Category: Television

  • Uncovering ‘The Secret Genius of Modern Life’ with Sony BBC Earth

    Uncovering ‘The Secret Genius of Modern Life’ with Sony BBC Earth

    Mumbai: Sony BBC Earth will premiere The Secret Genius of Modern Life on 18 November 2024. The series uncovers the fascinating histories behind everyday objects, taking viewers on a journey to explore the innovations behind items like passports, vacuum cleaners, mobile phones, and more.

    Hosted by Dr Hannah Fry, the series delves into a high-security facility where passports are created with advanced safety features. It also traces the evolution of household devices, such as vacuum cleaners, from early models to Dyson’s modern versions, highlighting the role of spinning dust separators and HEPA filters. Similarly, mobile phones are explored from their bulky origins to sleek smartphones, showcasing advancements in touchscreens, antennas, and rare earth materials.

    The show also highlights technologies like the microwave oven, which evolved from WWII radar technology, and the science behind modern elevators, showcasing how steel cables and sophisticated brakes have improved safety.

    Tune in to The Secret Genius of Modern Life on Sony BBC Earth, airing Monday to Friday at 12 pm and 9 pm starting 18 November.

  • TAM seeks to re-enter TV ratings: Storyboard18 report

    TAM seeks to re-enter TV ratings: Storyboard18 report

    MUMBAI: The TV ratings saga in India has got a new twist, if Network18’s Storyboard18 is to be believed. According to an unconfirmed report filed with it, the erstwhile TV viewership monitoring body TAM Media is seeking to take a majority stake in its 49: 51 joint venture with BARC – Meterology Data  Pvt Ltd (MDPL), the meter management company which manages panel operations for India’s  current TV audience measurement system.

    MDPL deploys and maintains the meters that form the TV panel, as per sample design specifications and guidelines laid down by the BARC technical committee, and supplies raw data to it which in turn provides it to channels, agencies and marketers.

    To get some perspective, TAM has been pursuing the ministry of information and broadcasting (MIB) to issue it a licence to monitor viewership of India’s television landscape, a role it performed prior to BARC taking charge, following a section of the industry’s disgruntlement with the former. But the MIB has yet to decide on its application.

    Currently, management control of MDPL lies in BARC’s hands,  which provides TV viewership figures, while TAM provides advertising expenditure, radio listenership and sports related data.

    A section of the industry believes that with TAM taking majority control of MDPL, a reverse merger between the two would be a logical conclusion, the storyboard18 report states, quoting anonymous sources, The other option is that TAM gets a licence and television in India has two ratings agencies, which will be unaffordable to the media and advertising industry because of the huge costs involved, explains the storyboard18 report.

     It adds that TAM (a 50:50 joint venture between Nielsen and Kantar Media) will also have to undergo shareholding structural changes with media agency Group M exiting from Kantar Media (on account of conflict of interest, as per Indian regulations) before the MIB can issue it a licence. 

    Picture courtesy Hathway annual report)

  • Nirahua on Aap Ki Adalat: ‘Legalize polygamy for married men with kids, I’m ready’

    Nirahua on Aap Ki Adalat: ‘Legalize polygamy for married men with kids, I’m ready’

    New Delhi: Bhojpuri actor and former BJP MP Dinesh Lal Yadav ‘Nirahua’ revealed many secrets about his personal life in Rajat Sharma’s ‘Aap Ki Adalat’ show, which was  telecasted tonight at 10 pm on India TV.

    Asked about his personal relationship with his co-star Amrapali Dubey with whom he has done 35 movies, Nirahua said: “Our fans created all this ‘chakkar’ (affairs). Earlier when I used to co-star with Pakhi Ji (Pakhi Hegde with whom Nirahua co-starred in his earlier movies), and I used to go on stage, the audience used to ask me to bring Bhauji (my wife)… and after I co-starred with Amrapali Ji in movies and went for election campaigning in Azamgarh, people used to chant slogans ‘Dinesh Lal Yadav Zindabad, Amrapali Bhauji Zindabad’. I used to tell people, ‘arre yaar’, why are you spoiling somebody’s life. I am married, I have two children. She is such a beautiful actor, if she marries, she will choose a person of her choice. Why do you make her ‘Bhauji’ (my wife)? Now, what can we do?….”

