MAM
Food brand Five Star Chicken revamps brand name to Five Star
MUMBAI: Five Star Chicken has announced the revamp of its brand name from Five Star Chicken to Five Star. The name change is a part of the strategic plan by the brand to introduce more vegetarian products to their portfolio. With this move, the brand name will also be synonymous to its international counterparts in other countries under Thai Multi-National Conglomerate, Charoen Pokphand Foods.
With a growing network of stores and rapid consumer acceptance, Five Star is all set to introduce a wide and interesting range of vegetarian products to the market. 50% of Indian population are vegetarians and as a brand we do not want to miss out the opportunity to reach out to half the population. Though 40% of our product line is Veg offering people had a strong perception that we are only a chicken brand. Adapting to the local taste, flavor and developing products that appeals to masses has been one of the key strengths of the brand. The company has its own state of the art infrastructure for storage and distribution and exercise complete control over the quality from ‘Farm to Fork’ to ensure consistent quality and food safety.
Five Star places significant importance on research and development to meet their customers and consumers’ needs as well as to improve production efficiency at every step of operations. The brand has a dedicated team of R&D and chefs who help in continuous innovation to deliver wide variety of products and great quality taste at an affordable price. Based on the brand’s R&D and customers research survey in Bangalore, burgers and hot dogs are massively the most preferred consumers choice of fast food product. Capitalizing on this trend, Five Star is all set to launch a whole new range of burger products by the end of this quarter, while Hot Dogs are already introduced.
“While, we have a new name, we are still the same brand build upon the vision of offering great quality and delicious range of products at affordable prices to consumers. The name change is in line with the brand plans to capture the vegetarian segment of the market and give them a taste of our offerings. Moreover, we would also like to retain and reinforce our global brand name – Five Star, in the Indian market “, said CP Foods assistant VP Rijoy Prabhakar.
“India is one of the top five priority markets for Five Star globally. We place significant importance on research and development to meet our customers and consumer’s needs as well as improve production efficiency at every step of operations which ultimately benefits our business partners”, further said CP Foods senior VP Sanjeev Pant.
In India, Five Star launched its first outlet in November 2012 in Bangalore. With a production and processing facility at Budigere near Bengaluru and Chittoor in AP the brand has grown to 350+ outlets across Bengaluru, Chennai, Kochi, Goa, Hyderabad, Mumbai and Pune. The brand has tied up with IRCTC for Bangalore, Chennai and kerela markets and with key delivery website Swiggy, Zomato, Food Panda, Road Runners and Ola.
Five Star offers a wide range of chicken and vegetarian products in spicy Indian flavors as well as other Asian and Thai flavors. The brand also undertakes catering for birthday, home parties and corporate events through Five Star catering. Five Star also plans to launch 150 stores by the end 2016 expanding through the franchisee route while entering tier-II and III towns and in the existing cities.
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.
