MAM
Havas restructures global media biz; places digital at the core
MUMBAI: Havas has announced rebranding and restructuring of its media business globally. Havas Media brand will be relaunched on 24 January with a new identity to reflect a tighter, more integrated organisational structure.
The France-headquartered agency network has created ‘Havas Media Group‘ which will include all of Havas‘ media agencies. Havas Media (operating in 126 markets) would consist of its media brand MPG, its digital brand Media Contacts and Arena Media, which operates in 13 markets.
The rebranding is supported by a new simplified structure that places its digital expertise and content marketing at the core of its operations. This move brings the media side of the business in line with the structure of Havas‘s creative division, Havas Creative Group (comprising the Havas Worldwide global network and Arnold Worldwide micro-network).
The new media organisation allows Havas to continue to invest in establishing digital excellence at the center of all its agencies around the world. The new structure will make its specialised units such as Artemis (the group‘s global data management network), Mobext (mobile network), Socialyse (social media), and Affiperf (Havas‘s global trading desk) more accessible to the teams from both Havas Media Group and Havas Creative Group. On the content marketing side, Havas Sports & Entertainment will support this structure with its 36 international offices, alongside such as Cake (Paris, London, New York) Havas Event and Havas Productions.
To manage this new organisation, the group has formed a new executive committee managed by Alfonso Rodés as the CEO of Havas Media Group. Dominique Delport, CEO of Havas Media France has been appointed global managing director for the Havas Media Group. He will report to Rodés, and will be in charge of the commercial activity for all countries and all brands, strategy, new business, digital integration and intelligence.
Michel Sibony, who is currently global head of middle office, will manage all global planning and buying operations as well as the group‘s digital and specialist offers. Global head of back office Jordi Ustrell will oversee the global support services such as IT, HR, legal and finance.
Rodés said, “The explosion of digital media means that no one can afford to deliver a siloed approach to communications. This new media model integrates our digital expertise “at the core” of our organisation, promoting greater agility between all our teams and disciplines. It‘s a simple yet progressive move that enables us to harness the digital transformation that has hit all types of media. By reorganising our teams, changing the lines of reporting and investing in building company-wide digital fluency, we put ourselves in a unique position in the industry. Our scale and simplicity allows us to present clients with a shared vision that meets consumer demand for more meaningful connections.”
Sibony said, “We need to guarantee our clients more consistency in every market and more speed in the delivery of this change to provide greater effectiveness and more efficiency when leveraging the new technological given by data management and technological platforms.”
Delport explained, “Our clients need change and innovation more than ever because beyond media, digital affects any business with great opportunities but also potential disruption. Understanding the relationship between brands and consumers, especially for the growing digital generation, is essential. Our aim is to form a new company that lies at the intersection of the traditional international holding groups and the new style of innovative, digital companies. It‘s an exciting challenge for our clients and our teams.”
Havas Media Asia Pacific CEO Vishnu Mohan added, “This rebranding couldn‘t have been initiated at a better time from the Asia Pacific perspective. Clients in the region are looking for simplicity in agency structures and an integrated offering. The objective of our current rebranding is aligned to that expectation. The simplification of brands within our group furthers our aspiration of being the most agile and integrated agency group with digital at its core”: adds Vishnu Mohan, CEO, Havas Media, Asia Pacific.
Havas Media India CEO Anita Nayyar said, “Media is today an evolving ecosystem where only change is constant. Digital is fluid across every platform from traditional to new age, so the concept of ‘digital at core‘ is vital. It is not ‘only‘ specialization but the dynamics of integration and knowledge synergies that will exploit it to advantage. Brands are asking for integrated communications to differentiate themselves; they need responsive and analytical services. In India, digital is a reality or aspiration for every Indian. Our integrated service offerings of media, outdoor, digital and mobile with the new platform will be better leveraged to the benefit and delight of our customers.”
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.