    When Rajat Sharma pointed out that it was Amrapali, who when asked about her relationship, had commented, ‘what better thing can happen than an affair with Nirahua..marrying means having a dip in the Holy Ganga’?

    Nirahua replied: “Today we are sitting in Adalat, and our Judge (Malini Awasthi) is here. You make a law that a man with two kids can marry, I am ready for it.”

    When Rajat Sharma pointed out that he had prayed at Ram Lala temple in Ayodhya with Amrapali by his side, Nirahua replied: “Look, when we do some show, or visit some shrine, and the heroine says, I will go with you for darshan, what should I say? That I will do the darshan alone and I won’t take you with me? That’s why we went together”.

    Rajat Sharma: You are not that innocent. When both of you met Swami Rambhadracharya, he asked whether she is your sister, and you replied, she is my Ardhangini (wife).

    Nirahua replied: “Let me explain the reason. We went and touched the feet of Baba. He joked with me asking whether your sister is with you. Then I too joked with Baba and said, she is my Ardhangini. He is a great guru and he knows everything. The baba has claimed that he has seen Bhagwan Ram. When he has seen so much, she has played the role of my wife in 35 movies, she never played the role of sister in a single movie, and the Baba was asking, is she your sister?”

    Karishma Kapoor

    The Bhojpuri star revealed his crush on Bollywood actor Karishma Kapoor when he was an adolescent. When Rajat Sharma asked him why he used to put posters of Karisma Kapoor on the walls of his home, Nirahua replied: “Mujhe Lagta Hai, Woh Jawani Jawani Nahin, Jishi Koi Kahani Nahin’ (Adolescene is worthless if there are no happenings). We have all got a life. Nobody knows whether  one will get another life. We don’t want to go to Heaven and God tellin you that you were offered everything in life. So I don’t  lose any opportunity.”

    Nirahua disclosed: “I am a big fan of Karisma Kapoor. I never missed the first day, first show of her movie. I bunked classes to watch her first show. Once I even sneaked out of an Army NCC camp to watch the first Friday show. I did not want my record to be broken. I was so crazy that I used to pin Karisma’s posters on the walls of our home. When my father used to do pooja, some of the smoke from incense sticks used to go towards those posters. My dad used to scold and thrash me for these posters.”

    Rajat Sharma: Do you still remember those thrashings?

    Nirahua: Now when I go to sleep, my dad appears in my dreams and thrashes me.

    Rajat Sharma: You haven’t stopped doing mischief?

    Nirahua: “A monkey, even when  old, never stops doing somersaults.”

    Mumbai Film Industry

    The Bhojpuri star lashed out at the Mumbai film industry alleging that it was trying to “degrade” Bhojpuri movies by labelling them as “vulgar”.

    He said: “It is a big conspiracy to defame Bhojpuri movies. We make our movies at a cost of nearly Rs 1 crore, while their movies cost Rs 10 crore, 20 crore, 50 crore to Rs 100 crore.  When they try to screen their movies in our cinema halls, the owners say, Nirahua’s movie is being screened, we won’t screen yours.  Industry people start thinking how dare these owners not screen movies of big Bollywood superstars. Then they find methods to ‘degrade’ Bhojpuri movies. In every interview, on every platform, Bhojpuri movies are described as vulgar and obscene. Let the nation decide. If our songs have vulgar lyrics, Hindi movies also have vulgar lyrics. In our movie, if we show a wife asking her husband to fix the hook of her bra, who can do that except the husband? And what do they show, ‘Choli Ke Peechey Kya Hai’?

