MAM
Leo Burnett named 2014 Epica Awards “Network of the year” for second consecutive year
MUMBAI: Leo Burnett was named Network of the Year for the second year in a row at the Epica Awards last night in Amsterdam. The agency network won 46 awards in total, including 12 Golds and two Grand Prix awards for “#LikeAGirl” and “Making Music.”
In the Digital category, Leo Burnett Toronto, London and Chicago won the Grand Prix for P&G’s Always “#LikeAGirl” campaign. Leo Burnett Beirut also won a Grand Prix in the Presscategory for Virgin Radio’s “Making Music.”
“The Epica Awards presents a special kind of recognition from the top editors and senior reporters covering our craft across the world,” said Mark Tutssel, Chief Creative Officer, Leo Burnett Worldwide. “Our network rejoices in this celebration of ideas and global distinction as a leading producer of prodigious creativity.”
A total of 17 offices from the network contributed to the creative performance including Beirut, Toronto, S?o Paulo, Paris, Frankfurt, Melbourne, New York, London, Istanbul, Chicago, Milan, Zurich, Oslo, Dubai, Colombo, Costa Rica and Moscow.Winning work was created for major clients including Samsung, P&G, Honda, Fiat, Jeep, McDonald’s, Virgin and United Nations.
Epica is the only global creative competition judged and awarded by editors and reporters from marketing and communications magazines. TeressaIezzi of Fast Company’screative channel Co.Create served as this year’s President of the Jury. This year 585 agencies from 74 countries participated.
Established in 1987, Epicarewards outstanding creativity and helps agencies, production companies, media consultancies, photographers and design studios to develop their reputations beyond their national borders.More than 40 magazines and websites around the world serve on Epica’s jury. This year, 585 agencies from 74 countries participated in the awards.
Last year, Leo Burnett won Network of the Year with 32 awards in total, including 9 golds. For a full list of this year’s winners visit http://results.epica-awards.info/2014.
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.
