MAM
Paritosh Srivastava appointed COO of Publicis Beehive
MUMBAI: Publicis Communications has announced the appointment of Paritosh Srivastava as its new chief operating officer for Publicis Beehive. He steps in place of Sanjit Shastri, who passed away in September 2017 due to cardiac arrest. The appointment is effective immediately.
Srivastava will continue to lead Publicis Ambience as its COO. He will report to Srija Chatterjee who is the managing director at Publicis Worldwide India.
Publicis Beehive is the advertising agency under Publicis Worldwide, India and is focused on serving startups and entrepreneurial ventures, and manages media buying, creative, PR and activation to drive growth for clients. Some of the clients it serves include Games24x7, Stovekraft, Xseed Education, e-Seva (MoPNG), UBS, MAAC, Tourism Malaysia, DSK Benelli, UIDAI, Pitaara Namkeen, Chambor Cosmetics, Sangeetha Mobiles among others.
Commenting on his additional role within Publicis Worldwide, Srivastava said: “I’m honoured to be given the mandate of leading Publicis Beehive. Unfortunately, the void left by my friend Sanjit Shastri is too big to be filled but I’m glad to be stepping in and look forward to further building on the legacy. Beehive is uniquely positioned in the market with its integrated offering and I see a huge potential for it in current business scenario. We have a solid team at Beehive and can expect some great momentum on both new business and work in the months to come.”
Chatterjee added, “Publicis Beehive is what it is because of the relentless drive by Sanjit Shastri, whose untimely demise shocked one and all. Luckily, he has placed the agency on a pedestal that compares it to some of the best in the country. We are excited to have Paritosh Srivastava take over the reins and bring in his dynamism, astute business sense and ability to connect well with clients to drive the next phase of growth for the agency. I wish him all the luck for the role ahead.”
Also read:
Nikhil Kumar joins Publicis India as VP
Saurabh Varma elevated as Publicis Communications’ India CEO
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.
