MAM
PropertyPistol appoints Hemant Bajaj as chief marketing officer
Proptech firm taps global marketing leader to sharpen brand and growth strategy.
MUMBAI: In the fast moving world of proptech, building homes may be the business, but building the brand is just as crucial. Propertypistol, the proptech driven real estate advisory platform, has appointed Hemant Bajaj as its chief marketing officer (CMO) as the company looks to strengthen its brand narrative and accelerate growth across markets. Bajaj will lead the company’s marketing operations across multiple geographies, overseeing brand strategy, integrated marketing initiatives and revenue aligned growth programmes as Propertypistol prepares for its next phase of expansion.
The appointment comes at a time when the proptech sector is seeing rapid digital adoption, with companies increasingly focusing on leadership talent capable of combining technology, data driven marketing and customer experience.
Bajaj brings experience spanning India, South East Asia and the Middle East, where he has worked on scaling brands and leading digital transformation initiatives across multiple industries. His work in the marketing and media ecosystem recently earned him recognition as a ‘Powerhouse Leader’ at the Mastermind Awards in Dubai, highlighting his track record in managing high impact marketing mandates.
Propertypistol founder and managing director Ashish Narain Agarwal said the appointment comes at a pivotal stage in the company’s journey as it looks to strengthen its market presence.
“Hemant’s appointment comes at a defining moment for us. As we scale our market position, it is vital to have leadership that blends strategic vision with executional depth. Hemant’s deep understanding of brand and business alignment will be instrumental as we redefine the proptech landscape,” Agarwal said.
Bajaj said Propertypistol’s technology first approach to real estate advisory was one of the key reasons behind his decision to join the company.
“Propertypistol has established itself as a technology first platform that is redefining how investors navigate the property market. Having led marketing transformations across international borders and fast paced industries, I recognise the exceptional strength of the foundation built here,” he said.
He added that his focus would be on accelerating the company’s digital marketing capabilities while building strategies that deliver sustained value for customers and partners worldwide.
The leadership move reflects Propertypistol’s broader effort to strengthen its executive team as the proptech industry evolves rapidly. With property search, advisory and transactions increasingly shifting online, companies in the sector are investing heavily in marketing intelligence and digital platforms to stay competitive.
By bringing Bajaj on board, Propertypistol is betting that sharper brand positioning and technology led marketing will help it stand out in an increasingly crowded digital real estate marketplace.
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.
