MAM
Thomas Cook India posts consolidated income growth of 46% to Rs 3,573 mn
Mumbai: India’s leading omnichannel travel services, Thomas Cook announced its financial results for the quarter ended 31 March 2022 reflecting a strong rebound with sustained improvement in profitability despite the third wave of Covid-19 (reducing the effective quarter to 45 days), growing geopolitical concerns and a highly delayed restart of India’s scheduled commercial flights.
TCIL has reported consolidated operating earnings before interest, taxes, depreciation, and amortization (Ebitda) of Rs 239 million, a 19 per cent growth over Rs 201 million in Q3 FY22 against a previously reported loss of Rs 361 million in Q4 FY21. The consolidated income from operations for the quarter grew by 46 per cent from Rs 3,573 million for Q4 FY21 to Rs 5,221 million in Q4 FY22. The cash and bank balances of the company at a consolidated level as on 31 March 2022 are at Rs 6,399 million. The company continued its focus on cost prudence with reduced costs for Q4 FY22 at Rs 2,754 million, registering 37 percent saving at pre-pandemic levels in Q4 FY20.
According to the reports, TCIL standalone operating Ebitda of Rs 28 million against a loss of Rs 74 million in Q3 FY22 was led by strong sales recovery by Forex 56 percent and business travel 50 percent. The trend continued in April 2022 with foreign exchange, corporate travel and domestic holidays registering a recovery of 62 percent, 81 percent and 85 percent of pre-pandemic sales respectively.
TCIL income from operations for the quarter grew by 25 per cent from Rs 636 million in Q4 FY21 to Rs 794 million. The margins for the holiday business & foreign exchange grew by 326 bps and 29 bps, respectively.
The company continued its focus on cost prudence with reduced costs for Q4 FY22 at Rs 767 million, registering a 51 per cent saving from pre-pandemic levels of Q4 FY20.
The company’s sustained focus on technology delivered end-to-end digitization across its businesses, including B2C and B2B self-booking/servicing tools and dynamic customization, vendor management and automated accounting/payment solutions. The digital acceleration serves to further augment the company’s omnichannel model towards an enriched customer experience, cost and efficiency benefits.
Thomas Cook’s managing director Madhavan Menon said, “Despite the Omicron wave reducing the quarter to 45 days and the reopening of Indian skies for scheduled international flights only on 27 March, our teams have delivered a commendable performance this quarter with an operating Ebitda of Rs 239 million. The group’s strong performance was led by foreign exchange, business travel, sterling holidays, DEI & desert Adventures. With other markets opening up, we expect the other group companies to stage quick recoveries too.”
“Our focus on sustainable cost management balanced with a thrust on technology over the past three years is delivering results in the form of speed, productivity and improved customer experience. Recovery is accelerating continually, with our foreign exchange, corporate travel and domestic holidays businesses registering an estimated sales recovery of 57 percent, 81 percent and 99 percent of pre-pandemic levels as of the end of May 2022 and strong pipelines for the coming quarter and beyond,” Menon added.
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.
