MAM
Dentsu launches Amplifi, with Kartik Iyer and Sujata Dwibedy as leaders
MUMBAI: Dentsu Aegis Network has announced the launch of Amplifi in India under the Executive Sponsorship of Kartik Iyer, President Media Agencies and Amplifi.
Amplifi is the media investment arm of The Dentsu Aegis Network, comprising four specialisations – Investment Management, Global Media Partnerships, Amnet and The Story lab.
Speaking on this launch, Ashish Bhasin Chairman & CEO South Asia said, “We are excited to launch Amplifi in India under Kartik’s leadership and bringing together the four key capabilities under one structure. In today’s world, our media partners have much more to bring on table for our clients, than just media inventory. Amplifi’s is uniquely placed to drive this supply-side convergence by harnessing data, technology, insight and content to help all members of the Dentsu Aegis Network operating model.”
As part of this launch, Sujata Dwibedy is taking over as the Group Buying and Trading Head from Harsha Joshi who has decided to explore options outside the company. On Harsha’s association with the group, Ashish Bhasin said, “Harsha, with her vast experience, has been a huge contributor in the growth of the media group. We wish her all the very best for her future.”
Kartik Iyer, President Media Agencies and Amplifi said, “Our constant endeavour has been to bring best in class solutions for our clients that enable their business growth. The launch of Amplifi is another step in that direction and I am very excited with this opportunity.”
Further, speaking on Sujata’s appointment, Kartik said, “Sujata, with over 20 years of media trading and strategy experience, has extensively worked across sectors such as FMCG, telecom, airlines, finance, alcohol and beverages and has led teams in the areas of planning, research, buying and strategy. Her holistic perspective will enable a better integration of all buying and trading functions across the group, in both online and offline media. Sujata will be supported by Prashant Nandan who has over 10 years of expertise in strategic digital marketing, media planning, media buying and content marketing across agencies like Isobar, Maxus and Motivator. Over the past 3 years, he has been leading buying for Isobar and now moves to Amplifi to deliver the digital buying and trading expertise to the group.”
Speaking on her appointment as Group Buying and Trading Head, Dwibedy said, “I am delighted to have been chosen for this responsibility to drive ROI and deliver value to Dentsu Aegis Network clients. In today’s rapidly changing media marketplace, I look forward to working with our agencies and media partners to deliver this value across media to our clients.”
Amnet, the programmatic capability of Dentsu Aegis Network, continues to grow from strength to strength and will now be a part of Amplifi.
The Story Lab, launched in 2015, will continue to operate as part of Amplifi under the leadership of Sunil Kumaran.
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.
