MAM
MEC Global Solutions doubles its strategy team in one year
MUMBAI: MEC Global Solutions, MEC’s international hub based in London, has made a significant investment in talent, hiring three new faces to join its international strategy team in addition to the three senior strategists already in place.
Chris Worrell, Francis Turner and Filippo Giannelli have been headhunted to further strengthen the team, working on the agency’s international clients including Vodafone, SABMiller, Johnson & Johnson, Beiersdorf and Activision Blizzard.
Worrell, Turner and Giannelli join strategy partners Andy Reynolds and Shula Sinclair, creating a group of diversified talent and experience, headed by Global Solutions and EMEA chief strategy officer Stuart Sullivan-Martin.
Commenting on the appointments, Martin said, “MEC has a heritage of excellence in communications planning, and that’s all about A+ people. The team’s remit includes working with our regional and international clients, spreading the insight derived from our industry leading approach to the consumer purchase journey (MEC Momentum), and working alongside the talented strategists in MEC’s local markets on our new operating system for planning: Thrive5. The number of regional and global media relationships we have with clients is only going to increase – so this is an exciting time and we’re gearing for growth.”
Worrell joins as group strategy director, having more than 10 years’ experience working with clients such as McDonalds, Vodafone, Easyjet and Carlsberg. Previously he was insight director with OMD UK and held a European role with Specific Media. Worrell’s work has been covered by BBC, The Daily Mirror, Wall Street Journal and Sky News, and he is a sought after speaker at international industry events such as IAB Engage and DMEXCO.
Turner joins as strategy director with a background in PR. He has experience working with clients such as Mars Food, John Frieda and Group Lactalis, latterly as planning director at Zenith Optimedia. He is also an aspiring stand-up comedian.
Giannelli joins as a strategist. He comes to MEC from TBWA/OMD working with Apple, and previous to that an independent creative agency in Florence, Italy.
Shula Sinclair joined MEC as strategy partner in September 2013, from DraftFCB where she was regional planning director. After 17 years in the industry, Sinclair has expertise across numerous sectors including FMCG, finance, automotive, travel, and beauty. She has delivered a range of activity across multiple channels from ATL and digital to PR for a host of major brands including Hyundai, Oreo and Nivea. Her work has been recognised with several industry awards.
Andy Reynolds joined MEC as strategy partner earlier in 2014. He came from OMD where he was the executive director of strategy working as lead strategist on pan-regional clients such as Sony, PepsiCo and Nissan. He has a strong focus on integrated communications – ATL, digital in all its forms, and branded entertainment. Since joining MEC, his work with Paramount has won several industry awards, notably a gold at the recent M&M awards.
This announcement follows those made by the agency within digital, data and analytics, and cements MEC Global Solutions’ position as the Centre of International Excellence for clients across the EMEA region.
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.
