MAM
DRIM Global bolsters leadership team in India with key appointments for business and growth
Mumbai: DRIM Global influencer marketing platform, is proud to announce key leadership appointments aimed at driving business and growth in the region. Anshuman Singh, a seasoned professional with over five years of industry expertise, is appointed as the head of business strategy. Anwesha Sarker, a growth initiatives specialist, joins as the head of growth for India and the MENA region.
DRIM Global the head of Asia Yulia Aslamova expresses her excitement: “DRIM warmly embraces the presence of Anshuman and Anwesha, a testament to our unwavering dedication to strategic leadership and robust growth initiatives. Their inclusion marks a pivotal moment for our organization, propelling us toward new heights of success and innovation. As we embark on this exciting journey, we are confident that their expertise will further fortify our position as a global leader in our industry. DRIM is not just a company; it’s a thriving community of visionaries, and with Anshuman and Anwesha on board, we are poised to redefine excellence and set new benchmarks for the future. Welcome to the DRIM family, where possibilities are limitless, and success knows no bounds.”
Anshuman Singh, a seasoned strategist with a track record in data-driven marketing, has led digital efforts for renowned brands like Marks & Spencer, Croma, AT&T, Tata Play, IDFC First Bank, and Luxottica at Dentsu and Publicis Groupe. As the head of business strategy at DRIM, he brings a global perspective and deep insights into the Indian market. Anshuman’s hands-on approach integrates technology and influencer marketing for sustainable brand growth, impacting the entire marketing funnel. His role not only shapes DRIM’s success but also contributes to the broader evolution of digital marketing practices. Anshuman shares his enthusiasm, saying, “I am thrilled to join DRIM Global and contribute to shaping the strategic direction that will drive the company’s continued success in the dynamic influencer marketing landscape.”
Anwesha Sarker brings with her over ten years of expertise in media specifically. She is entrusted with overseeing business planning, profitability, and expansions at DRIM Global owing to her large network, strength in acquisition, and client success. She is recognised for her proficiency in fostering growth initiatives and is eager to spearhead expansion efforts in the India and MENA markets. Anwesha states, “I am excited to be part of DRIM Global and look forward to leveraging my skills to fortify the company’s presence and accelerate growth in these crucial regions.”
Their appointments underscore DRIM Global’s commitment to strategic leadership and its dedication to propelling growth strategies across key markets. Together, Anshuman Singh and Anwesha Sarker’s combined expertise will undoubtedly strengthen the company’s position as a frontrunner in the influencer marketing industry.
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.
