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Scary times for horror shows

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MUMBAI: Ssshhhh…koi hai is today the trademark dialogue of any horror-related conversation, thanks to the namesake show some years ago. In the early years of television in India, when the genres were just adapting, horror was a popular resort for producers (even films). The horror escapades of the 1990s don’t have strong contenders today. But is it that the horror value is lower or have we just become smarter?

For years, TV shows such as Zee horror show Aahat, Woh, SsshhhhKoi Hai, X Zone, Fear Files etc, worked their magic on audiences but lately people laugh them off as horror comedy. If we were to revisit earlier shows, we would probably even kid ourselves for being scared in the first place.

The Zee Horror Show of the Ramsay Brothers and Aahat of Fireworks Productions gave goosebumps in the early 90s and, in late 90s, we sampled Woh, another horror TV series, on Zee TV.

Zee TV predominantly relied on horror shows in the 90s with a string of series like Saturday Suspense and X Zone. The earliest success in the genre was Aahat, which first aired in 1995 on Sony Television. Star Plus began its horror journey in 1997 with the show called Kohra and hit the right notes with Ssshhhh… Koi Hai in 2001. The poor graphics, amateur sound effects and logic-defying sequences didn’t stop us from being scared while the shows reigned the ratings chart. In 2015, Bipasha Basu, an actress known for her horror film roles, anchored a show Darr Sabko Lagta Hai that only attempted to scare people.

Bodhi Tree Multimedia is currently producing Fear Files season 3. The studio’s founder, Mautik Tolia, said that the horror genre is still alive and the show picked well with 2.3 and 2.5 [ratings] at the 10.30 pm time slot.

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However, horror content carries the baggage of restrictions. Tolia says, “The one major constraint with horror shows is that they have to be shown on the television after 10 pm as per the broadcasting guidelines. This also hampers repeat value during the day and so time slots are fewer.” Weekends were a popular time for this genre earlier but now with the advent of big budget shows, horror cannot sustain viewership.

Regular shows today have some horror or supernatural elements interspersed. Daily soaps like Ek Deewana Tha, Brahmarakshas, Kavach, Kaal Bhairav Rahasya etc. and, in earlier days shows like Woh, Kya Hadsaa Kya Haqeeqat, have scored higher success than the proper episode format horror shows. Tolia adds that these shows are actually categorised as supernatural horror. He says that some shows have done phenomenally well like Naagin, Brahmarakshas, Kavach and more.

The maker of Sony TV’s thriller romantic horror show Ek Deewana Tha Prateek Sharma, who is the founder of LSD films is now into the idea of romantic horror. “With Ek Deewana Tha, the idea was never to scare the viewers. Our intention was to give a thrill and supernatural drama but with the core family surrounding drama to make it more appealing.”

Sharma says that the volume of horror shows has increased and this could be a reaction to the increased exposure to international content and all major Hollywood films and shows releasing in India. But he feels Indian content needs to evolve. Today we rely on special effects and graphics rather than scary faces.

The disadvantage is from the advertising side since brands aren’t very friendly to these shows. “Traditionally horror content does have fewer buyers and also because of its late night viewing. People will not notice kids’ related brands advertising during these shows,” says Tolia. He adds that this problem is solved in shows where it is blended in the normal series. But he adds that if a horror show manages to really spook you and make you return, the advertisers will also come chasing.

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Though horror may have died down in popularity, the genre is still alive in regular shows where it is used for impact. This also allows shows to circumvent the limitations that a pure horror show has to endure.

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Sun TV posts steady revenue, profit dips amid rising costs

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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.

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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.
 

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SPNI hires Pradeep M with responsibility for standards and practices in the south

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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.

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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.

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Colors Gujarati rolls out two new shows from 2nd February

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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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