MAM
Meme Chat ropes in Vivek Satya Mitram as head Of brand strategy & PR
Mumbai: Gurgaon-based leading meme marketing platform Meme Chat has roped in industry veteran and renowned brand communication and PR strategist Vivek Satya Mitram as Head Of Brand Strategy and PR.
Vivek is a key hire and will be part of the leadership team at Meme Chat. As Head Of Brand Strategy and PR, he will be spearheading the brand marketing, consumer connects, investor relations and public relations (PR) initiatives for the startup that is redefining the digital marketing space by channelising the proven virality quotient and humour connect of memes, to secure unimaginable awareness and unique recall for brands organically.
Speaking on the appointment, Meme Chat co-founder and chief executive officer Kyle Fernandes said, “We are truly elated to work with Vivek. His decades of experience in the media and brand communication space, along with a proven track record of shaping multiple successful startups into trustworthy brands, will surely be a value addition at Meme Chat. He will be working on crafting strategies for brand communication, marketing, PR and investor communications. Vivek’s association with the company also reiterates our commitment to build a great team at Meme Chat roping in veterans from industry that can help us accelerate our growth plans and achieve our goals.”
For over a decade, former journalist, serial entrepreneur and independent brand consultant Vivek has been instrumental in shaping the unique brand identity and hyper-growth for scores of fast-paced startups including WittyFeed, MyOperator, Bobble AI, Winni, Vitto, and Oye! Rickshaw by crafting compelling brand communication strategies. He is known for building impeccable communication strategies that align business goals, the founder’s vision and the growth plans to ensure 360-degree visibility, the right brand positioning, consistent key messaging and the tangible measurable impact on business growth and the brand value.
Commenting on his latest role Vivek said, “I am thrilled to be part of Meme Chat & its super talented team that has envisioned an innovative brand marketing solution for ensuring massive organic visibility, awareness & connect for the brands among GenZies & millennials by using the enormous creative potential of memes. I am truly moved by the amazing work they have done for so many marquee brands, including Prime Video, Share Chat, McDonald’s, OnePlus, PVR Cinemas, Marvel etc.“
He adds, “I have always been excited to work with passionate young founders who want to translate their crazy ideas into reality and build something that can redefine the existing norms of the industry. Meme Chat is one such idea that has the potential to bring a paradigm shift in the digital marketing industry. I am looking forward to adding value in their growth journey as a brand custodian, mentor and co-learner.”
Meme Chat, founded by Kyle Fernandes & and Taaran Chanana has a humongous 5 million base of creators on it’s main app. Besides the main app where users are incentivised to create and distribute memes, the startup offers two other products — MemeChat Keyboard, an integrated keyboard for Android and iOS users to share memes on other messaging platforms, and MemeChat Studio, a fully automated solution for brands and corporates to commission memes en masse and distribute them. Meme Chat is emerging as the fastest-growing meme marketing platform and an obvious choice for brands looking to leverage viral marketing.
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.
