MAM
There is a pot of gold for India at the end of it: Ashish Bhasin
NEW DELHI: In the second part of this exclusive chat with DAN CEO APAC, chairman India Ashish Bhasin, the versatile leader talks about his experiences of handling various international markets during the lockdown, his expectations with the future of the Indian market, and how the industry can tackle this crisis.
You said that people should be planning for the short term. So, how are the immediate few months looking like to you? How can the industry prepare itself?
When this year had started we all, including my agency had forecasted a 10-12 per cent growth for the industry. Now, the reality is that we are going to end this year, most likely, at negative 15-20 per cent. There is a 30 per cent swing in what we had expected and what we will reach. Now, this 30 per cent amounts to around Rs 22000 – 23000 crores, which are going to get away from the industry. Some parts will be severely disrupted because of this.
First, accept it there's no point in hoping and wishing that suddenly a magic wand will be waived and everything will come back to normal. Now, you know at which levels the businesses are going to operate; so figure out the right structures. Invest only in the right people and resources. This is not the time to be adventurous. This is the time to conserve cash and reserve your resources.
Same goes for the clients. I am seeing people suggesting their clients keep advertising during the lockdown or they will disappear from the consumers’ minds. And in theory, it is right. But if we look at it practically, there is a liquidity crisis in the market. There are certain categories whose shops are shut completely. So, what’s the point in advertising after a certain limit?
I agree that advertising plays an important role in reviving any economy but this is the time to be sensible. Even the clients have to invest in critical resources to let their businesses survive.
I think the focus has to be on how do you make your money work harder. How do you make it more efficient? How do you get a bigger bang out of your buck? Once that happens and once the demand starts coming back you can then become a lot more adventurous.
Do you see more job losses happening in the coming few months?
Well, that’s the sad part about the pandemic, everyone will have to face some pain. At Dentsu, from the very beginning of the pandemic, we had taken this decision to take pay cuts at each level, to save jobs. Obviously, the rangers differed from market to market. It was very clear to us that there is going to be disruption and there might not be any revenue beyond a point.
Now the recovery has been much slower than expected, and certain businesses will have to take these tough decisions, be it advertising or any other. For example, in the events business, where there is movement from months now, then it’s not fair to continue with employees at much-reduced salaries.
Also, it will largely depend on if the festive season really picks up and businesses start coming back. But again, it will be at an industrial level. You will be seeing job losses and it will depend on the sector to sector and which part of the business one is in.
You have also been handling the APAC region of the network. Tell us more about the experience of handling other markets in the region, even beyond the pandemic.
It has been eleven months since I have taken the role and I think it would be fair to say that we have managed to stabilize it very quickly. There were some early calls I had to make, some quick management changes across the region were announced. I changed the CEO and the CFO of our Australia and New Zealand operation and created a new team over there. Some leadership changes were done in the Philippines market too. A few more were in the process but then the pandemic hit us.
So, the region was a little complicated and challenging for the network but I think we have taken some steps in the right direction. It is a work in progress but I am sure we will be able to take it there, increase our revenues. Right now, my focus is on building the right teams, getting the right people on board and empowering them.
And how did the various teams react to the pandemic?
So, we have a big office in Wuhan, which turned out to be the first city to get impacted. And they were quick and adept at handling the situation. We moved everyone to work from home within a few days and the learnings from there really helped us with other markets too. We set up Market Incident Teams (MIT) and Regional Incident Teams (RIT) to assess the whole process and impact. We were then able to take these lessons to countries like Vietnam and Indonesia. It came to India quite later and by that time we were prepared for it. We shifted thousands of people to work-from-home overnight. I am very thankful to all my teams for managing this so well.
Now, China was quick to recover, subsequent lockdown and unlocks have happened in Australia and now there is the second wave there. Markets like Taiwan were relatively less impacted. China is showing robust growth now, Korea has recovered pretty well. Vietnam has handled the pandemic very well.
And how’s the future of the Indian market looking like to you?
I think there is going to be month-on-month recovery from here on. Also, in the larger picture, in the next 2-3 years, 250 million more people are going to come onto the internet. Agriculture is doing now much better and we're investing in infrastructure. I think in the medium-term and long-term, India is going to be in a good position. I can guarantee you there is a pot of gold at the end of it for India.
Read more: Rural, tier 2 & 3 cities to drive the next leg of 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.
