MAM
Pocket FM dials up its brand game as Adityan Kayalakal tunes in
MUMBAI: If careers had soundtracks, Adityan Kayalakal’s would be a genre-blending mixtape and his latest track begins at Pocket FM, where he has joined as vice president for brand. For someone who has spent years straddling sport, streaming, edtech, fintech and Web3, returning to entertainment feels less like a move and more like a homecoming. “Feels incredible to return to entertainment,” he shared, summing up a journey shaped by platforms that travel, connect and stay.
Kayalakal steps into the Mumbai-based, hybrid-role in December 2025, bringing with him a decade-plus of brand-building that has hopped across industries but stayed rooted in one instinct: understanding what makes audiences stop, watch, listen and come back for more.
Before Pocket FM, he helmed marketing at Jupiter, where he spent seven months steering brand strategy for the fintech challenger. But his sharpest growth sprint came at Veera, where he was a founding team member and eventually Head of Marketing & GTM. The Web3 browser rocketed to 4 million users in its first year, clocking 1 million MAUs, 500k WAUs, 100k DAUs, and an average of 13 plus minutes spent per user per day numbers that placed it among the fastest-growing Web3 applications globally. The brand’s breakthrough campaigns from the see-through ‘Toilet’ installation to the giant ‘Cashpile’ didn’t just win awards; they sparked conversation and cemented Veera as a startup to watch in 2024.
Long before Web3 and fintech, Kayalakal was shaping storytelling at scale. At BYJU’S, he led global digital strategy, brand platforms and partnerships, delivering some of the company’s most high-impact campaigns. His slate included unveiling Lionel Messi as the face of BYJU’S social initiative; orchestrating communication for the BYJU’S x FIFA World Cup Qatar 2022 partnership, which fetched 4 billion eyeballs; and driving the “Education For All” campaign to 100 million views. His sports-led anthems from Kerala Blasters to the Indian men’s and women’s cricket teams collectively racked up hundreds of millions of views.
But perhaps his most formative years were at the NBA, where he headed content and then digital and distribution partnerships for South Asia. In barely two weeks, he created 350 plus content pieces for the first-ever NBA India Games and went on to roll out Hoop Nation, which won Promax Gold and Silver. He also scripted landmark distribution deals with Disney India, DD Sports (driving 70 million new TV viewers), and ultimately a long-term partnership with Viacom18 & Jio helping expand NBA’s footprint across TV, digital, gaming and esports.
Earlier, he held roles across entertainment brands including Hotstar, Movies Now, ESPN and Hasbro’s Transformers, shaping his sense of narrative, culture and consumer behaviour.
With Pocket FM rapidly scaling its audio entertainment ecosystem, Kayalakal’s remit will be to sharpen its brand storytelling, expand its cultural footprint and build the next chapter of a platform that has already redefined long-form audio fiction in India.
For someone who thrives where stories breathe from courtside to crypto to classrooms, Pocket FM seems like the next world where the narrative is waiting to be rewritten. And if his track record is anything to go by, the brand’s next season is about to sound a whole lot louder.
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.
