MAM
Guest Article: We are obsessed with platforms & clients
Mumbai: Digital platforms change how we consume and provide digital products and services. Digital platforms comprising technical infrastructures and their ecosystems of social actors continue to disrupt entire industries. They evolve by leveraging the latest and the best of innovations and continuously learn from the data that resides on it.
Platforms are where – consumers, users, companies, institutions and for that matter, all stake-holder seek information, create, operate, transact, communicate and engage. Some platforms are outward-facing ie consumer or user-facing, while others help in digitalising or automating operations.
Effectively transforming an organisation of any nature or scale is impossible without creating a customised ecosystem. Critically there is a need for one to assess in depth the power and constraints of each platform – even if they are all available. It is like – a great dish cannot be guaranteed in spite of all the exotic ingredients that may be available. You need the right recipe and need to have the ability to cook it to perfection. Most business leaders especially those whose key mandate is to digitally transform or innovate their businesses – cite that, choosing the right platforms in the context of their category, business life stage, budgets etc, is the toughest decision that they have to make. Massive blunders are commonplace – as the decision is so complex.
The other side of the coin is that consumers consume on platforms. They switch from one to another or are simultaneously ‘on’ more than many. Their preference for platforms changes depending on their, purpose, mood, intent, objective, time of the day or familiarity. Essentially the gratification that they seek and the way they interact with and behave on the platform are vastly different – some can be predicted and rest that need a real-time response to their cues. The choice of the brand on which platforms to launch, build desirability or merely promote their products and services is equally complex.
A deep knowledge of platforms, choosing the right ones, and stitching them all together in a seamless ecosystem to drive superlative consumer (user) experiences and achieve higher organisational productivity is now a common (and perhaps the most important) KPI for all business leaders, across the organisation, irrespective of their domain expertise or functional responsibilities.
At Wondrlab we are obsessed with platforms. We invest all the time and money, and sweat, in acquiring and developing deep platform expertise, so that we can deliver platform-first solutions to our customers and hand-hold them through their journey of creating and running a unique transformational ecosystem across marketing and business. Our engagement with each one of them is aimed at delivering simplicity on the other side of complexity.
Our most recent acquisition of Cymetrix a leading salesforce consulting and data analytics company is driven by this obsession. Leveraging salesforces’ customer 360 platform play and combining it with our already acquired platform capabilities in digital content, digital media and influencer marketing we are delivering transformative solutions to clients combining AI+data+CRM+content+media. Needless to say simply!
This article has been authored by Wondrlab Technologies CEO Rajesh Ghatge.
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.
