MAM
Gulf Air appoints new general manager for India
A consistent achiever and winning performer, Nambiar has risen from the ranks of Gulf Air, having joined it in 1999 as District Sales Manager in Doha, Qatar from KLM Royal Dutch Airlines.
After a nearly three and a half years stint in Doha, he moved to Nairobi, Kenya on promotion as Area Manager for East and West Africa. In June 2004 he was elevated to the position of General Manager at Gulf Air headquarters in Bahrain, the biggest station of Gulf Air network, before moving to Dubai in January 2005.
A Bahrain-born Indian, Nambiar brings to the position a depth of knowledge and experience that will serve him well in this highly competitive market.
“I am delighted to take up the new position in India, which is an important market for Gulf Air,” says Nambiar.
“Gulf Air is, and will continue to be, a major player in this rapidly growing travel market. I hope to continue with my undeterred spirit to further develop the market. I am thankful to Gulf Air management for their confidence.
Regional General Manager Robin Middleton says Gulf Air’s relationship with India goes back to the 60s when it started its first flight to Mumbai in 1960 – the first gulf airline to operate into India.
“It is one of the top five revenue producing markets for Gulf Air, and it continues to be one of the largest international carriers serving this important country, which is a rapidly-growing economy,” he says.
“We are confident that under Rajeev’s leadership and in conjunction with our GSA Jet Airways, Gulf Air will continue to go from strength to strength, not only in creating an even stronger profile with new innovative products but also by providing our Indian customers with our unique brand of Arab hospitality and culture, for which we are renowned.”
About Gulf Air
Founded in 1950, Gulf Air is presently owned by the Kingdom of Bahrain, the Sultanate of Oman and the Emirate of Abu Dhabi and is the only truly Pan Gulf carrier in the region.
More than half a century later, the regional, geographic and cultural values that the airline has embraced over more than half a century are still central in defining the brand and service ethos within the contemporary and global environment.
Today the airline’s network stretches from Europe to Asia and covers 44 cities in 30 countries. The fleet comprises 34 aircraft.
Under President and Chief Executive James Hogan, the successful implementation of the first phase of a restructuring programme, which commenced in 2003, has resulted in the establishment of a platform for sustained commercial operation.
It has also provided a framework for a succession of innovative products and services including the unique Sky Chefs and Sky Nannies that form part of Gulf Air’s ’boutique airline’ vision.
The dramatic turnaround in fortunes has won international recognition. The Centre for Asia Pacific Aviation (CAPA) presented the airline with the prestigious Airline Turnaround of the Year Award for 2003. Gulf Air was also the recipient of the 2003 Platinum Award for the Best Airline in the Middle East and North Africa, which recognised the airline’s commitment to service excellence. Other awards include:
Winner – Middle East Leading First Class Airline, World Travel Awards 2005
Winner – World’s Leading Airport Lounge, World Travel Awards 2005
Winner – Middle East & North African Platinum Best Airline Travel Award 2004
Winner – Skytrax Most Improved Airline Award 2004
Winner – Skytrax Best First Class Onboard Food Category 2004
Winner – Skytrax Best Business Class Check-in Category 2004
Official Airline and Sponsor of the Gulf Air Bahrain Grand Prix 2006
For further information please contact:
Rashmi Shetty / Riann Vaz
Tel: 022 22812957 / 60
Mob: 98217 65776 / 98198 64424
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.
