Digital
Hexaware deepens AWS tie-up for AI-driven SDLC
Rapidx and Kiro platform target faster, safer software delivery with agentic AI tools.
MUMBAI: Hexaware just gave software development a turbo boost because when AI agents join the coding team, even the longest sprints start feeling like a victory lap. Hexaware Technologies has expanded its long-standing collaboration with Amazon Web Services (AWS) to deliver AI-powered software development lifecycle (SDLC) capabilities to enterprises worldwide. The enhanced partnership, announced on 24 February 2026, builds on Hexaware’s Strategic Collaboration Agreement (SCA) with AWS, focusing on accelerating cloud adoption, application modernisation, and AI-led transformation.
At the core are two Hexaware innovations, Rapidx, an AI-driven software engineering platform, and Kiro, an agentic integrated development environment (IDE) designed to move teams from prototype to production-ready code in a structured, traceable way. The combined solution targets four key outcomes: shorter time-to-market, higher developer productivity, production-grade code at scale, and low-risk legacy modernisation.
Hexaware president & global head for Digital and Software Services Sanjay Salunkhe said, “Our clients want releases they can trust, even as they adopt AI in development. With RapidX and Kiro, we aim to bring more structure, standards, and traceability into the SDLC so large programs can move faster without increasing delivery risk.”
Key features include:
- AI-powered development with virtual subject-matter experts and spec-driven models that turn natural language requirements into structured code.
- Full SDLC coverage from ideation to release requirements, backlog creation, design thinking, blueprinting, coding, testing, and documentation.
- Enterprise-grade security: deployment inside customer AWS environments with private LLM options via Amazon Bedrock, plus SecOps alignment for data residency, access controls, monitoring, and audit support.
- Support for application modernisation, transition, and maintenance across complex estates.
The partnership reflects growing demand for tools that balance speed with reliability in an era where software cycles are shrinking and stakes are rising. By embedding agentic AI into the workflow, Hexaware and AWS are betting that the future of development isn’t just faster, it’s smarter, safer, and far less stressful for teams under pressure.
For enterprises drowning in legacy code and deadline demands, this expanded alliance could be the lifeline that turns chaotic sprints into confident strides, one AI-assisted line at a time.
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.
