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Category: Production House

  • Balaji Telefilms’ matriarch Shobha Kapoor finally gets her due at Indian Telly Awards

    Balaji Telefilms’ matriarch Shobha Kapoor finally gets her due at Indian Telly Awards

    MUMBAI:  It was a night to remember at the 25th edition of Indiantelevision.com and TellyChakkar.com’s Indian Telly Awards, as Balaji Telefilms’ managing director Shobha Kapoor was finally recognised for her silent yet towering contribution to the Indian television industry. 

    In a long-overdue move, the editorial board of the Indiantelevision.com group conferred her with the Ramanand Sagar Lifetime Contribution Award — a decision taken after much deliberation and unanimous agreement. 

    The emotional high point came when her husband, veteran actor Jeetendra Kapoor, took to the stage at JW Marriott, Mumbai, to receive the award from Indian Telly Awards founder Anil Wanvari. But instead of keeping it, he stepped down from the stage and handed the trophy to Shobhaji, who was seated in the front row — triggering a wave of thunderous applause and emotion across the ballroom.

     
     
     
     
     
     
     
     
     
     
     
     
     
     
     

    A post shared by TCX.official (@tellychakkar)

    What followed was a heartfelt video message from daughter Ekta Kapoor, currently in the US: “Mom, you deserve all the awards we’ve ever got. Balaji is nothing without you. I am nothing without you. You’ve always worked behind the scenes, never seeking credit. Today, finally, someone has given it to you..” 
     


    Trying hard to hold back tears, Shobhaji accepted the tribute with poise and composure. “It was an evening to remember! I’m honoured to have received this award and specially from my husband who has been my biggest support throughout the 30 years of my career! Above all my daughter and partner Ekta kapoor who has been and is the driving force ! Thank youu Indian telly awards ?,” said Shobhaji. 

    “Shobhaji has been Balaji’s rock — in its highest highs and darkest lows,” said Wanvari. “She allowed Ekta to blossom as a creative force, while herself building the operational backbone of the company. Together, they’ve created a powerhouse that has trained and mentored scores of television professionals across the industry.” 

    He added, “Ekta has been showered with accolades over the years. It was time Shobhaji, one of Indian TV’s real heroes, received her moment in the spotlight.”

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  • Regional stories steal the show as audiences tune out the usual

    Regional stories steal the show as audiences tune out the usual

    MUMBAI: Lights, camera, localisation! At the 9th edition of The Content Hub Summit 2025, the session on “The Rise and Rise of Regional Content” didn’t just capture attention, it underscored a seismic shift in what India watches and why. Gone are the days when Hindi content ruled unchallenged. From Marathi to Malayalam, Punjabi to Gujarati, regional languages are not only speaking up, they’re roaring loud across platforms and pushing boundaries with content that’s local in soul, but universal in appeal.

    Karan Taurani of Elara Capital, moderating the star-studded panel, noted that the 20th-ranked Hindi film today earns just ₹20 crore, a steep fall from pre-pandemic numbers where the 20th film could clock in Rs 70–Rs 80 crore. Rabindra Narayan, MD of PTC, echoed this, citing how Punjabi film Sehra raked in Rs 100 crore just from Maharashtra, denting a mainstream release like Bhabhi by an estimated Rs 20–Rs 30 crore.

    Rishi Negi of Banijay Asia pointed out that while Hindi struggles with resonance, regional films like Pushpa and KGF succeed because they tell stories rooted in emotion whether it’s a son seeking acceptance or avenging his mother. These narratives, Negi argued, transcend language and connect with audiences across demographics.

    The session also touched on the economics of production. Making content in regional languages isn’t just creatively liberating, it’s cost-effective too. With South Indian films now commanding higher acquisition budgets than Hindi titles on platforms like Netflix, the tide has clearly turned.

    Mamta Kamtikar from Junglee Pictures highlighted how Malayalam film Lones, produced on a modest budget, became a critical and cultural success due to strong storytelling and a buzz-worthy release strategy. “It’s not just about making a film,” she stressed, “it’s about making it travel emotionally and linguistically.”

    This brings us to another hot-button topic: localisation. Avinash Mudaliar of OTTplay noted that dubbing and subtitling in India have undergone a transformation. “Earlier, South Indian action films just needed punchy dialogues. Now, dubbing is almost script-rewriting. It’s no longer a mechanical job, it’s cultural translation.”

