MAM
Tata launches super app Tata Neu; N Chandrasekaran says it’s ‘Neu day’
Mumbai: Indian multinational conglomerate Tata Group has officially unveiled the Tata Neu super app in India. The app that attempts to take on the likes of Amazon, Flipkart, Paytm, and all other super apps, offers an array of services including UPI payments, hotel/flight booking, shopping, to name a few, according to the company.
Tata Sons chairman N Chandrasekaran took to LinkedIn on Thursday to announce the much-anticipated launch.
“Air Asia, BigBasket, Croma, IHCL, Qmin, Starbucks, Tata 1Mg, Tata CLiQ, Tata Play, Westside are some of the group’s services that are already present on the Tata Neu platform for Android as well as iOS users, while Vistara, Air India, Titan, Tanishq and Tata Motors will soon be added,” affirmed the Tata Sons chairman.
Announcing the launch, N Chandrasekaran wrote: “It is a Neu day today! Tata Digital, the youngest member of the Tata family, brings you Tata Neu today. Tata Neu is an exciting platform that gathers all our brands into one powerful app. Combining our traditional consumer-first approach with the modern ethos of technology, it is an all-new way to discover the wonderful world of Tata.”
https://www.linkedin.com/posts/activity-6917795694938349568-_J4R?utm_source=linkedin_share&utm_medium=member_desktop_web
“Our aim is to make the lives of Indian consumers simpler and easier. The power of choice, a seamless experience, and loyalty will be at the centre of Tata Neu, delivering a powerful One Tata experience,” he further shared.
“As the Tata Neu app goes live today, it makes me proud to see so many of our trusted and loved brands Air Asia, BigBasket, Croma, IHCL, Qmin, Starbucks, Tata 1Mg, Tata CLiQ, Tata Play, Westside on the Tata Neu platform already, and Vistara, Air India, Titan, Tanishq, Tata Motors soon to join,” stated Chandrasekaran, while adding, “We look forward to learning continuously, to keep evolving, and meet the needs of our consumers.”
A day prior, the brand built up the buzz about the app launch on its social media handles with a video and an accompanying caption that said: “This is the answer to the most asked question. We can’t wait for YOU to be a part of our family. Kuch dino mein nahi, ab bas kuch ghanto mein!”
https://www.linkedin.com/posts/tataneu_tataneu-goinglivesoon-activity-6917454822623338496-JcUC?utm_source=linkedin_share&utm_medium=member_desktop_web
Earlier today, Tata Neu posted the following update: “Watch out for Tata Neu during the match today!”
https://www.linkedin.com/posts/tataneu_tataneu-staytuned-ipl2022-activity-6917780690503651328-mjne?utm_source=linkedin_share&utm_medium=member_desktop_web
The Tata Neu app is now available for download on Google Play Store and Apple App Store.
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.
