MAM
Dentsu Aegis Network gets new leadership for Happy mcgarrybowen
MUMBAI: In a bid to strengthen its global creative agency mcgarrybowen’s India footprint, Dentsu Aegis Network (DAN) has elevated Samarjit Choudhry to the role of president – happy mcgarrybowen (HMB) India. In addition to this, the global media and marketing communications conglomerate has also entrusted Soumitra Karnik with the additional charge as chief creative officer (CCO).
Choudhry joined the Network in 2017 as COO – Happy mcgarrybowen India. Armed with more than 20 years of experience, he has worked with agencies such as Ogilvy and Leo Burnett. At Leo Burnett, he was the chief growth officer for the group and was also instrumental in setting up Orchard and Black Pencil for them. In addition, he has also worked to create India’s premier comic book content company, Virgin Comics.
Speaking on his appointment, Choudhry said, “mcgarrybowen has a strong philosophy of solving real problems. They truly operate as a media-agnostic agency. In India the foundation for this is already there and the agency has been operating as Happy mcgarrybowen for over 2 years now. My mandate is to take it to the next level. Other than communication, we already have a strong design practice and in conjunction with the other offerings from DAN, today we offer our clients a one stop solution for whatever their needs might be. I look forward to taking the opportunity to take the legacy forward. And all we ask is, ‘Give us your biggest problem’.”
Soumitra Karnik joined the network in 2012. Prior to that, he was an ECD at JWT. In over 11 years spent there, he worked on a variety of clients including Pepsi, Airtel, Nestle, and Hero Honda. Karnik has also worked at Lowe and Percept. Amongst his notable campaigns are the Pepsi ‘Yeh Hai Youngistaan Meri Jaan’, ‘Slice Aamsutra’, ‘Yaari Ki Gaadi’ for Hero Honda Splendour NXG, and the ‘What Makes Us Click’ campaign for Canon, to name a few.
Speaking about the role, Karnik said, “Happy mcgarrybowen is a phenomenal creative brand and has an enviable body of work to prove it. All these years, I have greatly admired them from a distance and I count my blessings for being given this opportunity to be a part of their creative trajectory. I assume this role with utmost confidence only because the culture of HMB will not have it any other way. I shall take my mandate from Gordon Bowen, our Global CCO, in the coming days and will talk about it soon. Personally, I’d like to build a collaborative creative culture where everyone works with everyone and everyone learns from everyone. There is so much talent out there in the world and sometimes all it takes is a simple call to say, ‘Hi, I have this idea and I need you to make it even more amazing’. Most clients deserve a spectacular package. Anything less is just plain misfortune.”
Happy mcgarrybowen India is going to be a key piece in DAN’s India creative strategy.
DAN CEO greater south and chairman & CEO India Ashish Bhasin said, “With its new leadership in place, I am more than confident that the agency is now in extremely able hands. Happy mcgarrybowen has always been a brand to reckon with and I have no doubt that Samarjit and Soumitra, together, will further fuel this brand legacy and help Happy mcgarrybowen scale new heights.”
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.
