MAM
WPP’s India country manager CVL Srinivas to retire after 20-year growth run
NEW DELHI: WPP announced today that its India country manager, CVL Srinivas, will retire at the end of March 2026, drawing the curtain on a 36-year career that turned India into one of the advertising group’s four biggest markets by revenue.
Known across the industry as Srini, he has led WPP India since 2017, overseeing a decade of rapid expansion in media, data, technology and creative services. India now employs more than 11,000 people across agencies and a scaled global delivery centre, making it a key engine for WPP’s worldwide operations.
“Srini is a truly outstanding leader whose vision has been instrumental in transforming India into one of WPP’s most important and dynamic markets globally. He has not only delivered exceptional growth but has also built an incredible culture of collaboration and innovation,” WPP chief executive Cindy Rose said. “From establishing our integrated campuses to scaling our global delivery and tech capabilities, his legacy is a stronger, more unified, and future-ready WPP in India, perfectly positioned to harness our AI advantage for our clients. We are deeply grateful for his immense contributions, and we all wish him the absolute best for the future.”
Under his watch, India vaulted from outside WPP’s top 12 markets to fourth place globally, helped by tightly knit client teams that combine media, creative and specialist skills. Three collaborative campuses in Mumbai, Gurgaon and Chennai became hubs for what WPP calls its creative-tech model, blending data, software and storytelling.
Srinivas said he was proud of the “growth, innovation and shared purpose” built by the team, adding that India would continue to drive WPP’s global agenda long after his departure.
Before taking the India role, he ran GroupM in South Asia and Maxus in Asia-Pacific, and was part of the team that launched Hindustan Unilever’s first media agency of record in 1995. He has also served on the boards of industry bodies including BARC, ABC, MRUC and the IAA.
WPP said a successor will be named in due course, as the group prepares for its next phase in one of its most strategically important markets.
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.
