GECs
Viacom18’s digital plan is about ‘mobile first’
MUMBAI: As the world, including the television industry, moves to digital, ways are being found to capture and engage audiences on multiple screens. Viacom18, the JV between Viacom International and TV18, the subsidiary of Network18, is also thinking digital to get a hold of audiences when they skim online.
Its nine channels – Colors, Rishtey, Nick Jr, Nick, Sonic, MTV, Vh1, Comedy Central and MTV Indies – form the network’s broadcast side.
Viacom18 group CEO Sudhanshu Vats sees digital as an accompaniment to television viewing. “In India digital is at a very nascent stage. In the US, over the years, TV viewership has remained the same or inched up a little. It is consumption in the digital space that has grown and the same trend will be seen in India,” he says. While India boasts of a 1.2 billion population seated in 250 million homes, the number of TV homes is just about 160 million. “This gap of 90 million means that there will always be room for classic TV content as well,” adds Vats.
Much of this digital contribution currently comes from urban India but Vats says that data shows a reasonable amount of rural India also utilising the digital medium. As per him, traffic coming from PCs and laptops is an urban phenomenon while rural India is more hooked to the mobile.
Its flagship channel, Colors, boasts of 414,000 followers on Twitter, thanks to its extensive thrust on the social media platform. It is way ahead of competition on both Twitter as well as Facebook. It also has commendable followers for its non-fiction properties such as Bigg Boss and Jhalak Dikhkhla Jaa.
In terms of content exclusive to digital, Viacom18’s MTV has experimented a lot with webisodes of which a few have never appeared on television. Now the focus is on creating content that suits the smaller screens. “We need to revisit how best to customise content for the small screen from the way it is shot as well as the duration. What are these short stories? Do they invite to action or a combination of narrative and time span, etc. When you say mobile first, it is what you will do for this screen first that matters,” points out Vats.
Vats agrees that the business model for monetisation of TV content is superior to digital, which is still in an evolution phase. So the need of the hour is to understand how to target multiple screens. “As transportation develops in India, ‘snacking’ will gain shape. Digital will offer more snacking content and less long-form. The minute you have the option of watching stuff on a bigger screen you will, but on the other hand, you will snack. Also, the current online content stream is low on quality and high on price. We are exploring avenues in the mobile space to change that for the better,” he explains.
However, Viacom18 is also focused on increasing traffic to its channel websites rather than to its Youtube page. Colors diverted traffic to its official website rather than its Youtube page for people who wanted to watch Comedy Nights With Kapil. “We had to focus on where people were viewing Comedy Nights With Kapil, and direct it to where we want them to view it. So we figured having a smaller section on YouTube and baiting them from there to the Colors website made more sense in this case,” explains Vats.
He also says that digital is a lot about windowing. “What is running live on television, when is going to be linear in that sense on digital – simultaneous or windowed later – and what is the monetisation plan for each of them. If you want to watch it in the linear format, then it may be subscription based. If you want to watch it later, it might be a combination of subscription and advertising,” concludes Vats.
GECs
Sun TV posts steady revenue, profit dips amid rising costs
CHENNAI: It appears there is still plenty of Sun to go around in the Indian broadcasting landscape, even if a few clouds have drifted across the financial horizon. Sun TV Network Limited, the Chennai-based behemoth that dominates airwaves across seven languages, has tuned into a steady frequency for the quarter ending 31 December 2025. While the numbers show a resilient revenue stream, the company’s latest broadcast reveals a few static-filled spots in its profit margins.
For the quarter in question, Sun TV’s total income climbed by approximately 3.31 per cent, reaching Rs 958.39 crores compared to Rs 927.66 crores in the same period last year. Revenue from operations also saw a healthy bump, rising 4.32 per cent to Rs 827.87 crores.
The real star of the show, however, was domestic subscription revenue, which surged by 8.86 per cent to Rs 472.99 crores. This growth highlights the enduring appetite for Sun’s diverse content, which spans everything from daily soaps in Tamil and Telugu to its burgeoning OTT platform, Sun NXT.
Despite the revenue growth, the picture quality of the profits was slightly blurred by rising costs. Eitda for the quarter stood at Rs 409.79 crores, a dip from the Rs 432.14 crores recorded in the corresponding 2024 quarter.
