MAM
Pradeep Dwivedi elected as IAA vice president and area director for Asia Pacific
NEW DELHI: Eros STX Global Corporation CEO Pradeep Dwivedi has been elected as the vice president & area director for the International Advertising Association (IAA) APAC region. He is a senior media industry professional and is currently treasurer and director of IAA India chapter. An accomplished industry leader with an experience of over two decades in advertising & media business, telecom & technology enterprises, banking & financial services institutions and automotive sector, he currently also serves as chairperson of the entertainment, media & sports committee at the IMC Chambers of Commerce and Industry, managing committee member of The Advertising Club of India, Member of the CII National Committee on Media & Entertainment, as well as a member of the IBG Chamber of Commerce.
He said, "I am humbled and honoured at the responsibility. I must thank Ramesh Narayan for a fruitful and productive tenure as my predecessor in leading IAA APAC wonderfully for the past two years as well as IAA Global chairman & world president Srinivasan K Swamy, for inspiring me to take on this mandate. The APAC region has amazing potential and I look forward to working with all the Chapter presidents to take the ideals of the IAA forward and collectively ensure that IAA remains the harbinger and compass of marketing communications world-wide in a unique post-Covid2019 era, even as we navigate the challenges ahead of us. "
IAA chairman and world president Srinivasan Swamy said, "I am delighted to welcome Pradeep Dwivedi as our area director and vice president for Asia Pacific. He has been an integral part of IAA India chapter for nearly a decade and has been leading many initiatives while building a world-wide network with his commitment to IAA. I wish him all the very best in taking on this leadership responsibility at IAA Global.”
IAA APAC region’s outgoing VP & area director Ramesh Narayan said, “I have always believed in advertising as a potent force for social good, and our actions in IAA APAC have been a testimony to that ethos. I am happy that Pradeep will carry the torch forward with sustained zeal and continue our sincere endeavour. Our best wishes are with him.”
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.
