MAM
Hemant Dua joins Do Your Thng as co-founder & chief growth officer
NEW DELHI: Branded content marketplace Do Your Thng (DYT) has bolstered their leadership team with the addition of Hemant Dua, who has joined as co-founder and chief growth officer. He brings with him experience in strategy, nurturing talent, consumer behaviour and business development with the likes of Delhi Daredevils, Octagon, and BRC Group.
Dua has more than 25 years of global leadership, including a decade of strategic development and plan execution. Most recently, he held the position of CEO, Delhi Daredevils, structuring the first-ever divestment of an IPL franchise. Under his management, the $15 million business grew to $30 million in turnover and acquired new franchises in kabaddi and wrestling.
Prior to that, Dua served as the Asia Director of Octagon, the world’s largest sponsorship consulting practise, consulting for Beijing Olympics and ideating and executing the test event for 2008 World Cup of Gymnastics.
Do Your Thng founder and CEO Ankit Agarwal said: “We are ecstatic to have Hemant as the co-founder and chief growth officer at DYT. He brings rich experience and valuable perspective to the team. Hemant’s extensive expertise in driving strategy, market expansion and internal growth are unmatched. All are skills that would help DYT strengthen partnerships, develop strategic alliances and expand our presence.”
In the past year and Covid2019 tailwind, influencer marketing has surged ahead and is estimated to reach $10 billion by the end of 2020. As co-founder of DYT, Dua is looking to scale the platform to the next level of growth and leverage the immense value of the influencer industry.
“I am thrilled to be joining the DYT team and enjoy the challenge of transforming it into a bigger and better enterprise,” said Hemant Dua. “In the year since its inception, DYT has already worked with upwards of 80 brands on 100+ campaigns with 20,000+ creators. I hope to accelerate the platform further, incubate ideas and translate them into reality.”
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.