    Nirahua said: “I want to make one thing clear. Movies made for entertainment, in whichever industry, are made like this. It is for the audience to choose what to see. Pawan Singh (Bhojpuri actor) Ji once said, I sang more than 500 bhajans for gods and goddesses, why don’t people watch them? Why do they watch ‘lollypop’ song? Whereve we go across the world, they play similar songs. So, it is the audience who should decide what they would like to watch.”

    On Bhojpuri Stars

    Nirahua frankly described the manners of other Bhojpuri movie stars like Manoj Tiwari, Ravi Kishen, Pawan Singh and Khesari Lal.

    Asked whom does he consider as no one in Bhojpuri film industry, given the present competition for the top slot between Pawan Singh and Khesari Lal, Nirahua replied jokingly: “I have told both these brothers that the top three slots are reserved for Nirahua, and they should fight for the fourth and fifth slots.”

    Rajat Sharma: Whom do you consider the most mischievous among these?

    Nirahua: “Pawan Singh is the power star. He is the most mischievous. During the 2019 elections, we decided to go for filing nominations – Pawan Singh, Khesari Lal and me. A helicopter was booked. I and Pawan Singh sat. Pawan Singh wanted the helicopter to take off. I said, Khesari is coming. He became crazy. He said, why did you call him?  I said, let him come too. He challenged me saying, show me if all three can go. Before the chopper was to take off, Pawan Singh stood up and asked the pilot to come to the back. He said he would himself fly the chopper. He said, I am the power star, I will fly the chopper. Khesari was scared. He said, I am not going, and  he went away. Then Pawan Singh asked the pilot to take off. So, nobody can match him in the matter of pranks. People used to say, he is Hanuman. He is still like that.”

    Rajat Sharma: I heard Ravi Kishen is the one who gives ‘gyaan’ to all? Tells all of you, how to handle producers?

    Nirahua: Actually, he is the guru among all of us. Whenever we meet, he says, ‘Zindagi Zhand Baa, Phir Bhi Ghamand Baa’.

    On politics, Nirahua described how he first became a fan of RJD founder Lalu Prasad Yadav, and then followed Mulayam Singh and Akhilesh Yadav, and now he considers Narendra Modi as the best among all.

  • P. B. Films Ltd reports 6 per cent decline in earnings amid stagnant revenues

    P. B. Films Ltd reports 6 per cent decline in earnings amid stagnant revenues

    Mumbai: In a fiscal environment demanding flexibility, P. B. Films Limited faces a tough half-year as reported in its QYF25 financial statement. The Kolkata-based company’s unaudited financial results for the six months ending September 2024 reveal a concerning narrative, characterised by stagnant revenue streams and operational pressures. Against a backdrop of increased industry competition and tighter cash flow management, P. B. Films are struggling to maintain financial resilience.

    The report highlights a decline in key financial metrics. Total assets, valued at Rs 17,16,547.35 for the period ending September 2024, grew by only 3.3 per cent compared to Rs 16,62,406.71 in March 2024. While the increase in assets is notable, it’s offset by underperformance in revenue-generating areas. Total equity fell from Rs 9,82,667.21 to Rs 9,76,967.04, indicating a shrinkage in shareholder value, which is troubling for long-term investors.

    P. B. Films’ operating loss for the period, at Rs -5,424.67, reflects a 25.7 per cent improvement over the previous loss of Rs -7,301.35 in September 2023. However, this positive shift is undermined by challenges in cash flow, as seen in the net cash from operations amounting to only Rs 84,972.73, a sharp decline from March’s operational surplus. The limited cash inflow suggests tighter liquidity, complicating further investments and operational expenses.

    Inventory management has proven costly for P. B. Films. While total current assets rose to Rs 17,11,969.69, the lack of diversity in asset utilisation and growth, specifically in inventories and receivables, is apparent. The firm’s trade receivables stagnated at Rs 95,977.07 and cash reserves saw a modest increase, rising from Rs 32,652.40 to Rs 36,534.59, which, despite growth, underscores a lack of efficient cash deployment.

