MAM
Lyxel&Flamingo promotes six leaders as partners amid business growth plans
Mumbai: Lyxel&Flamingo (L&F), a Gurugram-headquartered digital-first marketing agency on Tuesday announced major restructuring of its leadership team. The company has elevated six homegrown leaders as new partners to further strengthen the focus on scaling its business pan-India.
The company’s partner comprises of Nishant Singh (creative director – copy), Nishit Mohan (head of technology), Shivam Singh (team lead R&D), Hitanshu Gupta (solutions architect), Upesh Verma (head of e-commerce) and Ashish Sharma (delivery head). “The six newly-minted partners have already spent more than half a decade with the company and have risen through the ranks to now lead very important and profitable businesses within the L&F fold,” said the statement.
“We are incredibly proud to elevate six of ‘our own’ to partners as they represent what homegrown talent can do for the growth of any company. Having come up through the ranks, they embody & exemplify the strong cultural values our organisation is exceedingly proud of,” stated L&F co-founder and CEO Dev Batra. “A few of them began their professional careers with us and have soldiered on through thick & thin to have reached this pivotal point in their careers. They have demonstrated the same perseverance and other core values integral to L&F like any other partner has and hence, this elevation only makes natural sense.”
The four original co-founders, Dev Batra (CEO), Yesh Miranda (CCO), Shreyansh Bhandari (COO) and Priya Batra (director – people strategy and growth), shall dilute as much as 20 per cent of their equity in order to help more than 30 leaders within their company become partners over the next three years in an industry-first restructuring and organisation building process, said the company in a statement.
“As a team we have always had the unwavering belief that L&F has what it takes to grow into a globally relevant, multinational, marketing agency from India. To strengthen our mission of ‘Building For The Future’ and further build on our vision, the natural step was to groom the next generation of leadership within a structure where they hold more equity in the company & build on the momentum of growth & new competencies,” Batra further said.
“The company’s growth culture is an integral part of our outlook. We focus on doing things passionately and always pushing the envelope – yet giving complete independence to our people to decide their own growth and enabling this in a decentralised manner,” commented Priya Batra. “This is where the six new partners are going to bring their expertise to the table – Building For The Future in the process- for brands & for the organisations alike.”
In the last few years, L&F has established competencies across digital, social, analytics, tech, CRM and automation. The company has business spread across Gurugram, Mumbai, Bengaluru, Vancouver, Canada and Wyoming, US.
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.
