MAM
Integrating data analytics, combining diverse generations are challenges for HR department of media cos
MUMBAI: The digital transformation has not left any niche behind, even if it is the human resources department of the media and entertainment industry. HR has moved far beyond backend and soft skills; data analytics is now in a crucial position.
Indiantelevision.com founder, CEO and editor-in-chief Anil Wanvari held a session “Responding to megatrends” in its first-ever Media HR Summit. MullenLowe Lintas group HR director Heather Saville Gupta, Reliance Entertainment’s Big Synergy CEO Rajiv Bakshi, Madison World executive director Lara Balsara Vajifdar and Reliance Broadcast Network Ltd CEO Abraham Thomas participated in the panel discussion.
MullenLowe Lintas’ Gupta said that the media industry is most dynamic. Other industries do not have to deal with such face-paced movement. Adding to this, Thomas said, “Two disruptions which have actually changed our lives as consumers and professionals are digital disruption and the huge societal change that has come upon us. We currently have almost five different generations working together.”
According to Thomas, the role of HR has become a watchdog looking for trends and insights in the industry. The HR department is like a composer, trying to scale the company goals. Thomas is of the view that HR role has suddenly become front-end and frontline. He opined that with digital, HR is the other important buzz word.
Bakshi added that while that bastion was held by the word ‘transformation’ for the last three years, now HR has arrived to play the role of not just a partner but also an anticipator. HR has to anticipate business trends for the survival of the company.
“HR is very important for the agency as our business is all about people. HR is not just the HR head’s responsibility; it is each and every senior management’s responsibility especially in an agency business which is full of young people coming with its own set of challenges,” Vajifdar said.
According to her, media is getting a good share of young employees who are ambitious, impatient, have a sense of purpose for work and don’t want to listen to someone just because they are senior. She said that they want their leaders to command respect not just demand and expect.
Gupta’s company delves in producing 30-60 second TVCs where upscaling older employees is a challenge while millennials understand digital faster. Added to this are the budget constraints while hiring, training, recruiting and retaining employees due to smaller client budgets.
Bakshi added that one major challenge the industry is facing is creating a value proposition which will attract multi-generation people. This means creating an organisation where there are stalwarts, experienced people as well as energetic youngsters who have to collaborate for the same project. He also added that HR needs personalisation with the help of data analytics. This can be done via customised training programmes and incentives.
Experts also agreed that younger employees look for direct communication from authority to get a sense of what they are doing. Hence, taking out time for personalised informal communication without any agenda is important. Any key factor is HR management is to align personal goals with the company’s and get employees to look at the bigger picture with greater contribution to society.
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.
