MAM
LinOpinion GolinHarris brings ‘The Bridge’ to India
MUMBAI: LinOpinion GolinHarris has launched ‘The Bridge’ in Mumbai.
The Bridge, a concept of GolinHarris, is the centerpiece of a new working model termed G4. The tool has changed the way real time insights, in today’s increasingly digital landscape, can interplay into creating impactful Public Relations campaigns.
GolinHarris head of digital for Asia Simon Ruparelia said, “Many of our clients across Asia have embraced the concept of real time marketing and embedded it within their marketing plans. We have successfully applied The Bridge processes across a range of industries from FMCG to the automotive sector and it is a great example of innovation that we are bringing to clients in India. Our clients here will benefit from our experience of running this network of real time engagement centres around the region and the world from New York to Shanghai.”
GolinHarris was the first agency globally to launch the concept, which is present in 13 locations, including Chicago, London and Shanghai. Mumbai is the latest bridge in Asia and latest addition to Golin Harris’ global network of Bridges.
The Bridge is designed to meet the changing needs of clients who are constantly looking to better market their products and services and make them relevant with an evolving customer. It will provide better insight, improve delivery outcomes for clients and provide real-time information to clients.
LinOpinion GH and Lowe Lintas and Partners executive director Ameer Ismail said, “We are excited to introduce this valuable tool that helps clients across different industries to manage their online reputation effectively. I believe the time has come to accept new realities in PR and The Bridge is an integral way in which agencies and clients can weave in real time insights into their communications efforts. The impact and use can be far beyond our PR agency clients and could also work for clients within our Group.”
The Bridge can work independently for a country specific exercise or in tandem with other global hubs on campaigns, large events or even crises that require real time impact. In India this setup will focus on helping brands engage their customers in real time as well as managing their online reputation. It will be run by dedicated staff from the LinOpinion GH g4 model; specialists who focus on media relations, analytics or consumer platforms both online and offline.
In addition to launching The Bridge, LinOpinion GH also unveiled their new office located in Lower Parel, Mumbai. The new office features an international look and feel that brings out GolinHarris’ G4 work model. The contemporary workplace also has spaces for creative discussions, video conferencing and other amenities to create a productive work environment.
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.