    But the challenge isn’t just about turning Tamil into Hindi. As Arpit Mankar of Shemaroo explained, a joke that lands in Delhi might bomb in Bengal. Comedy, drama, even character arcs need regional nuance something only local creators truly understand. That’s why Shemaroo has gone deep into Gujarati OTT, helping three films cross ₹10 crore in the first half of 2025 alone triple the usual annual average.

    ETV Win’s Saikrishna Koinni and others agreed: regional makers have the home-field advantage. They live the language, breathe the culture, and write stories with lived authenticity that no algorithm or distant studio exec can replicate.

    And there’s money on the table too. With over 33 OTTs now bundled into super-subscription packs and growing willingness to pay, regional content is not just filling the gap, it’s the main event.

    In short, India’s entertainment engine is no longer fuelled solely by Bollywood dreams. It’s powered by local love, dubbed brilliance, and subtitles that speak volumes. And if this panel is anything to go by, the future of Indian content is decidedly regional and refreshingly relatable.

  • Veteran producer-director Dheeraj kumar, Creative Eye founder, passes away at 79

    Veteran producer-director Dheeraj kumar, Creative Eye founder, passes away at 79

    MUMBAI: Mumbai is grieving the loss of veteran producer-actor Dheeraj Kumar Kochhar, founder of Bombay Stock Exchange-listed Creative Eye, who passed away this morning at the age of 79. Kumar was admitted to Kokilaben Dhirubhai Ambani Hospital on Saturday following a severe bout of fever, cold, and cough, which was later diagnosed as acute pneumonia.

    Despite intensive treatment and ventilator support in the intensive care unit, his condition remained unresponsive. He breathed his last on the morning of 15 July following cardiac arrest. Tellychakkar, a sister publication, confirmed his passing while under close medical supervision.

    A graduate of the Film & Television Institute Pune, Kumar’s career spanned decades, seeing him carve a formidable reputation as a top producer for both Doordarshan and private satellite television channels. He also graced the silver screen, acting in numerous films.

    His prolific production house, Creative Eye, was behind a vast array of popular television shows, including the likes of Kahan Gaye Who Log, Adalat, Sansaar,  the iconic Om Namah Shivay, Dhoop Chaon, Shree Ganesh, Jaane Anjaane, Om Namo Narayan, Ruby Duby Hub Dub, Miilee, Jodi Kamaal Ki, Betiyann, Hamari Bahu Tulsi, and Ishq Subhan Allah, among many others. As an actor, his filmography included Painter Babu, Darling Darling, Kranti, Heera Panna, Raaton Ka Raja and Shreeman Shrimati.

    Kumar’s last rites are scheduled for Wednesday at the Pawan Hans Crematorium. He is survived by his wife, Zuby Kochhar, who serves as a whole-time director in Creative Eye. 

    His passing marks the end of an era for Indian cinema and television.

  • Lola revs up with Superman as Warner Bros joins the race for fans

    Lola revs up with Superman as Warner Bros joins the race for fans

    MUMBAI: Faster than a speeding bullet and slicker than a pit stop Superman just joined Formula E. In a thrilling fusion of comic book cool and racetrack grit, Lola Cars has joined forces with Warner Bros. Discovery in a strategic partnership that brings superheroes to the circuit. And they’re not easing into it, a Superman-themed race car will blaze onto the track for the Berlin E-Prix this weekend.

    The Lola Yamaha ABT Formula E team’s T001 car, driven by Zane Maloney and Lucas di Grassi, will sport an electrifying blue, red and yellow livery, complete with the iconic Superman shield. Even the drivers will suit up literally in race gear inspired by Clark Kent’s legendary alter ego.

    Timed with the 11 July theatrical release of DC Studios’ Superman, the stunt marks the start of a long-term collaboration between Lola and Warner Bros. Discovery, who will co-create content around Lola’s motorsport ventures and bring sponsor stories to life across platforms.

    But this isn’t just about eye-catching liveries. The partnership also includes integrated sponsorship opportunities, with WBD joining hands to help monetise and maximise exposure through enhanced media packages.

    “This is more than a one-off activation,” said Lola Cars chief commercial officer Keith Smout. “It’s a new model for sports-marketing synergy where the track meets the theatre, and content fuels the connection.”

    WBD, GVP global sales Patrick Maitrot added, “By pairing the power of Superman with the speed of Formula E, we’re engaging fans in a whole new way using our unrivalled IP and Lola’s racing prowess to tell stories that leap off the screen and onto the track.”

