MAM
Potato snacks win hearts of 65 per cent Indians: The India Snacking Report by Godrej
Mumbai: In the vibrant tapestry of Navratri traditions, where vegetarian fare takes center stage, the humble potato emerges as a cherished protagonist. Its remarkable versatility makes it a cornerstone in beloved Navratri food items like Sabudana Khichdi, Aloo Tikki, Aloo Chat, and Cutlets, lending an irresistible charm to the festive spread.
This devotion to the potato transcends seasons, with a resounding 65 per cent of Indians professing their love for potato-based snacks, a sentiment that holds true not just during Navratri, but year-round. This intriguing revelation stems from none other than the ‘STTEM – Safety, Technology, Taste, Ease & Mood Uplifter’ – The India Snacking Report (Volume I) meticulously curated by Godrej Yummiez, a pioneering brand in the realm of frozen ready-to-cook offerings. This report offers a profound exploration of India’s snacking landscape, unraveling the essence of our collective culinary inclinations.
According to the Godrej Yummiez report, when we examine preferences across regions, it becomes evident that East India exhibits the highest affinity for potato-based snacks, registering an impressive 69 per cent. Following closely behind, North India secures the second position with a score of 68 per cent, while the West region also boasts a commendable 65 per cent, securing the third spot. The South region, with a score of 62 per cent, takes the fourth position in terms of their fondness for potato-based snacks.
Speaking about the insights and the report, Godrej Tyson Foods Ltd (GTFL), Yummiez AVP Mohit Marwaha stated, “As a category thought leader, Godrej Yummiez understands consumers well and shaped trends redefining the frozen ready-to-cook segment. The India Snacking Report is one such initiative by Godrej Yummiez to analyze and predict snacking trends. The report highlights that potatoes continue to hold a prominent position in snack culture, serving as an essential component for various occasions in people’s lives.”
He further added, “Potato snacks are the hot favourite in the veg frozen foods category. We ourselves offer many potato-based snacks like Godrej Yummiez Crispy Potato Starz, French Fries, Aloo Tikki, among others. We ensure our products have no preservatives since they are made using the Individual Quick Freeze (IQF) technology. This makes the product keep its shape, colour, smell, and taste after defrosting, at a far greater extent.”
In the findings of The India Snacking Report by Godrej Yummiez, a noteworthy revelation emerges: a predilection for potato-based snacks varies with gender. Impressively, 70 per cent of women express a preference for these delectable treats, whereas 60 per cent of their male counterparts share a similar sentiment.
Delving further into urban demographics, residents of bustling metro cities showcase a penchant for potato-based snacks, registering an impressive score of 69 per cent. Meanwhile, in Tier II cities, a considerable 60 per cent of the populace exhibits a similar fondness for these delectable offerings.
Commissioned by Godrej Yummiez, ‘STTEM – Safety, Technology, Taste, Ease & Mood Uplifter’ – The India Snacking Report (Volume I) was conducted by InQognito Insights. The study was conducted across North, South, West, and East regions and covered 10 cities like Mumbai, Pune, Ahmedabad, Delhi, Jaipur, Lucknow, Kolkata, Chennai, Hyderabad, and Bangalore.
Please download the complete report on https://www.godrejyummiez.in/
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.
