MAM
Fintech disruptor Ambarish Kenghe takes the helm as Angel One’s group CEO
MUMBAI: Fintech just got a major shake-up. India’s largest listed retail stock broking house, Angel One has roped in Ambarish Kenghe as its new group chief executive officer. The announcement, originally made on 13 January 2025, marks a defining moment for the company as it gears up for an era of digital transformation and hyper-growth.
A powerhouse in product innovation, digital transformation, and business scaling, Kenghe has built a career at the intersection of technology and finance. Before stepping into Angel One, he made waves at Google Pay APAC as VP & general manager, spearheading the platform’s expansion and strengthening India’s UPI ecosystem. Ever tapped your phone to pay for chai? You might just have him to thank.
But Kenghe’s influence extends beyond payments. At Google, he played a pivotal role in the launch of Chromecast and the development of Google TV. Prior to that, he revolutionised the fashion e-commerce space as chief product officer at Myntra, where he championed AI and machine learning-driven personalisation.
His journey through the tech world doesn’t stop there. Kenghe has flexed his strategic muscles at Bain & Company in San Francisco and tackled high-speed switching technologies as an engineer at Cisco Systems in San Jose. With four patents under his belt and an academic background that boasts an MBA from UC Berkeley, a master’s degree from Purdue University, and another from IIT Kanpur, he’s a certified innovator.
Stepping into his role as group CEO, Kenghe is laser-focused on scaling Angel One’s product and technology portfolio, enhancing customer experiences, and ensuring the company continues leading the Fintech revolution.
Angel One Chairman & MD Dinesh Thakkar expressed his excitement, “Ambarish’s appointment as group CEO marks an exciting new era for Angel One. With his proven track record of driving innovation and deep expertise in the industry, he is the visionary leader we need to propel us into our next chapter of growth. At Angel One, we believe strong leadership shapes the future of Fintech. Ambarish’s guidance will position us not only to keep pace with the ever-changing financial landscape but also to lead the charge in transforming how financial services are delivered, empowering our customers with groundbreaking solutions and unparalleled value.”
Kenghe, in turn, shared his enthusiasm for the challenge ahead, “I am truly honoured to be part of Angel One, a brand that has been at the forefront of transforming India’s Fintech landscape. With its focus on innovation and customer-centricity, Angel One has built a strong foundation. I am eager to work with the talented team to drive the next phase of growth and empower users with advanced financial solutions.”
As Angel One continues to disrupt the financial services industry, Kenghe’s arrival signals a bold new chapter.
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.
