MAM
Navin Khemka to take over MediaCom South Asia as CEO
MUMBAI: Media agency MediaCom has appointed Navin Khemka as CEO of its South Asia operations effective 16 July 2018. Khemka takes on the role from Debraj Tripathy who will be leaving the organisation to explore new opportunities outside the group. He will be based in Delhi and report to the incoming GroupM South Asia CEs Sam Singh and Mediacom Asia Pacific CEO Mark Heap.
Tripathy joined MediaCom in 2011 and under his leadership, MediaCom India has been among the fastest growing and most awarded agencies in South Asia. In recent years, MediaCom India was recognised among the top 10 agencies in the Gunn Media 100 Agency Report, named Agency of the Year at the Festival of Media Asia, and delivered many award-winning campaigns recognised as among the best in the world, including Ariel’s “Dads Share the Load”, Gillette’s “Bachelor of Shaving”, and Wrigley’s “Doublemint #Startsomethingfresh”.
Khemka is currently the managing partner of North and East and new business development lead for the GroupM agency Wavemaker India. He has over 20 years’ experience, working with brands such as Perfetti Van Melle, Hero, Pernod Ricard, PayTM, Nokia, Samsung, Reckitt Benckiser etc. A MICA alumnus, Navin has played a stellar role in growing Maxus and later Wavemaker in New Delhi with his client-centric approach. He joined GroupM to lead the New Delhi branch of Maxus in 2014. He has previously worked in Zenith Optimedia, Cheil and Mudra.
With the dynamic media landscape in India, Khemka’s challenge will be to drive relevance and effective ROI for the agency’s brands, including several blue-chip clients.
MediaCom is a member of WPP, the world’s largest marketing communications services group, and part of GroupM, WPP’s consolidated media investment management arm.
WPP India country manager CVL Srinivas says, “WPP and GroupM are making many investments into areas that will further enhance our market-leading capabilities in India and South Asia. We are excited to see Navin take on this role. With his experience and energy, we are sure he will take MediaCom to even further heights by leveraging all that our group has to offer, for the benefit of our clients. Debraj has done a terrific job leading MediaCom. He has been a fantastic colleague and a very admired leader.”
Heap adds, “The search for a new leader has been an exciting one as there is no shortage of strong talent in India. We considered many candidates from within and outside the group and unanimously knew that Navin was the choice. In Navin, we have a leader with stellar raw talent and a real thirst for growth, who can capitalise on the enabling assets of the MediaCom global network and the strength of GroupM and WPP India.”
MediaCom is one of the world’s leading media communications specialists, with billings of US$33 billion employing 7,000 people in 125 offices across 100 countries. Its global client roster includes Dell, Coca-Cola (TCCC), Mars, NBC Universal, P&G, PSA, Sony, Shell and Richemont.
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.
