MAM
Noel Tata succeeds Ratan Tata as chairman of Tata Trusts
Mumbai: With heartfelt condolences, India bids farewell to Ratan Tata, a visionary leader who dedicated his life to building an organisation that has contributed nearly $103 billion to society. His passing marks the end of an era, but his legacy of service and philanthropy lives on. In the wake of this monumental loss, Noel Tata has been appointed chairman of Tata Trusts, one of the country’s largest philanthropic entities, signalling a significant leadership shift during this poignant time. Succeeding the iconic Ratan Tata, Noel will now steer the Trusts’ charitable and social welfare activities, continuing the Tata legacy of corporate philanthropy. This appointment places Noel at the helm of a $165 billion group that plays a significant role in Tata Sons and its subsidiaries.
The decision to appoint Noel as chairman came after much speculation following Ratan Tata’s long-anticipated departure from the role. Ratan Tata, the revered former chairman of Tata Sons, remains a pivotal figure in the group’s history. Noel’s promotion underscores the Trusts’ commitment to continuity while paving the way for a new chapter.
Noel Tata, a name that resonates within the Tata family, has steadily climbed the corporate ranks. Known for his expertise in retail and international business, he successfully transformed Trent Ltd., Tata Group’s retail arm, into a Rs 1000 crore company. His vision and leadership have been instrumental in expanding Trent’s operations across India. He is also married to Aloo Mistry, the daughter of Pallonji Mistry, making him a key figure linking the Tata and Mistry families.
Under his leadership, Tata Trusts is expected to continue its robust philanthropic efforts, which include contributions to education, healthcare, and rural development. Given his business acumen and family ties, Noel Tata’s appointment is seen as a strategic move to further the Trusts’ growth while safeguarding its values.
Speaking about his appointment, Noel said, “I am honoured to take on this role and contribute to the legacy of the Tata family in fostering social change and corporate responsibility.”
This shift comes at a time when Tata Trusts plays an even larger role in the corporate governance of Tata Sons, holding a significant shareholding. As chairman, Noel is expected to work closely with the board of Tata Sons, ensuring alignment between the Trusts’ objectives and the group’s corporate goals.
The larger implications of Noel’s leadership will likely ripple across the Tata Group’s various businesses, from Tata Steel to Tata Consultancy Services (TCS). Industry experts are optimistic about the fresh yet familiar approach he will bring, given his deep-rooted understanding of the group’s dynamics and the legacy of philanthropic excellence embedded in Tata Trusts.
With this transition, Tata Trusts has signalled its intention to balance tradition with modernity, ensuring the group’s ethical framework remains strong while adapting to the evolving needs of Indian society.
PICTURE courtesy Trent Annual Report
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.
