MAM
Maxus wins businesses worth over Rs. 300 crore
MUMBAI: Maxus, yet again retains the title of the most ‘dominant’ agency as per the latest RECMA report, a qualitative assessment for all leading media agencies in India.
It is the fourth consecutive year that Maxus is on the top of the RECMA ratings. Along with this, the agency also won business across 23 new clients, worth upwards of Rs. 300 crores in the first half of 2014. These new clients include Tata Sons, JK Tyres, Kotak Mahindra Bank, Unitech, Paytm, Askme.com, ICC T20 World Cup 2014, Cigna TTK Health Insurance and BML Educorp.
Maxus South Asia managing director Kartik Sharma said, “Over the last 12 months, Maxus has made an effort to become future ready in a digitally charged media environment. We approach planning and investments in an integrated manner with emphasis on new media concepts that brings digital media, content and data together with traditional TV, print and radio. We believe this gives us an edge in the market, helping us delight to our existing clients and bring new clients into the fold.”
“Our ‘Lean into Change’ approach has given us a healthy double digit growth in 2014” Besides their expertise in core traditional media, Maxus today is a full- fledged media solutions agency with expertise across digital, mobile media, data and analytics, branded content and programming. Talent across these verticals are embedded in the network and work closely with core client teams,” added Sharma.
The new approach at Maxus has resulted in several ingenious campaigns like “Power of 49” for Tata Tea, Kotak Jifi, Vodafone Fan Photo and Tata Sky’s innovation around the IPL. Maxus was the first agency to set up a digital command centre for Nestle, where the marketing and agency team to monitor data from various social feeds and take real time marketing decisions. This ensured judicious use of budgets across media with a low percentage of wastage. The approach also helped expand business with new clients across industries ranging from e-commerce, banking and insurance, sports, retail, healthcare, etc.
In 2014, Maxus was part of WPP Team Red (head by MEC Global) that won the Vodafone account across several countries, retaining the account in India. The expertise of a long client relationship with Vodafone domestically brought about great insight during the pitch process.
It can also be noted that this year, Maxus has also brought on board two senior leaders – Navin Khemka in New Delhi to head the North and East region and focus on new business development and Anand Chakravarthy heading Maxus, West and some of their key client relationships. Earlier in the year, Maxus won the digital agency of the year and a number of metals at the Abbys 2014 for their new media capabilities.
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.
