MAM
Hawkins Ad spend at Rs.8.67 crore in Q3-2014
BENGALURU: Indian pressure cooker manufacturer Hawkins Cookers Limited (Hawkins) spent Rs 8.67 core towards advertising (ad spend) in Q3-2014. The company discloses its discount numbers (Discount), and so the sum of Ad Exp and Discount has been termed as Advertisement and Sales Promotion (ASP) in this report. (Note : Rs.1 crore = Rs.100 Lakhs = Rs.10 million = Rs.100,00,000).
Hawkins Q3-2014 Ad and ASP numbers are the highest reported by the company in terms of value as well as percentage of Net Total Income from Operations (Op Inc) over seven quarters starting Q1-2013 till Q3-2014. In Q3-2014, the company’s ASP at Rs.17.57 crore was 15.77 per cent of Op Inc while Ad exp was 49.34 per cent of ASP.
Correspondingly, the Discount at 50.66 per cent of ASP was the lowest during the seven quarters. While in value terms, all the three spends show upwards linear trend, in terms of percentage of ASP, Discount shows a decreasing linear trend, while Ad Exp shows an increasing linear trend. Generally over the seven quarters, the company’s Ad Exp percentage of ASP has been bottoming out during every alternate quarter, while its Discount has been peaking in that quarter. The company has been resorting to higher discounting every alternate quarter while reducing Ad Exp in that quarter.
The company’s lowest Ad Spend has been in Q4-2013 at Rs.0.351 crore (2.93 per cent of ASP), while in percentage terms it was in Q2-2013 at 2.83 per cent of ASP (Rs.0.372 crore). Going by the company’s historical figures, Q4-2014 Ad Spend should be low, with the company resorting to higher Discount to grab more financial year end business and profits. Please refer to figures A and B below.
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Hawkins lowest ASP spend in Re value terms has been Rs.8.44 crore (11.21 per cent of Op Inc) in Q1-2014, while the lowest ASP in terms of percentage of Op Inc has been 9.69 per cent (Rs.11.967 crore) in Q4-2013.
Hawkins PAT and ASP have both shown linear upwards trend. Maximum PAT in terms of percentage of Op Inc has been 10.7 per cent in Q2-2014 as well as in terms of Re value at Rs.13.745 cores, while the minimum PAT during the seven quarters has been 6.36 per cent (Rs.5.244 crore) percent of Op Inc in Q1-2013, and the minimum PAT in value terms at Rs.4.891 crore (6.49 per cent of Op Inc) in Q1-2014. Please refer to Figure C below.
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In Q2-2014, Hawkins reported its highest Op Inc over the seven quarters under consideration at Rs.128.46 crore with a 70.59 per cent Q-o-q growth over Q1-2014, the immediate trailing quarter. The sharpest Q-o-q percentage change as drop in Op Inc was in Q1-2014 as compared to Q4-2013, with (-39.05 per cent)and the lowest Op Inc of Rs.75.305 crore. Please refer to Figures D and E below.
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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.
