GECs
Lacklustre viewership may force SET to pull off ‘Prithvi Vallabh’: Anirudh Pathak
MUMBAI: Sony Entertainment Television’s (SET) bet on magnum opus Prithvi Vallabh didn’t go as planned for the channel. The show, according to its producer Anirudh Pathak, is likely to go off air from 1 July after completing its 45th episode.
Since its launch in January, Prithvi Vallabh has been getting mixed reviews. The channel had earlier planned to divide the show into two seasons of 40 episodes each but the failure to garner the desired viewership has compelled SET to rethink this strategy.
Speaking to Indiantelevision.com, Pathak said that there is a need to better think about characters while picking historical plots. “I thought Prithvi would do well as the story of an untold tale from the soils of Indian dynasty. But it’s unfortunate that it didn’t. It’s a learning for me. Now, I know that if one is producing a historical show, they should make sure that the audience knows about the character. For historical shows, only a well-known character can garner good ratings. I personally feel that shows with a classic storyline should not be run on the weekends. Had it been a daily soap, the show could have garnered better ratings,” he said.
Prithvi Vallabh was the first show to come out of SET’s new sub brand SET Originals. Based on the book by well-known Gujarati writer Kanaiyalal Maneklal Munshi, it depicts the history, mystery, vengeance and a love story between two arch-rival warriors Prithvi and Mrinal living in a kingdom far away.
Pathak is no stranger to the genre having produced titles such as Devon Ke Dev..Mahadev, Siya Ke Ram and Mahakumbh, which have done fabulously well. Prithvi Vallabh was also the first show under his own banner launched in 2015.
A student of Sanskrit, Pathak has been keen on working on mythological and historical shows. His interest began in the early TV years when saas-bahu sagas were dominant and the mythological and historical genres were not even considered to be capable of engaging viewers. “When I was doing saas-bahu shows, nobody, at that time, wanted to invest their money on big-budget serials. But now, they do. And since I always had an inclination towards myths and history, I decided to work on these genres. After Devon Ke Dev..Mahadev became a hit I was pretty much convinced that the Indian audience has the appetite to consume such content,” he added.
The storytelling format has also changed since families that once used to get together and watch TV are now watching independently on their phones. So much so that people even in remote areas are consuming and comparing content such as Breaking Bad and Game of Thrones with Indian shows.
Pathak feels that channels will now focus on finite content and gradually long-running shows will cease to exist.
Pathak started his career as a writer with a crime show entitled Mujrim Kaun that aired on Sahara channel. After that, he worked with Balaji Telefilms as a writer for renowned shows like Kyunki Saas Bhi Kabhi Bahu Thi, Kavyanjali, KumKum and Karam Apna Apna. During his tenure with Life OK, he also helmed other acclaimed shows such as The Adventures of Hatim. Post Life OK, he was the name behind Siya Ke Ram, a show which depicted Ramayana from Sita’s point of view.
Pathak has created Chandrashekhar for Star Bharat, a show honouring one of the greatest freedom fighters of India, Chandrashekhar Azad. The show captures the entire life of Azad and what made him one of the undisputed fearless freedom fighters of all times. He is also making another historical show named Shankaracharya- based on the life of Adi Guru Shankaracharya, an Indian philosopher.
In the near future, he is in talks with Colors for his upcoming historical show, which is a recreation of magnum opus Mughal-E-Azam. He is also planning to crack a deal with Eros Now on the mytho-historical genre for his upcoming digital series.
Also Read :
Ace creative visionary Anirudh Pathak helms his first individual project ‘Prithvi Vallabh’
‘Prithvi Vallabh’ is 20% history, 80% mystery: Anirudh Pathak
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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