MAM
Bacardi India announces Radhika Tomar as director of human resources India (INDSEA)
Mumbai: Bacardi India Pvt Ltd, part of the held spirits company, has appointed Radhika Tomar as director of human resources – Bacardi India (INDSEA). With 18 years of global HR leadership spanning FMCG, consulting, technology, and consumer durables, Radhika brings the experience of fostering inclusive cultures and enhancing organizational capabilities.
Radhika’s transformative leadership at Bacardi India follows extensive international experience across diverse industries. Before joining Bacardi, she served as HR Director – India and Global Talent Activation Director at Kimberly Clark, championing inclusion and equity across the company’s Asia Pacific division, leading global talent programs, and enhancing divisional capabilities. Before Kimberly Clark, Radhika spent more than four years across different roles at Dyson ranging from HR head of India & Southeast Asia, Regional Head of Talent Development Asia and leading L&D and Early Career globally. She played a key role in shaping Dyson’s global talent and development strategy, Dyson’s global leadership development programs, and mentoring senior business leaders to deliver stronger business and people impact.
Her journey also includes pivotal HR roles at Microsoft India, where she partnered with their commercial businesses and led extensive change management initiatives, as well as at McKinsey & Company and Aon Hewitt, serving clients across sectors on leadership and organizational development.
Operating from the company’s Gurgaon office, she will spearhead people strategy, strategic talent management, and embedding a culture of diversity inclusion and employee engagement across Bacardi’s operations in India and Southeast Asia.
Bacardi India (INDSEA) managing director Vinay Golikeri “We are thrilled to welcome Radhika to Bacardi India’s leadership team. Her extensive experience and innovative HR approach align perfectly with our commitment to nurturing individual potential and fostering a culture of fearlessness and family. We eagerly anticipate her leadership in further strengthening our position as a dynamic workplace where every primo and prima is empowered to explore their fullest potential and truly thrive.”
Speaking about her new role, Radhika Tomar said, “I am thrilled to join Bacardi to contribute to our ambitious growth aspirations in the cluster by building on Bacardi’s high-performance culture, inclusion & belonging and strengthening critical capabilities for success. I look forward to help scale our leadership in the spirits industry through a strategic people agenda and nurturing our strong talent in these markets. This marks an inspiring new chapter for me, and I am excited about the transformative journey ahead.”
Radhika holds an MBA from XLRI School of Management Jamshedpur, and a Bachelor of Arts (Double Major) in Economics & Statistics from St. Xavier’s College, Mumbai.
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.