    The Superman livery will light up both rounds of the Berlin E-Prix at Tempelhof Airport. For Formula E fans, it’s a visual treat; for Superman fans, a fast-track teaser; and for both brands, a bold play in content-fuelled fandom.

    Superman, directed by James Gunn and produced by Peter Safran, is DC Studios’ first feature film and will hit cinemas in the UK and Ireland on 11 July  2025. Meanwhile, Formula E action continues to stream across TNT Sports, Eurosport, discovery+ and HBO Max, with WBD holding exclusive coverage rights across Europe.

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  • Disney+ and Nippon TV hit the road with ‘Traveling with Snow Man’

    Disney+ and Nippon TV hit the road with ‘Traveling with Snow Man’

    MUMBAI: Disney+ and Nippon TV are teaming up for a genre-first from Japan—an unscripted travel reality series titled “Traveling with Snow Man,” set to premiere on 27 July on Nippon TV, with an exclusive uncut global version dropping on Disney+ right after.

    The 10-episode series (each running 22 minutes) stars Snow Man, the chart-topping nine-member J-pop boy band, as they embark on a joyride from Okinawa to Hokkaido, blending heart, humour, and hometown charm. But this isn’t your typical idol show. Joining them is Tabi, an AI-style robot and the unofficial 10th member, capturing all the candid chaos as it unfolds.

    This marks a major milestone for Disney+, as Traveling with Snow Man becomes the first-ever Japanese unscripted travel series to launch on the platform.

    Kicking off with a laid-back beach barbecue in Okinawa, episode one sets the tone—shop-hopping, joyrides, grilled surprises and plenty of banter. Along the route north, the group gets up close with Japan’s rich cultural diversity, sampling local delicacies, bonding with residents, and exploring iconic locations.

    Under the banner theme “One for Snow Man, Snow Man for One,” each member reflects on their individual growth and how it fuels the collective journey, resulting in a travelogue full of introspection, brotherhood, and playful misadventures.

    A newly released key visual shows Snow Man lounging by the Okinawan seaside breezy, beachy, and brimming with off-stage charm. Fans can expect a rare peek behind the idol curtain, where spontaneity trumps script, and raw moments steal the show.

    With global audiences now in tow thanks to the Disney+ release, “Traveling with Snow Man” is poised to become Japan’s next bingeable cultural export—one barbecue, one tear, and one Tabi-captured moment at a time.

    “We are deeply honored to announce that the uncut version ‘Traveling with Snow Man’, with additional scenes, will be streamed globally on Disney+, allowing audiences around the world to enjoy it immediately after broadcasting in Japan,” said Travelling with Snow Man producer and chairman Takashi Kato. “What stood out to me in our conversations with the group is their deep passion for their work and the strong bond they share. This series captures all of that and more. As we travel across Japan, we capture the members’ genuine personalities and heartfelt dedication, all while savoring local delicacies along the way. And please look forward to the cheeky navigation by the AI-style robot, ‘Tabi’.”
     

  • Balaji Telefilms posts Rs 90 crore profit after last year’s Rs 22 crore loss

    Balaji Telefilms posts Rs 90 crore profit after last year’s Rs 22 crore loss

    MUMBAI: It’s not just the daily soaps serving plot twists Balaji Telefilms just delivered one of its own, posting a dramatic turnaround from loss to profit in its latest annual results. Balaji Telefilms Ltd., one of India’s most iconic television and content production houses, has posted a stunning financial comeback, reporting a standalone net profit of Rs 90.59 crore for the financial year ending March 31, 2025. This is a significant leap from a net loss of Rs 22.52 crore the previous year, a turnaround worthy of prime-time applause.

    According to the audited results filed with stock exchanges and published in leading dailies on 5 July, the company’s total standalone income from operations stood at Rs 45,306.92 crore for FY25. On a consolidated basis, it reported a net profit of Rs 84.57 crore, recovering sharply from a loss of Rs 26.08 crore in FY24.

    This reversal comes despite a notable dip in revenue for the final quarter ending March 2025, where standalone income dropped to Rs 8.63 crore, down from Rs 13.46 crore in the same quarter last year. Still, profits surged in the final stretch, with the company posting Rs 99.31 crore in Q4 profit, a complete U-turn from the Rs 22.52 crore loss in the comparable quarter.

    The earnings per share (EPS) rose to Rs 6.68 basic for the year, up from negative territory last year signalling restored investor confidence.

