MAM
Ajay Gahlaut moves on from Publicis Worldwide
NEW DELHIL Ajay Gahlaut, CCO and MD of Publicis Worldwide, India (PWW) has decided to move on from the agency and pursue his passion on a personal front. He will be with the agency until mid-August and will ensure a steady handover to all concerned teams and clients.
The agency has also announced the elevation of Vikash Chemjong and Basabjit ‘Tito’ Mazumdar to the role of Joint NCDs. The duo would take on the role of managing the creative mandate for all brands under PWW including Publicis Capital, Publicis Ambience, Publicis Beehive, Publicis Health, Publicis Emil and Publicis Business and will report to Publicis Worldwide MD Srija Chatterjee, India.
Publicis Groupe South Asia CEO Anupriya Acharya says, “Working with Ajay has been a great experience even though our overlap has been only six months! He has built a great team here and we thank him for all his contributions. Am sure he will be successful in whatever he chooses to do next and our best wishes are with him.”
Vikash and Tito had joined Publicis Capital over a year ago as National Creative Directors. Over the past one year, they have been instrumental in shaping the creative universe of some key brands under Publicis Capital including Beam Suntory, GUS, GPI, Nestle, Goodricke, Emami to name a few. Prior to joining Publicis, they both were Group Creative Directors at Ogilvy India and have over four decades of creative experience between them.
Srija Chatterjee said, “Ajay has been a great friend and a fantastic creative leader to have around. Over his 18-month long stint, he has helped build and nurture the creative process and output for a number of brands at the agency. I wish him a great ride in his future endeavours.”
On the new roles for Vikash and Tito, Srija added, “We are fortunate to be running on a Groupe philosophy that thrives on the model of collaboration and ensure that we breed and train talent of great calibre. To that end, both Vikash and Tito come with over 40+ years of combined work experience and have been successfully leading the Publicis Capital business for the last one year, partnering some of our clients in delivering some great work. I look forward to them playing a key role in raising the creative bar.”
Ajay Gahlaut said, “For me it has been a wonderful year and a half at Publicis. I have made many friends, built a powerhouse creative team and done some nice work. The only reason for moving on is a desire to try new things. This is an extremely exciting time for all kinds of creative content in the country. I have a couple of interesting options I can explore. And while I will never say never to advertising, I thought it was a good time to attempt some things I hadn’t tried before.”
Gahlaut remarked that it was extremely satisfying to see Vikash and Tito elevated as creative heads. “I have always believed in promoting from within and I’m sure that the duo will rise to the occasion. Ranadeep Dasgupta, meanwhile, will look after the New Delhi office and I’m certain that he too will shine in his new role.”
Vikash and Tito affirmed, “It’s a great honour for the both of us. This is a new role but we will deal with it in much the same way as we have dealt with all our briefs. Just roll up our sleeves, order some excellent food and keep at it until we are satisfied. Both with the food and with the ideas! Because we have realised over the years, that if we are happy and convinced about our ideas, more often than not, so are our clients!”
Gahlaut has been a part of noteworthy campaigns such as Emami Navratna – ‘Raahat Raja featuring Salman Khan’, HDFC MF – ‘Baat Bane Kishton Mein’ and Skoda Auto – ‘Peace of Mind’ among others.
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.
