MAM
Bollywood actress Nikita Soni endorses leading PR agency Teamology Softech and Media Services
Kolkata: Leading PR and digital marketing agency, Teamology Softech and Media Services Pvt Ltd has become the first name in the PR industry to be endorsed by a Bollywood actress. Bollywood actress and charismatic model Nikita Soni is now the official brand ambassador of Teamology Softech and Media Services Pvt Ltd, Nikita shared a Facebook post where she said, “I personally believe in Teamology Softech and Media Services. Do you know about it”. This statement instantly sparked interest amongst her thousands of followers and speaks of the faith the actress displays in the company.
Teamology Softech and Media Services is a prominent player in the digital PR industry and has grown at an unprecedented pace since its inception in the year 2019. Born during the pandemic, it is the brainchild of founders GulrezAlam and Md Badshah Ansari, having global brand presence and a highly diversified clientele across boundaries. The company has been a forerunner in providing 360 degrees of digital PR and digital marketing solutions to businesses, influencers, actors, social workers, politicians and startups alike to build their brand amongst the most suited audiences.
Bollywood actress Nikita Soni, apart from her enchanting acting and modeling skills is also known for her kindness, altruism and social work which sets her apart. She says in a statement, ” If I had to choose one word to describe Teamology and the team at, “Always.” Always available, always professional, always on time, always budget conscious, always conscientious, and always easy to work with. Teamology helped me from scratch to increase my media and public outreach”
The bollywood actress has more than 400k followers on Facebook and Instagram combined and is growing menacingly as a socially sensitive and scintillating actress. Nikita Soni has oftentimes spoken about the trust, reliability and affordability factor that comes with the multiple brand building services provided by Teamology Softech and Media Services, who, in a very short span has emerged stronger than most of their competition.
Apart from Teamology Softech and media services, no other PR firm had a face from Bollywood backing up their expertise but it was for the tailored solutions provided by the firm along with 24*7 service reliability and around the clock support in managing the outreach and campaigns. The firm is renowned for their press releases management, social media management, publicity management, SEO Services at costs that are the most compatible in the industry.
A digital first company, Teamology Softech and Media company has also ventured into elections management, press conference and movie promotion with a clientele of more than 500 clients till date. With such innovations and collaborations in place, the company is growing as a undisputed leader in its industry.
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.