    The financial report details a decline in non-current assets to Rs 4,577.66  from Rs 4,957.39 , indicating reduced investments in long-term assets such as property and plant. Liabilities, meanwhile, remained high, with short-term borrowings totaling Rs 5,72,653.00, an increase that reflects heightened dependency on external funding sources.

    P. B. Films saw a significant reduction in cash generated from financing activities. Net cash used in financing dropped to Rs 81,090.00, a stark reversal from the previous year’s injection of Rs 53,903.00 into short-term borrowings. Such reduction signals tightened access to funding, an alarming trend considering the demands of the competitive film industry, where capital for projects is critical for sustained growth.

    Additionally, cash flow from investing activities remained stagnant at Rs 0, underscoring missed opportunities for capital deployment. The statement shows no interest income or investment gains, and loans and advances reflected minimal reduction in value. In contrast, trade payables dropped significantly from Rs 14,358.66 to Rs 7,049.66, which could suggest delayed payments to suppliers or efficient negotiation, although it might raise concerns over credit terms with vendors.

    With the entertainment and media sector facing volatility, P. B. Films’ strategy remains a crucial factor. In the past year, media consumption trends have shifted towards digital platforms, and P. B. Films, while well-established in traditional media, have yet to adapt aggressively to these new dynamics. The lack of an investment increase in innovative assets such as digital streaming services or expanded media production further highlights this stagnation.

    The entertainment firm’s limited activity in diversifying revenue streams contrasts with industry giants, who are leveraging digital channels for ad revenue and content distribution. This conservative approach might contribute to the lacklustre performance observed.

    For P. B. Films, navigating the remainder of the fiscal year with adaptive financial strategies will be paramount.

  • EU Film Festival workshop inspires with storytelling insights on day three

    EU Film Festival workshop inspires with storytelling insights on day three

    Mumbai: Day three of the European Union Film Festival (EUFF) brought a powerful blend of cinematic storytelling and creativity, captivating audiences in New Delhi. The workshop ‘Character Building in Cinematic Worlds’, led by Lithuanian-American filmmaker Tomas Vengris and Indian novelist-screenwriter Alina Gufran, offered invaluable guidance to aspiring filmmakers, drawing an enthusiastic crowd and inspiring fresh perspectives on narrative creation.

    Organised in collaboration with Unbox Cultural Futures, the workshop focused on character development and narrative depth, essential skills for young, independent creatives. Vengris shared his approach to the theme of identity crisis, a common thread in his films, rooted in his upbringing between Lithuania and the U.S. “When someone struggles with a project, it becomes a huge learning curve. Everything is new and challenging. You finish that project, feel like you’ve got it figured out, and then with the next one, it’s like starting from scratch. That sense of constant reinvention is what makes it so thrilling,” he remarked.

    Gufran, known for drawing from her own experiences in her work, discussed themes like the immigrant experience, interfaith dynamics, and belonging. These personal insights, she explained, shape her storytelling and provide a window through which she explores complex identities.

    The workshop saw participation from emerging filmmakers, young creatives, and film students, all eager to deepen their storytelling craft.

    Alongside the workshop, Day 3 featured screenings of three acclaimed films: “The Man Without Guilt from Slovenia”, directed by Ivan Gergolet; “Dangerous Men from Poland”, directed by Maciej Kawalski; and “Baan from Portugal”, directed by Leonor Teles. Each film resonated deeply with the Delhi audience, receiving warm applause and appreciation.

    The 29th European Union Film Festival will continue in New Delhi until 16 November 2024, showcasing a diverse lineup of films from across Europe.

