Digital
Milo levels up as his world turns into a playful new app adventure
MUMBAI: Milo isn’t just exploring jobs anymore, he’s taking them digital. The preschool favourite has officially jumped from screen to touchscreen with MILO’s World, a brand-new app that expands the beloved universe into a tap-and-learn playground for young adventurers.
Now available on both the Apple Store and Google Play, the app has been developed by Overtek Studio and draws directly from the characters, settings and spirit of the show’s first two seasons. True to the series’ core idea of celebrating the wide world of work, MILO’s World introduces children to a mix of professions classic and quirky through simple, intuitive mini-games. Whether a kid fancies being a detective, a florist, or something in between, Milo Town has a role ready to explore.
As children complete activities, they unlock Milo Town stickers to build their own digital album, rewarding curiosity just as much as competence. And because creativity is a job in itself, the app includes a ‘Paint and Colour’ section where fans can let loose with crayons, palettes and imagination on their favourite characters.
For young fans who want more story than gameplay, ‘Milo TV’ offers clips from the series and videos introducing the core cast. A dedicated ‘Activities’ tab adds printable sheets for children who want to take Milo into the real world, a nod to the show’s mission of blending learning with play.
“We wanted to introduce children to the world of professions in a fun and interactive way,” said DeAPlaneta e ntertainment head of gaming and interactive IPs Jimena Tormo. “MILO’s World is a safe, colourful environment full of adventures where children can explore different professions, some rather unusual and develop their creativity alongside the inhabitants of Milo Town.”
The launch follows last summer’s introduction of a short-form MILO series, marking the latest chapter in the brand’s expanding ecosystem. Fully owned by DeAPlaneta Entertainment, the MILO franchise is now moving decisively into the interactive space as the company strengthens both its licensing operations and its global footprint.
MILO’s World follows a freemium model, offering a free beta version and a full paid version. The full version will be priced at €4.99 on 27 November for its launch. During the Black Friday week, from 28 November, the price drops to €2.99, before settling at its standard rate of €5.99.
The app arrives on the back of a franchise that has already made Milo a preschool heavyweight. Since premiering on Channel 5’s Milkshake! in 2021, MILO has grown into a worldwide favourite airing in over 170 countries across four continents. In autumn 2024, Milo debuted in the United States on PBS Kids, and a third season is currently in development for a 2026 release.
With MILO’s World, the curious orange kitten steps confidently into the digital frontier proving once again that in Milo Town, every job, every skill and now every tap truly is amazing.
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.
