MAM
Anil Kapoor to be recognised with the AAAI Lifetime Achievement Award 2013
MUMBAI: The Advertising Agencies Association of India has announced that Draftfcb+Ulka chairman emeritus Anil Kapoor will be the recipient of AAAI Lifetime Achievement Award 2013. This Award is the highest honour given to an individual in India for his/her outstanding contribution to the Advertising industry.
AAAI president Arvind Sharma said, “Anil is a highly respected professional and an acknowledged leader in the industry. With over 25 years of experience in the advertising industry, Anil has set the standard for strong business and managerial skills.”
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Anil has been one of the first Indian marketing and advertising professional to be given a leadership role beyond the borders of India and appointed to the global management council of a multinational agency
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Anil has been one of the first Indian marketing and advertising professional to be given a leadership role beyond the borders of India and appointed to the global management council of a multinational agency. His contribution to the Indian Advertising industry has been outstanding and his involvement in various industry bodies like AAAI, ABC, NRS, etc., has been admirable.
Anil was responsible for establishing NRS, as an independent readership survey in India by actively counseling, driving and working with other industry bodies.
More recently, Anil has been involved in the field of education and he was invited by the Stern School of Business, NY University, to be a Resident Professor.
“Anil is known for his fair play and when it comes to competing he always upheld the highest standards of professional integrity. By selecting Anil for this honour, AAAI salutes his contribution to the Indian advertising industry”, added Arvind Sharma.
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AAAI salutes his contribution to the Indian advertising industry said Arvind Sharma
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The AAAI Lifetime Achievement Award recognises an individual’s achievement in the following areas: Leadership of the industry as an individual, contribution towards advancement and professionalism in the industry and exemplary personal integrity, values and ethics consistent with the standards expected.
The AAAI Lifetime Achievement Award will be presented to Anil Kapoor at a glittering ceremony on 27 September at Trident, Nariman Point, Mumbai, in the presence of the veterans of the advertising, marketing and the media world.
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.