  • Zee Media: dip in Q2 financials; fighting to make a comeback

    Zee Media: dip in Q2 financials; fighting to make a comeback

    Mumbai: In a challenging landscape for Indian media, Zee Media Corporation’s financial report for Q2 FY25 illustrates a stark balance between adversity and adaptability. Despite a 13 per cent year-on-year (YoY) dip in revenue and a compounded increase in net losses, the media conglomerate is proactively mobilising strategies to offset liquidity challenges, implement cost rationalisation, and increase cash flow sustainability. This complex mix of financials unveils Zee Media’s intricate navigation through volatile financial waters, hinting at the company’s efforts to secure long-term viability.

    Zee Media’s revenue for Q2 FY25 reached Rs 9,429 lakhs, marking a drop from Rs 10,930 lakhs during the same period in FY24. While the reduced revenue underscores a challenging advertising environment and broader industry pressures, the consolidated half-year performance demonstrated resilience, with total revenue standing at Rs 30,666 lakhs, just over the previous year’s Rs 29,200 lakhs.

    The company’s operating expenses, however, saw a nuanced reduction—a reflection of cost-cutting measures aimed at stabilising margins. Total expenses decreased marginally to Rs 15,430 lakhs in Q2 FY25 from Rs 15,480 lakhs in Q1, driven primarily by reductions in operating costs and moderated employee benefits expenses, which decreased from Rs 4,411 lakhs in Q2 FY24 to Rs 4,128 lakhs this year. Nonetheless, escalating finance costs and amortisation expenses, standing at Rs 729 lakhs and Rs 2,381 lakhs respectively, indicate rising capital expenses amid restructuring efforts.

    Zee Media’s net loss widened significantly to Rs 4,324 lakhs, intensifying from a loss of Rs 2,781 lakhs YoY. The half-year net loss reached Rs 6,024 lakhs, indicating persistent financial strain. This loss trajectory reflects Zee Media’s increasing challenges in revenue generation and mounting obligations.

    Zee Media’s exceptional Items, totaling Rs 800 lakhs in Q2 FY25, offered some cushion but were insufficient to turn the tide against compounded losses. Furthermore, cash flow from operating activities declined by 15 per cent YoY, indicating a tightening liquidity position that could necessitate further intervention.

    Acknowledging these financial pressures, Zee Media has devised strategies to bolster liquidity through capital infusion and credit period extensions. Recently approved by shareholders, Zee Media has secured an arrangement to raise up to Rs 20,000 lakhs via convertible warrants. The warrants, priced at Rs 15 each, will enable the issuance of over 13 crore new equity shares, a step anticipated to augment both equity capital and long-term solvency.

    Simultaneously, the company announced plans to leverage its existing credit and payment obligations to realign its cash flow. Cost-saving measures, primarily targeting operational expenses, are projected to contribute to a more sustainable financial model, positioning Zee Media on a more stable footing amidst the adverse economic landscape.

    The report also unveiled Zee Media’s strategic pivot with the incorporation of two wholly-owned subsidiaries: Zee Media Inc. in Delaware, USA, and Pinews Digital Private Limited in India. Both subsidiaries signal the company’s foray into global markets and digital spaces, indicating its commitment to diversifying revenue streams beyond traditional media channels. However, the overseas investment into Zee Media Inc. awaitss regulatory clearances under India’s overseas direct Investment guidelines, which could delay potential revenue from these ventures.

    While Zee Media’s financial indicators reveal substantial losses and cash flow constraints, the company’s multi-pronged approach to capital infusion and strategic reallocation underscores its determination to navigate financial uncertainty. With media companies globally adjusting to shifts in digital consumption and advertising revenues, Zee Media’s future rests heavily on its cost-control strategies, capital access, and the successful activation of its newly-incorporated subsidiaries.

    The company’s proactive measures, coupled with robust shareholder backing, could enable Zee Media to recover from its current deficit and steer toward financial resilience. As Zee Media continues to grapple with industry-wide challenges, its commitment to securing capital and exploring new markets highlights a potentially sustainable, albeit cautious, trajectory for India’s leading news broadcaster.

    Financial Highlights:

    1    Revenue Decline: Zee Media reported a 13 per cent YoY decrease in revenue for Q2 FY25, with earnings of Rs 9,429 lakhs compared to Rs 10,930 lakhs in Q2 FY24.

