MUMBAI: Veteran television executive Nandini Singh is burning the midnight oil these days, but not just for business. As executive consultant at CJ ENM, South Korea’s entertainment powerhouse, Singh is not only driving market expansion in India but also mastering the intricacies of the Korean language. Guided by her dedicated colleague and boss, Seb Dohyun Kim, she engages in late-night lessons in Hangul, fully immersing herself in the cultural world she now represents.
Her new role is a dream come true.
“From K-drama to more K-drama!” she exclaims. “Joining CJ ENM was like stepping into my dream Korean drama company.”
Singh’s position at the global entertainment giant places her at the forefront of bridging the gap between two entertainment-loving nations, introducing Korean storytelling to Indian audiences on a grand scale. Beyond television, she is embracing all aspects of Korean culture—content, cosmetics, cuisine, and K-pop—bringing a new wave of Hallyu to India.
Singh’s illustrious career spans over two decades, during which she has played a pivotal role in shaping India’s television landscape. Before joining CJ ENM in August 2024, she spent 18 years at Disney Star, where she held several leadership roles.
As general manager, she spearheaded a remarkable turnaround for a regional channel Star Pravah in Maharashtra, increasing its market share from 13 per cent to 52 per cent and driving revenue growth sixfold.
In 2018, she led the launch of Star Bharat, Disney Star’s first free-to-air channel, crafting a brand identity rooted in national pride. The channel quickly became a household name, establishing itself as India’s leading urban and rural entertainment brand within just eight months.
Her tenure at Disney Star also saw her driving the growth of a portfolio of six English-language channels, overseeing sales, marketing, content acquisition, and partnerships with Hollywood studios. As Business Head of Star Movies, she launched the premium offering Star Movies Select HD in 2015, targeting India’s top-tier households and redefining Hollywood content consumption in the country.
Earlier in her career, Singh played a crucial role in programming strategy for Star Plus, aligning sales, acquisition, marketing, and communication to relaunch the brand in 2010. Her strategic approach to slot management boosted non-original programming viewership by 40 per cent, earning her the prestigious ‘Star Achiever’ award that year.
Her expertise extends to advertising sales, where, as Vice President of Sales, she developed long-tail sales strategies for regional channels, bringing in 40 new clients from sectors including FMCG, education, and real estate. She also pioneered ‘Star Scribble,’ an online sales training programme, which achieved a 99 per cent completion rate among participants.
Now at CJ ENM, Singh is leveraging her extensive experience to drive market expansion and business development in India. Her deep understanding of consumer behaviour, honed through years of research and media planning at Mindshare and Disney Star, positions her perfectly to bridge the gap between Korean content and Indian audiences.
Her transition from Indian dramas to Hallyu appears seamless, given her track record in handling diverse entertainment markets. Singh’s success in managing English-language channels catering to India’s elite households has given her a unique ability to make foreign content relatable to Indian audiences—a skill that will prove invaluable in her new role.
The perks of her position extend beyond just television content. “The best part is getting access to all things Korean—content, cosmetics, food, K-pop,” Singh shares, highlighting the cultural immersion that comes with the job.
As she embarks on this exciting journey, Singh remains committed to her mission of making high-quality Korean entertainment accessible to a wider Indian audience. With late-night language lessons and a growing passion for Korean culture, she is not just working to bring K-dramas to India—she is fully embracing the world of K-content herself.
Her late-night Korean language sessions with Kim symbolise a broader shift in global media consumption patterns, where cultural boundaries are increasingly blurred, and Asian content continues its march onto the world stage.
Launched in October 2007, 9XM, with its tagline Haq Se, had secured a relative share of 43 per cent by December. In comparison, MTV stood at 20 per cent while Channel [V] had 11 per cent.
From January to October 2007, MTV was on top of the music channel heap with an average relative share of 30 per cent while Music India and Channel [V] were tossing for second and third position with 15.8 per cent and 12.8 per cent respectively.
In December, it was thumbs down for other channels like Zee Music (4 per cent), B4U music (5 per cent), ETC (4 per cent), Enter10 (3 per cent) and Yo Music (3 per cent). Wooden spooner Lemon‘s share is so insignificant that it has not even registered on the GRP scale.
MTV India vice president ad sales and marketing Aditya Swamy has a different story to tell: “Our ad sales and revenue has gone up. We have established the youth based music channel in India. Roadies, Konees (animated characters) etc are our initiatives; it is not fair to compare it with a channel like 9XM. We are a youth brand.”
