MAM
Good Glamm onboards Sukhleen Aneja as CEO of beauty & FMCG brands
Mumbai: Beauty and personal care unicorn Good Glamm Group has onboarded Sukhleen Aneja as the CEO to head the brands business in order to step change its growth ambition of creating digital first House of Brands.
In her new role, Aneja will be responsible for creating a strategic road map for leading digital first brands, integrating and scaling the recent acquisitions, and leveraging the digital ecosystem including content, creator and communities for creating a content-to-commerce powerhouse, said the company in a statement.
Aneja brings with her nearly two decades of experience in the FMCG and beauty industry. Prior to joining Good Glamm Group she was the CMO for Reckitt’s hygiene portfolio across South Asia. She has been a force behind various award-winning campaigns for Reckitt while remaining focused on delivering strong commercial results. In her earlier roles, Aneja has managed diverse commercial teams delivering marketing ops and innovation for Reckitt Benckiser, Hindustan Unilever and L’Oréal Paris.
As CEO – beauty & FMCG brands business Aneja will ensure strategic, financial and operational leadership for the brands while working closely with CXOs, founders of acquisitions, group founder Darpan Sanghvi and co-founders Priyanka Gill and Naiyya Saggi. She will scale and deliver the organisation’s operational and fiscal goals for creating a future fit brand roadmap.
“I am thrilled to join Good Glamm Group at a time where the D2C revolution in India has just begun. Beauty and personal care remain highly underleveraged online and that’s where lies the opportunity for creating strong and powerful consumer first brands leveraging the unique digital and content ecosystem that the group has built,” Aneja said.
Good Glamm Group’s group founder and CEO Darpan Sanghvi added, “We are extremely excited to have Sukhleen on board as we set our eyes on creating the biggest digital beauty conglomerate from South Asia. She brings with her an immense wealth of experience in building strong beauty and personal care brands combined with commercial acumen and consumer centricity. Sukhleen will be instrumental in defining the next phase of Good Glamm ‘s evolution in building the house of Brands including recent acquisitions like The Moms Co. & St. Botanica.”
Anjeja has been recognised at ‘ET 40 Under 40’ and APAC ‘s Top 50 Marketers in APAC.
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.