    The company, led by Chairman Jeetendra Kapoor, published the results in Financial Express and Mumbai Lakshadeep and noted that detailed financials are available on its website as well as on BSE and NSE portals.

    With flagship shows still ruling the ratings and digital spin-off ventures gaining traction, Balaji seems to have re-scripted its business drama into a tale of fiscal finesse. Whether this rebound is a one-season wonder or the start of a long-running hit remains to be seen but for now, the curtains have risen on a new chapter of profitability.

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  • APOS 2025: Banijay Asia and its grow-grow urge

    APOS 2025: Banijay Asia and its grow-grow urge

    BALI: Banijay Asia, the formidable content producer, is strategically expanding its reach into Southeast Asia, with a sharp focus on Indonesia and a ground breaking reality series that will propel contestants into space, according to a report in Variety. Group chief executive Deepak Dhar, speaking at the APOS conference, revealed the company has “already locked a couple of deals in Jakarta” for both scripted and unscripted ventures.

    This expansion includes an enhanced version of Banijay Asia’s previously announced cross-border reality show, which initially sought one Indian participant but will now search for “one Indian and finding one Indonesian who we can send to space in a Blue Origin rocket.”

    The move comes as Banijay Asia continues to scale its substantial operations in India, a market with a “voracious content appetite,” according to Dhar. He noted the company produces “800 days of Big Boss [the local version of Celebrity Big Brother] in our calendar year of 365 days,” highlighting the sheer volume of content generated.

    “The timing is right for us personally, because we’re happy in the position that we are at in India, and now we can focus our bandwidth into the rest of the region,” Dhar explained. “We are really doubling down on Indonesia and then subsequently in Thailand.”

    Banijay Asia has built a strong reputation for successfully localising international formats while also developing successful Indian originals. Its  adaptation of The Night Manager for the erstwhile Disney+ Hotstar garnered massive viewership, with a second season currently in production. The company also recently rebooted the long-running crime procedural CID, which delivered “massive strong results on Sony television” before its subsequent windowing to Netflix.

    Dhar articulated the company’s broader regional ambition: “It’s really time that an Indian story catches the fancy and attention of global audiences as well. So that’s really something that we’re excited and working towards.”

  • Zee greenlights Rs 2,237 crore promoter fund infusion to beef up content and tech push

    Zee greenlights Rs 2,237 crore promoter fund infusion to beef up content and tech push

    MUMBAI: Zee Entertainment Enterprises has flipped the script on its growth journey, approving a Rs 2,237.44 crore promoter fund infusion via fully convertible warrants. The board on Sunday greenlit the preferential issuance of 16,95,03,400 warrants to promoter group entities at Rs 132 apiece — Rs 3.42 above the SEBI-regulated price of Rs 128.58 — as the company races ahead on its mission to become a content and technology powerhouse.

    The move follows a double-header board session where investment bank J.P. Morgan briefed directors on strategic alternatives and market sentiment around the media giant’s stock. The consensus was loud and clear — Zee needed to power up its war chest to tap new opportunities, navigate headwinds, and double down on next-gen entertainment.

    “The Board has deliberated upon the various alternatives discussed with J.P. Morgan and has conducted a thorough evaluation of the Company’s growth plans. The Board believes that the steps being implemented to enhance the promoter shareholding will ensure their added motivation to work in line with the enhanced business plan”, said Zee chairman R. Gopalan.

    Promoters had first expressed their intent to hike stake on 1 May, when the stock was at Rs 106.35. Now, they’ve committed to the higher Rs 132 price, which will raise their holding to 18.39 per cent, pending shareholder approval.

    “The promoters submitted their desire to enhance their shareholding to the Board on 1 May 2025 when the stock price was at Rs. 106.35, however, they are committed to the company and its business even at this higher price”, added Shubham Shree, on behalf of the promoter group.

    Zee has been steadily bolstering its portfolio with action-oriented steps, including the incorporation of three wholly owned subsidiaries and a strategic investment in Bullet — a micro-drama app aimed at younger audiences. In May, it also uploaded a detailed investor presentation spotlighting its roadmap to blend compelling content with bleeding-edge tech.

    The Board’s decision, it noted, would allow the company to buffer its balance sheet against shocks, while also fuelling innovation across its content ecosystem. With over 1.3 billion global viewers and a presence in 190+ countries, Zee has signalled that it’s not just adapting to the evolving M&E landscape — it’s gunning to lead it.

    As India’s entertainment sector becomes more tech-infused and audience-savvy, Zee is positioning itself as both creator and disruptor, building experiences that are as scalable as they are sticky.

