MAM
Angshuman Chowdhury joins brand consultancy Shining Emotional
NEW DELHI: Angshuman Chowdhury has joined brand consultancy firm Shining Emotional Surplus Pvt. Ltd. as President. Shining specialises in aligning corporations for end-user benefit.
An official statement from Shining Emotional quoted Shombit Sengupta, founder and creative strategist of Shining Emotional Surplus as saying, “Angshuman will add the breadth of rigorous financial validation to strengthen the rational delivery of Emotional Surplus from Shining.”
“With his long years of marketing financial services in India and overseas, Angshuman will add value to the enlarged services we now offer,” the statement, quoting Renee Jhala, Managing Director, stated.
Shining’s concept of Emotional Surplus is a proven engine that has successfully driven the key result areas of different corporations such as Wipro, Britannia, Hindustan Lever, Jubilant Organosys and Marico, and internationally of Danone, P&G, Bristol Meyers Squibb, Adidas, Nivea, Unilever and Remy Martin, among others. Shining Emotional Surplus has provided these corporations end-user benefit driven corporate alignment. Each of these strategies have been designed and implemented with a tailor made content of enduring emotional surplus for the end-user, which has put them beyond the reach of competitors. As a result, all these clients have achieved sustainable and profitable growth.
Using its international expertise Shining is now offering four specific services in India and the Asia Pacific region. They are shareholder wealth creation, brand value creation, retail ROI strategy and world class durable bio-design.
Sengupta further said that Shining Emotional Surplus has always provided creative solutions with a rational base for the business growth of clients and that Angshuman will contribute significantly to value creation through cost efficiency.
His role will encompass the strategic vision of clients by enhancing the rational base of Shining’s deliverables. As part of the Shinings’s team, he will guide Shining’s strategy to strengthen the backbone of clients’ long-term sustainable wealth creation.
Angshuman joined Grindlay’s Bank (now Standard Chartered Bank) in 1981 as Senior Consultant, became their Business Head in Eastern India, and was then seconded to London with responsibilities of risk management in Asia, Middle East, Europe and Private Bank. On his return, he created their Mutual Fund business in India, launched Retail and Institutional distribution for Third Party Fund products, and set up ANZ India Research to undertake economic, sectoral and equity research to support the Corporate Finance activities.
In 1998 Angshuman moved as Head of Finance to Praxair India, a part of $6 billion Praxair Inc. USA. In 2000, he joined the HSBC Group’s Teamasia Semiconductors as Director and CFO, and completed their take-over of IMP Inc. a Californian NASDAQ listed company.
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.
