MAM
Shipsy charts a new course as Servo Sawhney joins to steer customer success
MUMBAI: If the autonomous supply chain is the future, Shipsy just recruited the navigator it needs. Shipsy, the AI-native logistics technology company, has appointed Servo Sawhney as its new chief customer officer, signalling a decisive push toward helping enterprises unlock tangible value from AI and accelerate their journey to an autonomous supply chain.
Sawhney brings over two decades of experience across customer success, enterprise transformation and go-to-market strategy. Having previously helped scale major SaaS players such as HighRadius, he has earned a reputation for converting complex AI into clear business outcomes, a skill many enterprises desperately need as AI adoption outpaces real-world impact.
In his new role, Sawhney will work closely with supply chain leaders worldwide to help them envision, build and execute their AI-transformation roadmap. One of the industry’s biggest challenges isn’t AI capability, it’s understanding the real problem, deploying AI-native solutions correctly, and realising measurable ROI.
That gap is exactly what Sawhney is expected to bridge.
His mandate includes collaborating deeply with Shipsy’s product and engineering teams to help customers seamlessly orchestrate their digital workforce, preparing them for the ‘agentic’ future the company believes will define next-generation logistics and supply chain management.
“Servo’s experience managing complex transformations for Fortune 500 companies will play a key role in enabling this for Shipsy’s customers,” said Shipsy co-founder & CEO Soham Chokshi. Emphasising the company’s customer-first ethos, Chokshi added that successful AI transformation demands a close, consultative partnership not just a technology offering.
Sawhney’s role becomes even more significant as Shipsy sharpens its global ambitions. The company recently announced a strategic partnership with Tech Mahindra, aimed at helping global retailers, logistics companies and consumer goods brands build AI-native capabilities at scale.
Shipsy currently works with 150 plus global customers, and the appointment of a CCO with deep domain experience signals the company’s intent to move beyond deployment and into long-term value orchestration particularly as enterprises demand AI systems that deliver real productivity gains, not just pilot-project hype.
With Sawhney at the helm of customer strategy, Shipsy is betting big on a future where logistics operations are smarter, more autonomous and powered by AI systems capable of delivering end-to-end decision-making.
In an industry racing to merge intelligence with execution, Shipsy appears to be tightening its sails and with Sawhney onboard, ready to catch the next big AI tailwind.
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.
