MAM
Togeth૪ing: Connecting users for inclusive shared experiences
Mumbai: Togeth૪ing, an innovative app at the forefront of reshaping virtual social connectivity, has made waves since its launch earlier this year. Its latest feature enhances the user experience by allowing friends and family to seamlessly enjoy movies, music, and interactive conversations as if they were physically together, with just a quick scan of a QR code and a shared link. This simplicity underscores the app’s commitment to user-friendly design and accessibility.
Taking the co-action experience to new heights, Togeth૪ing introduces instant coupons during co-watching and co-listening sessions. These coupons offer exclusive advantages to participants, creating a dynamic and rewarding virtual environment. Users can now indulge in their favourite entertainment while also reaping the benefits of shared experiences. Togeth૪ing isn’t merely a virtual hangout; it’s a space where co-action translates into tangible rewards.
These coupons encompass a range of exciting offers, including discounts at restaurants and other hospitality outlets. By doing so, Togeth૪ing is redefining hospitality interactions and customer engagement. Speaking about the rationale behind introducing restaurant coupons within the app, founder Maadhav Bhide stated, “It’s the easiest way to reward the user. It is a straightforward and efficient method of incentivizing users. Unlike other reward systems that may require complex mechanisms or extensive point accumulation, offering discounts on food is immediate and universally appealing. Food is a necessity, and offering discounts on it ensures everyone benefits according to their preferences. It’s an endless commodity for a rewards program.”
Togeth૪ing has forged partnerships with reputable establishments, many of which have seen a positive impact on their business. Maadhav Bhide explained, “Our interactive capabilities enable businesses to gamify their offerings, driving engagement, data collection, and entertainment simultaneously. This leads to increased foot traffic, brand engagement, and heightened brand awareness.” He added, “Initially, the concept seemed daunting as it’s rare to gamify content collaboration and interactivity while offering rewards from partner restaurants to users. However, the response, though cautious, has been a success. We’re witnessing a noticeable and exciting increase in walk-ins.”
Ensuring utmost security, Togeth૪ing allows users to connect through various channels such as WhatsApp, Facebook, Instagram, and email with their social circles. This commitment to a 100 per cent secure platform reinforces trust, fostering authentic two-way communication that mirrors in-person interactions closely. With safety and security prioritized, users can engage with confidence, knowing that their privacy is respected. By combining entertainment, rewards, and security, Togeth૪ing creates an inclusive environment where users can connect, engage, and enjoy shared experiences to the fullest.
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.
