MAM
Ogilvy Bengaluru elevates Tithi Ghosh as president & head of office
Mumbai: Ogilvy India has promoted Tithi Ghosh as president and head of office for Ogilvy Bengaluru as Ram Moorthi has moved on from the agency after a twenty five year long association.
The change in leadership came into effect from 1 July 2022.
Ram’s contribution to Ogilvy India, since 1997, has been immense across the Ogilvy India network. In the last two and half decades, Ram has been in leadership roles that included heading the Chennai office, leading the IBM hub, heading Ogilvy’s PR function, leading the Mumbai office to becoming the Bengaluru office head.
Tithi brings with her over 22 years of experience in brand communication. She has an honours degree in Economics from St. Xavier’s College Kolkata and completed her Master’s at MICA. She joined Ogilvy in Bengaluru in 2004.
Over the years, Tithi has become synonymous with the Ogilvy Bengaluru office. She has had her hand in all the successes and wins that the office has had in the last two decades. She has created some fantastic work across brands like ITC Bingo, Titan, Allen Solly, The Hindu, Fortune and MTR. She has also nurtured and built some of the strongest client partnerships for Ogilvy Bengaluru.
In her role as managing partner in Bengaluru, during the pandemic years, she was instrumental in stabilising the business in spite of the pressures and was a pillar of strength to all employees.
On this change in leadership, Ogilvy India group president VR Rajesh, said, “We would like to thank Ram, for giving so much to Ogilvy India. We will miss his passion to always do something different. Not a man to sit on his laurels, we are sure an all new venture is right around the corner. We wish him all the best and lots of love.”
“We are also very lucky to have Tithi to take the baton from Ram. Tithi stands for everything that represents the culture of Ogilvy. The voice of guidance and wisdom is now going to be the hand that guides the next chapter of Ogilvy Bengaluru,” he added.
Tithi Ghosh said on her appointment, “In my 18 years in Ogilvy Bengaluru, I’ve had the good fortune of being part of teams that launched brands that today have grown to be some of India’s most loved. To gain the same love and attention from digitally consummate and socially active consumers of today, requires fresh and new ways of thinking. Our team here has some incredible talent, folks who are passionate about what they do and create. I’m excited about the future as I believe we can partner our existing and prospective clients in changing the conversation around their brands.”
Ogilvy chairman global creative and executive chairman India Piyush Pandey commented, “Tithi has been my valuable partner for years. And I am sure that in the coming years she will further strengthen our client relationships and creative excellence in our Bengaluru office.”
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.
