MAM
Tata Global Beverages Q3-2014 ad spend at Rs 401 crore
BENGALURU: Tata Global Beverages Limited (TGBL) spent Rs 400.76 crore in Q3-2014 towards Advertisement and sales charges (Ad spend). This was the highest Ad spend by the company in the seven quarters staring with FY-2013 until Q3-2014. TGBL is the unifying entity of the Tata Group’s beverages interests under one umbrella. (Note : Rs 1 crore = Rs 100 Lakhs = Rs 10 million = Rs 100,00,000).
TGBL’s major brands include Tata Tea, Tetley, Good Earth, Jemca, Vitax, Eight O’Clock, Himalayan, Grand and Laager Roiboos. The company has signed joint ventures with the global coffee company and brand Starbucks and with Pepsico . TGBL’s JV with Pepsico is Nourishco. TGBL is the second largest Tea company in the world. (Unilever is the biggest tea company in the world and its 100 year old tea brand Lipton that is available in about 100 countries).
TGBL says that it’s ‘Starbucks-A Tata Alliance’ JV has expanded to 34 stores in the country during Q3-2014 with robust store profitability. Among the winning moments for the company in Q3-2014 were a strong branded tea topline sales performance versus previous year in a slowing market and a continued good performance by its coffee plantations. The company claims a 17 per cent top line growth across the India tea portfolio mainly due to value and volume increases despite decline in tea category. Various consumer promotions were undertaken by TGBL to drive sales growth during the quarter keeping in mind the competition’s aggressive promotions.
Let us look at the Total Net Income from Operations (Op Inc), Total Expense (Tot Exp), PAT and Ad Spend trends by the company from Q1-2013 to Q3-2014 (Note Q-o-q change figures for Q1-2013 with reference to Q4-2012 figures)
As mentioned above, the company’s Ad Spend in Q3-2014 was the highest over seven quarters in terms of money value at Rs 400.76 crore as well as in terms of percentage of Op Inc (19.26 per cent of Op Inc). During the immediate trailing quarter, TGBL’s Ad Spend was Rs 366.37 crore (18.95 per cent of Op Inc), while during Q3-2013, it was Rs 316.02 crore (16.5 per cent of Op Inc).
PAT for Q3-2014 at Rs 119.55 crore (5.75 per cent of Op Inc) was (-33.59) lower than the Rs 180.03 crore (9.31 per cent of Op Inc) in the immediate trailing quarter, but was 48.95 per cent higher than the Rs 80.26 crore (4.19 per cent of Op Inc) of a year ago quarter.
Overall, Figure A shows an upward linear trend for both PAT and Ad Spend. Given the fact that the company said that Q3-2014 was a slowing market and the aggressive moves by the competition, TGBL’s further Ad Spend should be healthy. Also, Figure B shows that Op Inc is also on an upward trend. During Q3-2014, the company reported the highest Op Inc over the seven quarters under consideration at Rs 2080.74 crore, up 7.62 per cent from the previous quarter’s Rs 1934.48 crore and 8.62 per cent more than the Rs 1951.56 crore of a year ago quarter.
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TGBL says that its Op Inc growth has been understated due to revenue model for pods and restructuring. Also, its operating EBIT reflects significantly higher advertising and promotion spends as well as investments in new initiatives.
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Figure C shows the Q-o-q percentage change in Op Inc, Tot Exp, PAT and Ad Exp.
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Over the nine month period ended December 31, 2013, the company’s group income at Rs 5827.68 per cent was 5.93 per cent higher than the Rs 5030.94 crore in the corresponding nine month period of last year. PAT at Rs 411.21 crore (7.06 per cent of Op Inc) for 9M-2014 was 48.46 per cent more than the Rs 276.99 crore (5.03 per cent of Op Inc) in 9M-2013. The company’s Ad spend during 9M-2014 at Rs 1054.75 crore (16.85 per cent of Op Inc) was 13.05 per cent more than the Rs 932.97 crore (16.56 per cent of Op Inc) in 9M-2013. Pease refer to Figures D and E for Op Inc, Tot Exp, PAT and Ad Spend details for HY-2013, HY-2014, 9M-2013, 9M-2014, FY 2012 and FY 2013. All the numbers across all parameters clearly indicate an improvement over the respective time periods.
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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.