    2    Half-Year Revenue: Total revenue for the first half of FY25 reached Rs 30,666 lakhs, slightly below Rs 29,200 lakhs from the previous year, reflecting the impact of ongoing industry pressures.

    3    Operating Cost Reduction: Total expenses slightly declined to Rs 15,430 lakhs in Q2 FY25 from Rs 15,480 lakhs in Q1, aided by cost-cutting measures, particularly in operating costs and employee benefits.

    4    Net Loss Expansion: Net losses for Q2 FY25 widened to Rs 4,324 lakhs from Rs 2,781 lakhs in Q2 FY24. Half-year losses totaled Rs 6,024 lakhs, underlining sustained financial strain.

    5    Exceptional Items: Exceptional gains of Rs 800 lakhs in Q2 FY25 partially offset losses but were insufficient to reverse the trend.

    6    Capital Infusion Strategy: Zee Media has secured shareholder approval for a Rs 20,000 lakhs capital infusion via convertible warrants to strengthen liquidity.

    7    Convertible Warrants Issuance: The issuance involves over 13 crore equity shares, priced at Rs 15 per share, aimed at enhancing equity capital.

    8    Subsidiary Expansion: Zee Media launched two wholly-owned subsidiaries, Zee Media Inc. in the U.S. and Pinews Digital Private Limited in India, for global and digital market expansion.

    9    Liquidity Constraints: Cash flow from operating activities declined by 15 per cent YoY, highlighting liquidity pressure and the need for ongoing intervention.

    10    Cost Control Measures: To counterbalance losses, Zee Media implemented operational cost rationalisation, with the aim of stabilising finances and bolstering long-term resilience.

  • All Women’s Sports Network launches on Jio TV

    All Women’s Sports Network launches on Jio TV

    MUMBAI: We all know Whoopi Goldberg as a wonderful actress and for her roles in The Color Purple and Sister Act series. Now the American star – who has long been a supporter of sports –  will be known for launching a global sports network for women. Yes, exclusively focused on women’s sports.

    Called the All Women Sports Network (AWSN) its launch was announced mid-last week on The Tonight Show hosted by Jimmy Fallon. Goldberg is partnering with an organization called  CommonSpirit Health which is led by CEO Wright Lassetter III for the network.

    The new channel will “be the home for live women’s sports from around the world. Everything from soccer, basketball, tennis, cricket, curling, you name it — if a woman is playing it, we’re showing it,” expressed Goldberg to Fallon.

    In India, AWSN is available on Jio TV and Jio TV+ across all mobile phones and is integrated with the Jio set top box as well. Goldberg added that the channel is to be available in 65 countries including west Asia, Asia and a US announcement is set to follow.

    According to Goldberg, the goal of AWSN is to “rectify the imbalance in sport representation, championing the cause of female athletes one step at a time.” 

    At the time of writing, the channel was showcasing docuseries around prominent sportswomen like Billie Jean King, Serena Williams and other athletes, interspersed with live matches of women’s football, beach ball in Germany and Sweden, and basketball, field hockey leagues in Australia. 

     

  • Balaji Telefilms hires Arha Media executive Nitin Burman

    Balaji Telefilms hires Arha Media executive Nitin Burman

    MUMBAI: It’s an aha moment for Nitin Burman. The senior executive has joined Balaji Telefilms as group chief revenue officer effective 11 November 2024. Nitin’s last posting was with Arha Media – which runs the OTT platform Aha. His position there: senior president & head – non-subscription revenue.

    With over 13 years of experience,  he was responsible for Arha’s revenue and creative brand solutions teams and generated revenues through brand solutions, brand studio, AVOD, syndication, You Tube channel and impact properties.

