MAM
Publicis India appoints Amit Shankar as new national creative director in Delhi
MUMBAI: Publicis India has appointed Amit Shankar as a new national creative director in Delhi. He will replace the former head of creative Nitin Pradhan who quit the agency. Shankar will report to the Publicis India managing director and chief creative officer Bobby Pawar.
Pawar said, “Over the last few years, our Delhi office has created some of the most talked about work for our biggest brands. Amit comes in at the right time. His mandate is to keep raising the creative bar and partner me in leading the agency into the new age of creativity. Given his talent, passion and pedigree I’m sure he will do great here.”
Commenting on the appointment, Publicis India managing director Srija Chatterjee said “Amit joins us at an opportune time with our Delhi office witnessing some high-profile action with some key new business wins. His sharp creative reasoning and ability to throw ideas at you on a quick-fire basis is what makes him a talent to watch out for. We’re glad to have him into our fold and look forward to Delhi becoming a strong creative hotshop under his tutelage.”
Before joining Publicis India he worked with J Walter Thompson-Gurgaon where he was senior vice president & ECD. Shankar will work towards scaling up the creative offering from New Delhi and provide effective and transformational solutions to a host of brands across categories including Maggi, Nestle, Cera, SpiceJet, Ralco Tyres etc.
Commenting on his role, Shankar said, “I’m quite excited about joining Publicis India. Whatever I do here, I want to keep creativity at the heart of it. I believe that in today’s dynamic marketing landscape two things are important – a great supply of disruptive ideas and speed of execution. I want to bring these to the agency. I’m also a big believer in the power of momentum. If we start doing good work, better things follow.
In his 21-year-young advertising stint, he has worked with leading agencies like Grey (including Trikaya), Contract and J. Walter Thompson. Microsoft Windows XP, Domino’s Pizza, NIIT, Honda Cars, Honda Two Wheelers, Hyundai, General Motors, Maruti Suzuki, Jaypee Cement, Pedigree, GlaxoSmithKline, Proctor & Gamble, FujiFilm, National Geographic, HeroMoto Corp, Times of India, Nestle, ITC, India Today, Government of India, Whirlpool, SpiceJet, Hindustan Times and Revlon are some of the marquee brands he has contributed to. He is equally proud of nurturing challenger brands like Intex Mobiles, Creambell ice Cream, Kwality Dairy Best, Manforce, SetWet Deodorants, Franke Faber and Jubilant Organosys.
In his earlier leadership role as an ECD, Amit is widely credited with reigniting the creative department of Grey, Delhi virtually from the scratch and bagging the office’s first Cannes Lions and Ad fest metals. And, bringing in over 15 new brands into the agency’s fold.
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.
