the past but creating new tomorrows.”
Razorfish India partners clients like Maruti, Madura Fashions, Ultratech, Eureka Forbes, Philips, and Tourism New Zealand amongst others.
Aggarwal brings over 10 years of cross-functional and leadership experience in digital marketing, mobile advertising, b2b marketing and startup and business transformation consulting. During his stint at Vdopia, he built and spearheaded the offshore mobile media operations setting up teams in India for US and Europe markets. He also spearheaded the digital and B2B customer acquisition for small and mid market business at Microsoft India where he was part of key technology launches in the country.
He has also been with leading digital advertising agencies like Havas Media and Quasar managing the digital accounts of Visa, Air France, KLM Airlines, Reckitt Benckiser, VLCC and Max Life Insurance amongst others.
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.
