MAM
PhonePe recognized among India’s best workplaces by the Great Place to Work Institute
Bengaluru: PhonePe, India’s leading digital payments platform today announced that it has been recognized among the country’s top workplaces in the Technology sector by the Great Place to Work Institute. The survey is India’s largest annual study of workplace excellence based on employee feedback and also includes a rigorous assessment process by the Great Place to Work Institute. The Great Place to Work certification is considered as the ‘Gold Standard’ in workplace culture assessment and recognition.
This year, more than 800 organizations applied to the Great Place to Work Institute to undertake the assessment, making it the largest study in the space of workplace recognition. The study identified the best companies to work across 20+ industries. In the Technology sector, Great Place to Work assessed nearly 200 organizations, and recognised PhonePe among India’s best workplaces in this sector.
Commenting on the development, Manmeet Sandhu, Chief People Officer, PhonePe said, "We are delighted to be recognized among India’s best workplaces. We strive to provide employees with a rich learning experience where they get to solve a variety of business problems right from day 1. Our flat structure and cross functional pods enable employees to understand the wider organisational context empowering them to own a wide variety of solutions. The scale and speed of growth gives people the opportunity to solve several large-scale & highly complex problems. At PhonePe, we are building payment solutions that are positively impacting the lives of hundreds of millions of Indians. We have been able to super charge this growth by hiring and retaining the best talent in the country. We will continue to invest in our people and culture to build a great company and provide our employees with rewarding careers.”
PhonePe continually strives to provide a thriving, dynamic work environment for its employees to perform and grow. The company has developed several programs for individual learning and development and also hosts fortnightly learning sessions where employees share their knowledge and skills with their colleagues on a variety of topics not strictly confined to their area of work (ranges from new technology to painting, from presentation skills to making your own aquarium).
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.
