MAM
Carter Murray Named CEO of Draftfcb Worldwide
MUMBAI: The Interpublic Group (IPG) has named Carter Murray Draftfcb Worldwide CEO. He replaces Laurence Boschetto, who will remain with the agency through a transitional period and then serve as a Senior Advisor to IPG in a consulting capacity. Murray will be based out of New York.
Thirty eight year old Murray comes in from WPP’s Y&R, where he was president and CEO for North America and Y&R New York CEO. He has previously served as chief marketing officer and worldwide account director on Nestlé, as well as a member of the executive committee at Publicis Worldwide.
Murray began his career at Leo Burnett in Chicago and has held a number of posts at the agency, including stints in Germany and the United Kingdom. Howard Draft will continue in his role as executive chairman at Draftfcb.
IPG chairman and CEO Michael I Roth said, “We‘re very pleased to welcome Carter in this key role at an important time for Draftfcb. He understands consumer advertising and brands, has demonstrated the ability to motivate diverse teams and raise the quality of creative work, nurture client relationships and win global business. This combination of skills and experience in a dynamic new leader is what the agency needs in order to evolve its integrated model and drive growth.”
Roth added, “We thank Laurence for his contributions to our search for his successor and to the agency, including a consistent and high level of operational and financial delivery. We wish him well in his ongoing industry activity, particularly in the area of diversity and inclusion, where we will continue to work together.”
Murray said, “I am greatly looking forward to this opportunity. Draftfcb has outstanding people, clients and a commitment to putting together the best of brand advertising and accountable communications disciplines, such as digital, CRM and activation. That‘s a powerful promise we must make good on. When we do, the Draftfcb offer will be hard for clients to resist. Working with the strong leadership teams across the network and with Interpublic‘s continued support, I feel we can deliver on that vision and do something really special.”
Boschetto said, “Carter brings energy, a new perspective and range of talents that will take us to the next level. I‘ll do everything to help him step into the CEO role seamlessly and I know our senior teams will do so as well. I thank all of our nearly 9,000 people around the world for their support and I know the agency‘s best days are ahead. Moving onto the next chapter personally, in working to promote our industry and in particular to work for greater diversity among our ranks, is something to which I am very much looking forward.”
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.
