MAM
Yes Bank appoints Dayal as business banking president
MUMBAI: Yes Bank today announced the appointment of Munish Dayal as president – business banking. He will be responsible for planning, directing and steering the business banking (Small and Medium Enterprises/Emerging Local Corporate relationship based) activities of the bank.
Prior to joining Yes Bank, Dayal handled various responsibilities across diverse business functions and geographical locations for Citigroup, most recently based in London and prior to that in India.
Dayal is a commerce graduate from Sriram College, Delhi and a merit holder of the Business Administration degree from Faculty of Management Studies (FMS), Delhi.
Earlier, he was the Business Head at Citibank and was responsible for developing and managing the SME segment in Europe, Middle East and Africa. He has vast, cross-functional experience in banking, encompassing Transaction, Retail and Financial Institution Banking, apart from a sound product and operational knowledge. Being on the international circuit, he has a global perspective of the business and brings a lot of value to the table. Dayal has also undergone various training programs and has a number of awards and recognitions to his credit.
Having worked across continents, Dayal has a global perspective of the business and brings with him knowledge of latest trends and growth opportunities to Yes Bank.
Dayal said, “I believe I can make significant addition with my vast domain experience that will complement Yes Bank’s corporate ethos of being a knowledge driven institution. I am positive that our association will help garner new business opportunities in the SME sector. It’s always a pleasure to be a part of such a high powered team. I believe at Yes Bank, there is a unique entrepreneurial opportunity to create a paradigm in Banking as opposed to being a pert if predefined, age-old systems in established Banks.”
Speaking on the new appointments Yes Bank MD and CEO Rana Kapoor said, “It is our fullest endeavor to attract the finest talent in India in a pursuit to build a world-class organisation and create an institution of enduring trust and value. Munish’s understanding of the Commercial Banking/ SME business at Citibank in various locations as well as his vast, cross-functional experience in banking, encompassing Transaction, Retail and Financial Institution Banking, will give Yes Bank an edge in our quest to establish a high quality, technology driven, state-of-the-art private Indian Bank.”
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.