    Prior to that, Nitin worked in telecom and banking industries for almost a decade across multiple functions and geographies. Among the companies he worked for include Airtel and Jio. In the past, he has also worked with Radio Mirchi as director – impact properties and brand solutions for Maharashtra, where he was responsible for revenues in digital, TV properties, concerts, events and activations. 

    Nitin is an electronics engineer with a master’s in business administration from Dauphine University Paris and UBS Chandigarh, Punjab University.  
     

  • Raj TV’s financial woes deepen despite 53 per cent revenue surge

    Raj TV’s financial woes deepen despite 53 per cent revenue surge

    Mumbai: Raj Television Network Limited, a longstanding player in the regional media landscape, reported its unaudited financial results for Q2 FY2025. The results reveal a downward trend in profitability and rising operational expenses, challenging the company’s financial stability. Despite a 53 per cent revenue boost to Rs 359.3 million from Rs 234.5 million in the prior year, this increase did not translate into profitability. The high costs, notably a 77 per cent surge in cost of revenue to Rs 293 million, outpaced revenue growth, resulting in a net loss of Rs 168 million for the quarter, a stark contrast to a modest profit of Rs 217,000 in Q2 FY2024.

    Operating expenses surged by 35 per cent year-over-year, driven by escalating costs in core functions. Employee benefits decreased marginally by 6 per cent, reflecting cost-control efforts, yet operational expenses remained high. Finance costs increased by over 60 per cent, reaching Rs 10.3 million, which, combined with increased borrowing, amplified the financial strain.

    Balance sheet liabilities reflect rising pressures; current liabilities rose by nearly 39 per cent, with trade payables ballooning from Rs 60.5 million to Rs 145.4 million, signalling cash flow challenges. Current assets, meanwhile, were relatively static, highlighting potential liquidity constraints. Cash and cash equivalents diminished significantly to  Rs 3.3 million, a steep decline from  Rs 26.7 million at the beginning of the fiscal year.

    Raj Television’s pivot to higher revenue has yet to offset its expenditure growth, underscoring the need for strategic intervention to address profitability and cash flow. Going forward, Raj TV faces a critical need for fiscal recalibration to stabilise and reduce rising debt.

    Financial highlights for Raj Television Network’s Q2 FY2025 performance:

    1. Revenue Growth: Revenue rose by 53 per cent to Rs 359.3 million, up from Rs 234.5 million in Q2 FY2024.

    2.   Net Profit : The company reported a net loss of Rs 168 million, compared to a modest profit of Rs 217,000 in the same quarter last year.

    3.  Operational Expenses : Total expenses surged by 35 per cent year-over-year

    4. Cost of Revenue : Cost of revenue rose sharply by 77 per cent, reaching Rs 293 million.

    5. Employee Benefits : Employee costs decreased by 6 per cent year-over-year.

    6. Finance Costs: Finance expenses increased over 60 per cent, totaling Rs 10.3 million, exacerbated by increased borrowing.

    7. Trade Payables: Current liabilities, including trade payables, jumped 39 per cent, rising from Rs 60.5 million to Rs 145.4 million.

    8. Cash Flow: Cash and cash equivalents dropped significantly to Rs 3.3 million, down from Rs 26.7 million at the fiscal year’s start.

  • JioCinema business head Ferzad Palia to step down from role

    JioCinema business head Ferzad Palia to step down from role

    Mumbai: In a notable shake-up, JioCinema’s business head Ferzad Palia will be stepping down, marking the end of his tenure at the popular streaming platform. Palia’s leadership has been instrumental in shaping JioCinema’s growth trajectory and steering its content strategy. Known for his innovative approach, Palia played a significant role in establishing JioCinema as a competitive force in India’s OTT space.

    During his tenure, Palia worked on key partnerships and content expansions that drove JioCinema’s impressive growth, helping the platform carve out a distinct niche in the entertainment industry. His departure comes at a time when JioCinema is looking to expand its content offerings and further strengthen its user base.

    Palia’s contributions have been crucial, and the industry will be watching closely to see how JioCinema navigates this transition.