MAM
Leo Burnett’s two creatives selected for Clio’s workshop
MUMBAI: Just after triumphing as Agency of the Year at the Delhi Ad Club awards, Leo Burnett’s Delhi office has got another feather in its cap. the agency’s copy group head Rondeep Gogoi and art director Sumonto Ghosh have been selected to attend the FutureGold: Young Creative Portfolio Review workshop at this year’s Clio Festival in Miami’s South Beach.
Only six teams from across the world were to be selected for this workshop, and the two young creatives from Delhi were “amazed, or rather blown when we got the news.” Clio will be also sponsoring stay and passes for the festival.
“I feel it is a really big opportunity to fly the Burnett India flag not just nationally, but internationally. And I assure you, we will give it our very best shot,” said Gogoi.
“Both Rondeep and Sumonto are young, talented new age creatives full of ideas. They are always focused in creating award-winning campaigns for the brands they work on. They have both been recognized by Campaign Brief Asia as two of the hottest creatives and their work has been recognized within the Leo Burnett network and at major advertising festivals. I am very proud and extremely happy that they are getting this great exposure,” added Leo Burnett Delhi creative director Rupam Borah.
Gogoi has been with Leo Burnett for the last four years. His current portfolio is Benetton, Godfrey Philips, McDonald’s, Coca-Cola, Le Bon, Chanakya Cinema. Some of the major awards he has won are Merit at One Show for Sanctuary Asia Tiger Graph, Grand Prix at AAAI for the same, Outdoor Bronze at AAAI for Benetton Eye Chart and Outdoor Silver for McDonald’s Helmet. His campaigns have been featured in Luerzer’s Archive.
Ghosh, on the other hand, joined Leo Burnett two years ago and handles McDonald’s, Coca-Cola, Godfrey Philips, Le Bon and Chanakya Cinema. His major achievements include a campaign for Tide featured in Work’04, winning a New York Festival Merit for Samujh Physio (Black Calendar), Press Campaign Silver at AAAI for Tide and a Tide campaign featured in Luerzer’s Archive.
This is the most recent addition in the long list of successes Leo Burnett Delhi enjoyed throughout the last one year – Bronze at Cannes, Silver at Ad-fest, Gold at Abby, 13 awards at AAAI, Agency of the Year at the Delhi Ad Club Awards (18 awards).
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.
