MAM
Glaxosmithkline Consumer promotion expenses 19% of Oct-Dec Op Income
BENGALURU: Nutritional products and OTC drug major Glaxosmithkline Consumer Healthcare spent Rs 164.78 crore or 18.96 per cent of Income from operations in the quarter ended 31 December towards advertisement and promotion. This was the highest amount spent on advertising and promotion by the company in terms of percentage of operating income as well as in value terms over seven consecutive quarters starting quarter ended 30 June, 2012.
Note : (1) GCHL’s fiscal ends on December 31, however in keeping with standard conventions in India, the following periods have been used in this report:
Q1-2013 is the Quarter ended June 30, 2012; Q2-2013 is the quarter ended September 30, 2012
Q2-2013 is the quarter ended December 31, 2012 ; Q4-2013 is the quarter ended March 31, 2013
Q1-2014 is the quarter ended June 30, 2013 ; Q2-2014 is the quarter ended September 30, 2013 and Q3-2014 is the quarter ended December 31, 2013.
(2)Rs 1 Crore = Rs 100,00,000 = Rs 100 lakhs = 10 million
The company’s nutritional products brands include Horlicks, Boost, Foodles , while its OTC drugs brands include Crocin, Eno and Iodex.
Let us look at the company’s results over the seven quarters under consideration:
Figure A shows that Linear PAT as percentage of Op Inc is trending downwards. Ad Exp as both percentage of Op Inc and Total Expense (Total Exp) is trending upwards linearly. The company explains the lower PAT to high inflation in milk and milk powders and dilution in PAT growth due to higher tax rates. GHCL plans to partially offset this by renewed focus on various cost control initiatives.
However, as per Figure B below, in value terms, PAT trend is almost flat linearly over the seven quarters, with GCHL reporting maximum PAT in quarter ended 31 March 2013 at Rs 156.41 crore, the lowest being Rs 69.65 crore in Q3-2013. The company reported PAT at Rs 79.79 crore in Q3-2014. Operating Income peaked in quarter ended 30 September, 2013 at Rs 1014.08 crore, with Rs 734.51 crore in quarter ended 31 December 2012 being the lowest operating income over the seven quarters under consideration. Operating income in the quarter ended 31 December, 2013 was Rs 869 crore.
 |
As mentioned above, the company’s Ad Exp in quarter ended 31 December, 2014 was the highest, both in terms of percentage of operating income and in rupee value. As figure C shows, the company’s q-o-q change in percentage terms for Op Inc as well as Ad Exp have been zigzag lines, however the linear rate of change tending downwards for both.
 |
 |
GCHL says that it has had a good overall performance with Health Food Drinks (HFD) and Foods growing at 17 per cent and 29 per cent respectively in quarter ended 31 December, 2014. Its domestic volume growth has been 11 per cent, while exports grew by 36 per cent. It claims that GHCL continues to hold second position in Oats; Horlicks Kesar Badam launched during the quarter.
The company claims that its HFD brands comprising Horlicks and Boost grew 17 per cent, while its packaged foods brands comprising of Horlicks biscuits, Horlicks Nutribics, Foodles (noodles), Horlicks Oats and Boost Biscuits grew 29 per cent during the period.
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.
