MAM
Gozoop elevates Amyn Ghadiali as vice president – business and strategy
NEW DELHI: To accelerate growth and navigate the evolving marketing landscape of the future, Gozoop, one of India’s leading integrated marketing companies, has elevated Amyn Ghadiali to the role of vice president – business and strategy. The move comes at the heels of two strong years of growth with Ghadiali at helm as director of strategy and is line with the agency’s aggressive vision for growth based on sharper strategy and ground-breaking creative work coming together to realise tangible business results for partner brands. Based out of Gozoop’s Mumbai HQ, he will continue reporting to CEO of the organisation – Ahmed Aftab Naqvi, with the addition of key responsibilities which include driving business and spearheading the strategy & creative division.
Ghadiali began his tryst with Gozoop as an Account Manager in 2012 and by 2014 rose to the position of head of strategy. He then spent two years at another firm as the head of strategy, where he played a pivotal role in landmark campaigns including crafting the strategy for the now iconic Mumbai Police account on Twitter. He returned to Gozoop in 2016 as a group director – brand communications, where he honed his business acumen while continuing to push the bar for strategy and creativity with award winning campaigns for key accounts including Hypercity, Dell, HRX, Parle Nutricrunch, Star Bharat, Viacom18, Mahindra Lifespaces and more. After nurturing and consolidating a team of 30+ strong, he moved on to spearheading the strategy division for Gozoop in 2018. Under his decisive leadership, the team celebrated the wins of marquee clients including Tata Steel, Bisleri, Aditya Birla Fashion and Retail amongst others. His keen understanding of customer behaviour and insights, coupled with path-breaking creativity make him well suited to take on the new role, which is a culmination of business and creative strategy.
Gozoop CEO & co-founder Ahmed Aftab Naqvi said, “When Amyn joined us as an emerging talent back in 2012 he had potential and the right mindset to grow. Over the past 8 years, he has leveraged this potential and mindset to transform into a thought leader in the industry. His dedication, work ethics are second to none and I am looking forward to work alongside him to help Gozoop and our partner brands win in this new world.”
“Amyn has played a monumental role in helping us win in the new world, which has further highlighted his resilience, creativity and winning attitude of whatever it takes. From starting with a small team under him to winning brands like Bisleri, his growth over the years has been impressive. With him taking on greater responsibility, it excites me to see where we will be headed in the years to come,” adds Gozoop co-founder & director Rohan Bhansali.
Ghadiali commented on his new role, "Gone are the days when strategy, creative and implementation happened sequentially. The ecosystem today is being built as it is experienced and with immediate feedback loops being a defining feature. With reduced attention spans and digital at the helm, marketing is experiencing a fundamental paradigm change. As I step into this new role at Gozoop, it is this change that shapes my vision for Gozoop, one that is rooted in the present but designed for the future. The dominance of digital is just beginning and so are we!"
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.
