MAM
Facebook’s Dave Rolfe moves to WPP as global head of production
NEW DELHI: WPP has appointed Dave Rolfe to the new role of global head of production, WPP and Hogarth.
Rolfe, who was most recently head of production for global business marketing at Facebook, will be based in Hogarth Worldwide, WPP’s creative production arm. He joins in March, reporting to WPP’s incoming global chief creative officer Rob Reilly and Hogarth CEO Richard Glasson.
In this newly created role, Rolfe will be responsible for executing a strategy that elevates the role of production in delivering creative excellence across WPP. He is tasked with attracting and nurturing the best production talent from across the industry and building a best-in-class production community that offers integrated and innovative solutions for clients. Given Hogarth’s long-standing partnership with Ogilvy, Dave will also oversee production at the agency.
Prior to Facebook, Rolfe was global EVP, director of integrated production at BBDO for eight years. He played a key role in BBDO’s creative success, garnering numerous prizes for work ranging from social and innovation to Super Bowl, as well as high-profile cause-related work.
He has consistently earned creative and innovation recognition working with clients such as AT&T, Burger King, GE, Mars, Bacardi, Microsoft, Anheuser-Bush, Domino’s, VW, MINI, as well as Sandy Hook Promise and American Legacy Foundation’s Truth.
WPP CEO Mark Read said, “Dave is simply the best in the industry, and his appointment underlines our commitment to outstanding creativity on behalf of our clients. He will be a great partner to Rob and the Hogarth team, and a great champion of excellence and innovation in creative production throughout WPP.”
Rolfe added, “Over the past five years I’ve focused much of my efforts on how the consolidated production model can best perform, as it both innovates for clients at the highest level and aligns with agencies – respecting and bolstering their production offering. As much as I’ve spent time cultivating projects small and large, the scaled model enables effective partnership and great work at all levels. I couldn’t be more excited to work with the talented team at Hogarth and to help deliver WPP’s creative ambitions for its agencies and clients.”
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.
