MAM
Ogilvy Mumbai declared ‘Most Effective Agency Office Globally’ for 2nd time in a row
MUMBAI: The folks at Ogilvy are celebrating once again. Ogilvy Mumbai has been declared the ‘Most Effective Agency Office Globally‘, in the 2013 Effie Effectiveness Index – and this too for the second consecutive year. Effie Worldwide and WARC, the global marketing intelligence service, revealed the global results of the Effie Effectiveness Index in Cannes today.
Ogilvy south Asia executive chairman & creative director Piyush Pandey said: “I am truly delighted for Ogilvy Mumbai and all our clients who we have partnered in achieving this unprecedented recognition of being ‘the Most Effective Agency Office in the World‘.
“To do it once is good. But to be awarded the Most Effective Agency Office in the world for two years in a row is a staggering achievement. This only further underlines our philosophy of deep collaboration between Creative, Planning and Account Management helping us deliver on the twin peaks of creativity and effectiveness. This would not have been possible without the support of our clients so a big thank you to all our clients who continuously repose faith in our ideas,” said Ogilvy & Mather‘s Mumbai & Kolkata head Navin Talreja.
Head of Planning-Ogilvy Mumbai Kawal Shoor said, “We didn‘t plan for this. Couldn‘t have. It‘s impossible to know what hundreds of other offices across tens of agencies are doing globally. Only in hindsight have we figured the reason Ogilvy Mumbai has been honoured with this accolade, in successive years. And the reason is – great work that works, not for a few, but for a very wide set of brands, across different clients. I think Ogilvy Mumbai manages the depth-versus-width issue beautifully because we‘re blessed with a unique mix of skill sets, our creative culture, and a genuine desire to motor each other‘s thoughts forward.”
The EFFIE Index was launched in June 2011 and is led by Effie Worldwide. It was predicted to become the industry standard and according to industry influencers, it is now considered to have attained this status. The Effie Effectiveness Index identifies and ranks the marketing communications industry‘s most effective agencies, advertisers, and brands by analysing finalist and winner data from Effie Worldwide competitions. It is one of the world‘s most comprehensive ranking of agency and advertiser performance and a valuable resource for anyone interested in marketing effectiveness.
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.
