MAM
Karthik Srinivasan joins Ogilvy as Social@Ogilvy national lead
MUMBAI: Ogilvy India today announced the appointment of Karthik Srinivasan as Social@Ogilvy national lead.
Srinivasan, who was previously Flipkart AVP corporate communications, comes with over 14 years of experience, both as a client as well as an agency professional. He has led PR, digital and social media agency mandates for brands like Intel, Lenovo, ARM, Cisco, Cricinfo, General Motors, BlackBerry, LinkedIn and Infosys, among others.
Besides being a regular in major social media and digital events in the country, Srinivasan is also a prolific blogger, with two blogs – one on communications, branding and PR, and the other on music reviews.
Ogilvy, as a brand, is all about bright, path-breaking ideas says Karthik Srinivasan
Ogilvy India chief digital officer Kunal Jeswani said, “Social@Ogilvy is already India’s largest social media agency practice. Our ability to connect strong social skills with creative and content capabilities has driven dramatic growth for us over the past five years. The social landscape is constantly evolving and Karthik has the right skills to help us shape the future of Social@Ogilvy. His experience in handling large social media mandates will also help us offer truly seamless social solutions to our clients.”
Social@Ogilvy is Ogilvy’s cross-discipline specialist social media offering which has highly skilled social media leaders collaborating with the agency’s digital, public relations and creative practices to create seamless and effective social media solutions for client businesses.
Social@Ogilvy asia-pacific director added, “Karthik’s appointment further strengthens our market-leading position for social media in the asia-pacific region. The strength of our team is directly derived from our ability to attract leaders of Karthik’s calibre. His knowledge and experience will immediately bring great value to our clients in India and across the region.”
Srinivasan, on his new role at Ogilvy commented, “Ogilvy, as a brand, is all about bright, path-breaking ideas. And social media, as a function, has moved its focus away from run-rate platform management to creative ideas that work at the intersection of multiple client functions – marketing, corporate reputation, customer relationship, supply chain and human resources, among others. With the kind and nature of clients Ogilvy has in India, I see tremendous potential in the use of social media to make a tangible difference to their businesses.”
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.
