MAM
Genesis Burson-Marsteller launches Step Up
MUMBAI: Genesis Burson-Marsteller has launched a new initiative, Step Up, catering exclusively to the communication needs of the two most important stakeholders of the entrepreneurial ecosystem: the start-ups and investor networks.
Designed to provide affordable and relevant service offerings spanning traditional as well as new digital formats, Step Up, helps young companies and SMBs take the next leap in their journey to success, by not only narrating their story creatively but also by communicating on what impacts their business.
Commenting on the launch, Genesis Burson-Marsteller principal and founder Prema Sagar said, “Step Up is our endeavour to go back to our roots. We know, feel and understand the challenges having been a start-up ourselves, 22 years back. With Step Up, we have already begun to partner with new and upcoming brands in their journey so as to take it to the next big thing. What differentiates Step Up from the rest is our strong understanding of the ecosystem and the changing media scape, the right talent and the ability to provide affordable services.”
The new initiative offers customised services from branding and partnerships to media engagement. The offering to start-ups have been created keeping in mind various challenges faced by early-stage ventures. These offerings aim to develop and device a compelling and effective communication strategy to narrate the story of the ventures in the most innnovative manner.
Genesis Burson-Marsteller public relations president Nikhil Day said, “We are delighted by the creativity of our young colleagues to have come up with the idea, presented the strategy to the India Management Team, developed the proposition and already won their first client!. Our firm has, from the very beginning, encouraged entrepreneurship – it is for our people to take the initiative. And Step Up is a great example.”
The clients could be from Consumer (e.g. FMCG, beauty, sports, art, theatre, music, movies), Technology (e.g. products, services) Health and Wellness (e.g.pharma, services, ayurveda) and Corporate (e.g.financial, engineering, aviation). Genesis Burson-Marsteller’s experience already exists for large companies, learnings from which will be applied for Step Up companies.
Step Up India lead Atul Sharma added, “In the last few years, the Indian start-up environment has made a mark on the global entrepreneurial map by producing unique and globally relevant propositions. Being noticed by the right audience can make a great difference to a young company’s journey. This unique initiative by Genesis Burson-Marsteller, Step Up, aims at empowering these innovative start-ups to create a space for themselves in an otherwise cluttered market. We are looking to create the next ‘whatsapp’ story in India! ”
Step Up is inspired by Genesis Burson-Marsteller and has the same gene pool of expertise and excellence but, it aspires to bring alive creative communication in a completely different genre of companies, which may have not enjoyed the benefits of experienced communications partners owing to their size.
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.
