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And now a 3D mobile game for Colors’ 24

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MUMBAI: It has been three weeks since Indian audiences have been introduced to a new fictional TV format in the form of real time story telling through the first international adaptation of the American hit 24. With a 360 degree marketing campaign – almost like that used for full length feature films – to help create the buzz around the series, host channel Colors has decided to perk it up by throwing in a sparkling digital ingredient for viewers.

 

And it’s coming in the form of a 3D interactive mobile game for iOS and Android phones. Developed by Gameshashtra Solutions, it is targeted at those who want to have the thrill of playing Jai Sing Rathor (Anil Kapoor) – the main protagonist of the show – while on the go. Called ‘Safari Storme 24-The Game, it is available for download only in India. It will allow gamers to go through three maps of Worli, Dadar and Parel with 30 levels of two minutes each. As of now only the Worli route is available while the other two will be launched in the coming weeks.The first map of Worli is a rooftop setting.

 

Four and a half months went into creating the 3D game. Fans will keep going through levels, scoring points, winning ammunition and then checking scores with others on the ‘leader board’ through their Facebook or Twitter accounts.
India has a great potential to become a destination for film shooting but the current system of multiple clearances at various levels make it an unattractive destination for filming, says Manish Tewari

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“The three locations in the game are also there in the series,” says Colors digital head Vivek Malhotra. “We kept the game in the spirit of the show by taking the concept ‘race against time’ rather than the political drama in it,” he adds.

 

Explaining the game technique Malhotra says that players have two ways of surviving – hit and survive or duck and survive. As the game levels progress, the enemies come in hordes and ammunition also stacks up.

 

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Coming up with a 3D game has probably cost sack fulls of money, apart from what has already been invested in the expensive show. But the channel seems to not be too worried about it.

 

“For the first season it is not about making money,” says Malhotra who is aiming at getting 1 million downloads for the free game. However, advertisements will be inserted into the game that would give them some amount of revenue.

 

24 is Colors biggest fiction property created by Anil Kapoor Productions and RDB. Delly Belly director Abhinay Deo is the series director while Rensil D’Silva is the scriptwriter.

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The show is presented by Safari Storme while Next is one of the associate sponsors. The launch day saw it garner 3.4 million viewers with most of it coming from the urban areas while the second week saw it get an average of 2.6 million viewers.

 

“Television executives in India are increasingly understanding that you can take a TV show into other experiences for viewers. Look at KBC which has a game which allows fans to test their general knowledge skills online and on the mobile. And now Colors has developed a 24 game which will allow youngsters and old alike to shoot, and kill while rising up in levels,” says a media observer. “The fact that it is primarily for the mobile will bring in a lot of fans who will play the game when they have a few minutes to spare, whether in the bus or the train or in between meetings. It’s a great move. Hopefully, some of the gamers who are not viewers of the series will be lured to watch it after playing the game.”

 

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Another media observer says that there is little hope of 24 ever becoming a massy series along the lines of soaps and dramas. “It’s great to flog the horse, but the horse only has that many backers,” says she. “Colors has gambled with 24 and it is to be lauded for the effort especially in terms of taking TV production and narrative to a different level. But it should bear in mind that 24 is going to be a niche affair for some time. So it should not expect too many incremental gains from the game as well.”

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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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