MAM
Wunderman Thompson India ropes in Rakesh Varma & Abhay Godbole, bolsters its Mumbai leadership team
Mumbai: Wunderman Thompson India has announced the appointment of two senior hires for its Mumbai office. Rakesh Varma has joined as vice president & executive business director, and Abhay Godbole as vice president & client service director.
Both Rakesh and Abhay will report to Wunderman Thompson Mumbai managing partner Anurag Tandon.
Rakesh has over 15 years of advertising experience, having worked on a wide range of brands, with a particular fondness for automobiles and auto accessories, with brands like Volkswagen, TVS Motorcycles, Ashok Leyland & Gulf Oil. He has been associated with leading brands like Hotstar, Radio City, FBB, Gelusil & Tata AIA, amongst others. He has in-depth understanding and experience in brand strategy, campaign planning, and leading integrated marketing efforts.
Having previously worked with Wunderman Thompson Mumbai, Abhay Godbole returns to the agency for a second innings. During his previous stint with the agency, Abhay was instrumental in leading the much lauded “Mutual Funds Sahi Hai” for AMFI. He has close to two decades of experience in marketing communications, working across categories like FMCG, automobiles, and BFSI. Passionate about advertising and creativity, Abhay believes any marketing challenge can be addressed through compelling creative solutions.
Commenting on the new appointments, Wunderman Thompson Mumbai managing partner Anurag Tandon said, “As we continue to diversify our client roster and grow our talent base, it is critical for us to have the right hands on deck. Rakesh and Abhay bring with them extensive experience and domain knowledge that will propel us to drive growth in key industry domains and deliver the best outcomes for our clients. Both our senior hires have an impressive track record of building strong consumer brands, and I am looking forward to scaling new heights with our client partners.”
On taking up his new role at Wunderman Thompson, India, Rakesh Varma, commented, “At Wunderman Thompson, we’re building a future that’s as exciting as its legacy. And I consider myself extremely fortunate to be a part of this transformation. With its diverse brand portfolio, integrated service approach, and promising growth vision, WT is all set to thrive. I’m looking forward to nurturing some of the long-standing client relationships and creating new ones.”
Abhay Godbole added, “I am delighted to be back at Wunderman Thompson, one of India’s finest agencies that has nurtured and built multiple brands in the country. Wunderman Thompson is in a unique position to create the agency of the future; an agency that is capable of delivering the best of both mainline and data-led digital communications. I look forward to being a part of this exciting and transformational journey.”
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.
