GECs
Channel [V] refreshes itself; new shows, new packaging
MUMBAI: When things are going well, change to take them to another level, is a leitmotif that many an innovator follows. The Star India network owned Channel [V] seems to be going the same route. In July 2012, it revamped itself as a youth general entertainment channel with a focus on reality. That worked reasonably well for it. 17 months later it is all ready for another rejig: there’s a new cool logo with the tagline “Correct Hai”, new packaging and even a new programming line up.
Channel [V] has undergone many a revamp over the past few years, probably such is the requirement of the audience which is its core viewer – the youth. The purpose of the current reinvention: engage even better with them.
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The logo has the same [V] brand but on a band-aid like patch being peeled off with “All New” above it. The tag line is even more interesting: one of the ‘Rs’ in the Correct is reversed while the Hai is in the Hindi script. Obviously, the idea is to speak the language of the youth and there is a hint of irreverence in its approach even while keeping middle class sensibilities in mind.
Says Channel [V] EVP & general manager Prem Kamath: “The baseline reflects us – what we call the brand character. It also states, ‘Politically incorrect and emotionally correct. The new shows that we have created reflect the baseline and have been developed around the same theme.”
Slated to air from 25 November, the four new shows Kamath is referring to will have limited runs and straddle the programming genres of comedy, drama, thriller and reality.
Sadda Haq produced by Yash Patnaik’s Beyond Dreams is slated to air six days a week at 6.30 pm and is the story of Sanyukta Agrawal, a young Delhi girl who challenges the patriarchal world and breaks the stereotypes!
Sudhir and Seema Sharma’s Sunshine Productions is the producer of Paanch: Don’t Get Mad Get Even and It’s Complicated. The first is the story 18-year-old Roshni, a shy girl who enters a college in Mumbai to ‘right some wrongs’ and airs Wednesday and Thursday from 6 to 6.30 pm while the second is about three young couples who deal with their relationship problems and will air on Friday-Saturday at the same time slot.
Confessions of an Indian Teenager, from the Balaji Telefilms stable, features the young Vaibhav Sharma who shares the day to day concerns of the youth – once again from 6 to 6.30 pm on Mondays and Tuesdays.
The new shows are slated to replace Crazy Super Ishq and Suvreen Guggal – Topper of the year – both of which had quite some traction with Channel [V] viewers but had probably reached their end of life.
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Prem Kamath is taking Channel [V] to another youth GEC level.
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“We firmly believe that both variety and periodic change are very essential if you have to stay connected to the youngsters,” explains Kamath. “The change in logo and introduction of new programmes are reflective of that. Over the years, we have realised that youngsters need variety, refreshment and change. The need for it is significantly higher for a youth-centric channel than for regular GECs or other channels.”
Kamath says there is a great deal of emphasis in Channel [V] to get the right shows, right stories in; it’s not just about coming up with new packaging alone. “Even before the first shot, we had the complete story penned down,” he points out. “Nobody watches your channel just because of packaging and its graphics. People watch a channel when it has a lot of content and variety. It adds freshness and newness to the channel.”
“We are talking to young audiences and we are creating a youth general entertainment channel. We firmly believe that there is a huge market for youth centric shows and that most of the GECs lack variety. We are trying to create a viable option,” he adds.
Estimates are that around Rs 5 crore has been kept aside to communicate the all new Channel [V] to viewers. Television, some outdoors, some print and a heck of a lot of online activity is being brought into play. It’s official facebook page has been buzzing with teaser activity since earlier this month. Promos of the new shows and teasers around the revamp, have been keeping the comments and likes coming. With 3.1 million likes, that’s a large audience that’s been engaged. Then probing social issues have been raised which have got this community interacting.
Questions like:
* Young children made to do hard labour for long hours. Kya yeh Correct Hai ?
* Some people marry and get to know their partners. Or some want to know their partners and then marry. Hence they “LIVE IN CorrectHai?
* Katrina Hindi bole toh cool. Main Hindi bolu to uncool. Kya yeh CorrectHai?
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Divya Radhakrishnan feels that the channel has taken the right move.
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Eight films of 15 seconds each have been created and “we will be uploading them only after launching the new look on 25 November. We believe that once people see the brand films, they should switch on to Channel V and see a completely refreshed channel,” reveals Kamath.
He points out that online promotions are a big part of the marketing campaign. “The idea is to get as many video views of the promos as we can. Once the viewers sample the change being offered, they will understand that it is very different from the kind of shows they have been watching. We are hoping some of our videos to go viral as well. Our objective is to try and introduce the maximum number of people to the new offerings through the audio-visual medium.”
Many a brand has hopped on board as advertisers on Channel [V] since the relaunch last year: Pepsi, Coco-Cola, Airtel, Nokia, Blackberry, Deodorants, two-wheelers and among others.
Media veterans are already offering kudos to Kamath and his team on the new look. Says Helios Media’s boss Divya Radhakrishnan: “Every channel has to re-establish itself to look vibrant and young. For a youth channel, it needs to be done more often and they have done the right thing. You need to keep re-orienting yourself time and again so that the viewers don’t get bored.”
Now it’s over to the fickle and rapidly evolving youth to prove her right.
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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