  • Warner Bros. signs five-film desi deal to remake its classics for Indian cinema screens

    Warner Bros. signs five-film desi deal to remake its classics for Indian cinema screens

    MUMBAI: Hollywood’s muscle just got a Mumbai makeover. In a landmark alliance that promises paisa vasool and popcorn, Warner Bros. Pictures has joined hands with Bhanushali Studios Limited (BSL) and Joat Films to remake five of its legendary films for the Indian market. This isn’t just a Hindi-meets-Hollywood tale—it’s a calculated move to blend global blockbusters with India’s narrative spice and masala magic.

    The deal will see the studios collaborate to develop Indian adaptations of iconic Warner Bros. Pictures titles. The reimagined films will retain their emotional heart but undergo a full Indian cultural reset. Warner Bros. Pictures will handle global distribution, indicating a wide international rollout.

    “India represents one of the world’s most vibrant and sophisticated film markets, with audiences who deeply appreciate authentic, locally rooted narratives. This partnership allows us to combine our storytelling heritage with exceptional local talent to create films that will resonate profoundly with Indian audiences while maintaining the universal appeal that defines great cinema”, said Warner Bros. Pictures VP & MD India Denzil Dias.

    BSL founder Vinod Bhanushali echoed the excitement, stating, “We’re incredibly excited to partner with Warner Bros. Pictures, a studio that has shaped cinematic history across generations. This collaboration represents a unique opportunity to reimagine the stories by Warner Bros. Pictures through an Indian creative lens, blending emotion, scale, and culture for audiences both at home and internationally”.

    Jack Nguyen of Joat Films will co-produce the films under his first-look deal with Warner Bros. Pictures. Nguyen, a seasoned industry executive with over 30 years of experience in Asian productions, set up Joat to independently back cinematic projects with regional depth.

    “I’m excited to partner with BSL to adapt Warner Bros. Pictures on titles that will resonate with Indian audiences”, Nguyen said. “Warner Bros. Pictures has an unparalleled library from which we will carefully curate select titles for the vibrant Indian market”.

    BSL’s recent critical success Sirf Ek Bandaa Kaafi Hai bagged five Filmfare OTT Awards in 2023, including Best Web Original Film—cementing the studio’s rising stock in India’s storytelling ecosystem.

    Development for the first project under the alliance is currently underway, with casting calls and crew reveals expected in the coming months.

    The strategic move underscores Warner Bros. Pictures’ intent to deepen its global roots by embracing local storytelling formats in high-potential markets. As international studios increasingly eye India for both eyeballs and box office returns, this five-film pact could signal a new genre of big-budget ‘Indiwood’ collaborations.

  • Balaji Telefilms merger proposal for ALT Digital and Marinating Films with itself gets NCLT sanction

    Balaji Telefilms merger proposal for ALT Digital and Marinating Films with itself gets NCLT sanction

    MUMBAI:  Balaji Telefilms has received the green light from the National Company Law Tribunal (NCLT), Mumbai, for its Composite Scheme of Arrangement that merges its wholly owned subsidiaries — Alt Digital Media Entertainment and Marinating Films — into the parent company. The appointed date for the merger has been set as 1 April 2024.

    The scheme, sanctioned under sections 230–232 of the Companies Act, aims to simplify the group structure, slash redundancies, and boost operating efficiency across its content empire — from streaming platform ALTT to reality show production and IP development.

    According to the tribunal’s order, the merged entity will benefit from economies of scale, unified cash flow management, and enhanced resource optimisation — all under the Balaji banner, which is already listed on NSE and BSE. No shares will be issued, given the transferor companies are fully owned by the transferee.
    The consolidation brings together:

    * Alt Digital, home to subscription-based OTT content under the ALTT brand;
    * Marinating Films, known for unscripted and event IP;
    * and Balaji Telefilms, India’s leading producer of Hindi and regional TV content.

    The merger was approved by shareholders at an April 2025 meeting and has cleared all statutory hurdles, including SEBI, BSE, NSE and tax authorities. The company has also settled creditor objections and responded to pending GST disputes, with all liabilities transferring to Balaji Telefilms post-merger.

    In short, Balaji is scripting a cleaner, leaner, and meaner future — bringing its IP under one tent to better play the platform and profit game. The final step? Filing the certified order with the Registrar of Companies, which will trigger the scheme’s effective date.

    More drama, less duplication — just the way Ekta Kapoor likes it.