The profit after tax followed a similar downward trend, settling at Rs 316.44 crores against the previous year’s Rs 347.17 crores. Advertisers also seemed to have switched channels slightly, with advertisement revenues sliding to Rs 291.94 crores from Rs 332.17 crores.
Sun TV isn’t just playing on home turf; its sporting ambitions are becoming increasingly global. The network now owns three major cricket franchises: SunRisers Hyderabad in the IPL, SunRisers Eastern Cape in SA20, and SunRisers Leeds Limited in The Hundred (UK).
The foray into British cricket saw the company acquire a 100 per cent stake in Northern Superchargers Limited (now SunRisers Leeds) for approximately £100 million. While these franchises brought in Rs 14.61 crores this quarter, they also incurred corresponding costs of Rs 19.89 crores. Over the nine-month period, however, the cricket business is a major player, contributing Rs 487.64 crores in income.
The company’s bottom line took a minor hit from exceptional items, including a Rs 4.23 crore charge related to India’s new Labour Codes, which consolidated 29 existing labour laws. Additionally, the consolidated results reflect the amalgamation of Kal Radio Limited with Udaya FM, a move that became effective in May 2025 and required a restatement of previous figures.
To keep investors from reaching for the remote, the Board has declared an interim dividend of 50 per cent, that’s Rs 2.50 per equity share. This comes on top of earlier dividends of 100 per cent (Rs 5.00) and 75 per cent (Rs 3.75) declared in August and November 2025, respectively.
With a massive cash reserve and a dominant position in the South Indian market, Sun TV continues to shine, even if the current quarter required a bit of fine-tuning. For now, shareholders can sit back, relax, and enjoy the show.
GECs
SPNI hires Pradeep M with responsibility for standards and practices in the south
MUMBAI: Sony Pictures Networks India has hired Pradeep M to handle standards and practices for its southern market, bolstering its compliance bench as content rules tighten across platforms.
Pradeep, who has nearly 13 years in the entertainment media industry, takes on responsibility for content standards in a region that is both linguistically diverse and regulatorily sensitive. His brief spans television, OTT, sports and digital platforms.
He specialises in content review and compliance across shows, commercials, on-air promotions and international feeds, ensuring alignment with broadcast, OTT and advertising codes. He has also handled brand approvals and sponsorship integrations for heavily regulated categories—including online gaming, cryptocurrency, NFTs and lottery brands—offering guidance shaped by fast-evolving rules.
Before Sony, Pradeep worked at Jiostar as assistant manager for content regulation from November 2024 to January 2026. Earlier, he spent nearly seven years at Viacom18 Media, rising from senior executive to assistant manager in content regulation between 2018 and 2024. There he served as a key compliance touchpoint for the network.
His career began on the creative side. Between 2013 and 2018, he worked as executive producer on feature films and television shows, gaining hands-on exposure to production. He also had a stint as a non-fiction show director at Star TV Network in 2017. That mix of creative and regulatory experience gives him a dual lens—how content is made and how it must be managed.
As regulators, platforms and advertisers all tighten the screws, broadcasters are investing more in gatekeepers who can keep creativity within the lines. Sony’s latest hire shows where the industry is heading: in the streaming age, compliance is content’s quiet co-star.
GECs
Colors Gujarati rolls out two new shows from 2nd February
MUMBAI: Colors Gujarati has unveiled two new prime-time shows as part of its push to strengthen culturally rooted storytelling for regional audiences. The channel will premiere the devotional saga Gangasati–Paanbai at 7.30 pm, followed by the romantic family drama Manmelo at 9.30 pm from February 2.
Inspired by Gujarat’s spiritual and literary heritage, Gangasati–Paanbai: Shyam Dhun No Navo Adhyay draws from the timeless bhajans and poetry of saint-poetesses Gangasati and Paanbai, weaving devotion and human values into a contemporary narrative aimed at younger viewers.
In contrast, Manmelo explores love and responsibility across social divides, tracing the lives of three middle-class sisters whose relationships with three affluent brothers reshape their futures. The show delves into ambition, emotional conflict and the realities of married life, offering a layered family drama.
A Colors Gujarati spokesperson said the new launches reflect the channel’s commitment to authentic Gujarati entertainment that blends cultural values with modern storytelling.
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