MAM
P&G India treads the green path, becomes ‘plastic waste neutral’
Mumbai: Consumer goods major Procter & Gamble (P&G) India said it has become ‘plastic waste neutral’ in the past FY, April 2021–March 2022. The company made this announcement during its ‘It’s Our Home Sustainability Summit’ held here on Thursday. With this, P&G becomes the first few FMCG companies in India to achieve plastic waste neutrality.
“The company has collected, processed, and recycled over 19,000 MT of post-consumer plastic packaging waste from across the country which is more than the amount of plastic packaging in its products sold in a year,” said the conglomerate in a statement.
P&G India also announced that it will set up two more in-house solar plants at its manufacturing sites in Goa and Mandideep in India. This is in addition to the existing in-house solar plant that the company set up at its Hyderabad manufacturing site in 2021. P&G will be among the first few FMCG companies in India to have three in-house solar plants across its manufacturing sites, according to the consumer goods major.
P&G is working with recycling partners across 75 cities in India to collect plastic which is then sent to different recyclers, waste to energy plants, and cement kilns. In addition to recycling, the company has also made a deliberate effort to reduce the packaging material and in the last five years has reduced usage of packaging material by more than 5,000 MT, according to the statement.
“We are proud of the significant progress we have made on environmental sustainability, and achieving ‘plastic waste neutrality’ is a key milestone in this journey,” said Procter & Gamble – Indian sub-continent CEO Madhusudan Gopalan. “Plastic waste does not belong in the environment, and we will continue to partner with multiple stakeholders in our efforts to reduce and recycle packaging waste.”
“We are also taking a deliberate approach to reducing the impact of our operations, and setting up in-house solar plants is a step in this direction. We have made strong progress across our brands, our supply chain, our operations with support from our partners and employees. We are fully committed to making a positive impact in the world and creating a sustainable future for generations to come,” he further said.
In recent years, the company has made significant progress on environmental sustainability which can be seen across its operations and brands. According to the company, these include:
· All P&G manufacturing sites in India are ‘zero manufacturing waste to landfill’
· Five P&G India sites have already achieved the 2030 P&G global target of 35 per cent water efficiency
· P&G India purchases 100 per cent renewable electricity for all its manufacturing sites in India
· P&G’s fabric care brands in India Ariel and Tide continue to be phosphate-free since 2015, thus helping preserve the quality of water resources
· The liquid detergent bottles of fabric care brand Ariel are recyclable
· Using recycled material in the packaging of its baby care and feminine care products which will reduce the usage of 500 MT of virgin plastic annually
The conglomerate further said it aims to achieve net-zero greenhouse gas (GHG) emissions across its operations and supply chain, from raw material to retailer by 2040.
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.
