MAM
Boardroom gets a digital dose as Liqvd Asia appoints Anasuya Ghosh
MUMBAI: Liqvd Asia just added a bold new chapter to its governance playbook. The digital-first advertising agency has appointed Anasuya Chaudhuri-Ghosh, a seasoned hand in insurance and innovation as an Independent director to its Board, signalling a sharper strategic lens and a future-ready mindset.
With over 25 years of cross-industry leadership, Anasuya brings a formidable blend of underwriting grit, digital transformation chops, and brand-building flair. Her appointment is aimed at not just strengthening board objectivity but also adding firepower to Liqvd Asia’s long-term growth and governance roadmap.
Liqvd Asia founder Arnab Mitra said, “We are delighted to welcome Anu to the Board as an Independent Director. Her deep expertise in strategic leadership, digital transformation, and business operations will bring invaluable perspectives to our governance framework. Anu’s sharp strategic acumen, operational depth, and passion for digital-first thinking will add tremendous value to our boardroom conversations. Her appointment marks a significant milestone in our journey as we continue to scale with integrity, innovation, and a future-focused vision.”
Anasuya Chaudhuri Ghosh added, “I’m excited to join the Board of Liqvd Asia at such a pivotal point in its journey. The agency’s bold, tech-forward vision and its ability to blend creativity with technology resonate deeply with my passion for digital transformation and purpose-led innovation. I look forward to collaborating with the leadership team to drive strategic growth, strengthen governance frameworks, and contribute to creating meaningful, long-term value for all stakeholders.”
Anasuya’s CV reads like a masterclass in insurance sector leadership from LIC of India to Birla Sun Life, Reliance Nippon Life and IndiaFirst Life, to her current role as head of marketing at Star Union Dai-ichi Life Insurance (SUD Life). Notably, her work with InsurTech startups like Loop Health and ecosystem builders like the India Insurtech Association showcases her knack for marrying tradition with tech innovation.
While she continues her role at SUD Life, Anasuya joins the Liqvd Asia board in an independent capacity offering a valuable outside-in view as the agency scales. Her inclusion also reflects a push for gender diversity and fresh, future-facing perspectives at the leadership table.
With this appointment, Liqvd Asia sends a strong message, the boardroom is no longer just about compliance, but creativity, curiosity, and courageous growth.
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.
