MAM
Bizongo names Deepanjan Chattopadhyay as vice president of Product
Mumbai: The tech-enabled B2B platform, Bizongo, has announced the appointment of former Freshworks director, Deepanjan Chattopadhyay as the vice president of Product. The announcement follows a series of acquisitions, including Clean Slate and Hexa, to enhance Bizongo’s tech stack.
Deepanjan’s appointment will help bolster Bizongo’s efforts to deliver an integrated experience to its customers, enhance product offerings to digitally transform the entire supply chain for MSMEs, and drive improved business performance, said the company in a statement. In his new role, Deepanjan will oversee the product strategy and implementation with a keen emphasis on managing market-focused product development and driving innovation across Bizongo’s product roadmap.
An accomplished veteran, Deepanjan has nearly two decades of experience in product management, development, and strategy. In his most recent role as the Product leader for Freshworks’s flagship product, Freshdesk, he leveraged his extensive knowledge of customer experience and business insights to scale the solution’s reach to thousands of businesses across the globe.
Bizongo co-founder and chief technology and people officer Ankit Tomar said, “With his strategic leadership skills and practical, hands-on experience in product development, business management, and operations across a variety of industries, Deepanjan is a good fit for our current clientele and target markets. Bizongo has assisted Indian businesses in automating their supply chains, gaining access to working capital, and growing their customer base. As we continue to offer comparable advantages to manufacturers throughout Southeast Asia, Deepanjan will contribute to the company’s further growth with his extensive knowledge.”
Commenting on his appointment, Deepanjan Chattopadhyay said,” I am very excited to be a part of Bizongo. I believe the company has a great business model and a talented team that positions it uniquely to capitalise on the ever-changing e-commerce space. I am hopeful that my diverse experience in envisioning, developing, and scaling products will benefit Bizongo.”
Previously, Deepanjan has also been associated with fintech leader Highradius and supply chain software major e2open, apart from others.
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.
