Hindi
YRF replies to makers of Son of Sardar
MUMBAI: Yash Raj Films (YRF) has replied sternly to Eros International, Viacom18 and Ajay Devgn Films‘ legal notice over the release of Jab Tak Hai Jaan opposite Devgn starrer Son of Sardar.
Below is the official statement from YRF:
“We were indeed quite surprised to receive an intimation from Ajay Devgn Films‘ lawyers today saying that they had filed a complaint with the Competition Commission of India against YRF, alleging malpractice committed by us in connection with the release of Jab Tak Hai Jaan and thereby affecting the release of Son of Sardar. For a company like ours, which has maintained the highest standards of work ethics and fair play, this has really come as a shock.
We would like to clarify, at the outset, that we still haven‘t received any notice from the Commission and will suitably represent our stance if and when called upon to do so. Worldwide, as well as in India, distributers often sign deals for their complete annual slate of films to simplify the process. We trust the Competition Commission will also see it as universally acceptable fair business practice.
As we have mentioned in the past, all the exhibitors, when approached by us earlier this year for booking their theatres, were happy to play out Yashji‘s movie considering their long standing and emotional relationship and goodwill with YRF of over 40 years. A Yash Chopra/Shah Rukh Khan movie, coming after a gap of 8 long years, did not need any coercion for contractual screening. Additionally, some exhibitors, who played Ek Tha Tiger, have chosen not to screen Jab Tak Hai Jaan.
Interestingly, of the 10500 plus single screens available on an all-India basis, we have booked less than 1500 single screens (an industry norm for an A-lister movie), a fact that has been common knowledge for some time now. If this was an issue, why wasn‘t it raised earlier? Why wait till now when both films are nearing release?
We had announced Jab Tak Hai Jaan would be a Diwali 2012 release as far back as 27th June 2011 and thereafter every press release of ours reiterated this. Given that most big ticket films avoid simultaneous releases, it was odd that Son of Sardar announced their release for the same day almost a year later on 29th May 2012. They were also able to lock their final distribution partner as late as 4th Oct 2012. It would seem odd that they would expect us to wait for our release plans to be put in place till they had finalised theirs!
It is also unfair to say that we are in any way in a dominant position. While we are releasing just three films this year, the two production houses in question, VIACOM 18 & EROS, who are distributing Son of Sardar, have a total release strength of almost 27 films in a year.
Everyone agrees that the festive time of Diwali has space for two simultaneous releases. Give the audience a choice to choose the one they want to watch. Few of the exhibitors have already chosen, on the basis of a business decision, the one they want to exhibit.”
Hindi
GUEST COLUMN: Why film libraries & IPs are the new engines of growth
Unlocking value through catalogue strength and IP synergy
MUMBAI:In a media landscape defined by fragmentation, platform proliferation, and ever-evolving audience behavior, the economics of filmmaking are undergoing a fundamental shift. No longer confined to box office performance, a film’s true value is now measured across an extended lifecycle that spans digital platforms, syndication networks, and global markets. As content consumption becomes increasingly non-linear and algorithm-driven, film libraries and intellectual properties (IPs) are emerging as strategic assets, capable of delivering sustained, long-term returns. For Mohan Gopinath, head – bollywood business at Shemaroo Entertainment Ltd., this transformation signals a decisive move from hit-driven models to portfolio-led value creation. In this piece, Gopinath explores how legacy content, when intelligently repurposed and distributed, can unlock recurring revenue streams, why the interplay between catalogue and original IP is critical, and how media companies can build resilient, future-ready entertainment businesses.
For all these years, we thought that a film is successful if it performs well in theatres. There are opening weekend numbers, box office milestones, and distribution footprints that gave a good picture of how the movie has done commercially and also tell us about its cultural impact. However, there are multiple platforms today, always-on content ecosystem, which has caused a shift. Today, the theatrical performance is not the culmination of a film’s journey but merely the beginning of a much longer and more dynamic lifecycle.
Film libraries today are emerging as high-value, constantly evolving assets that deliver sustained returns well beyond initial release cycles. This becomes a point of great advantage for legacy content owners with diverse catalogues, to shape long-term business outcomes.
According to FICCI-EY, the media and entertainment industry of India achieved a valuation of Rs 2.78 trillion in 2025 which is expected to reach Rs 3.3 trillion by 2028 through a compound annual growth rate of approximately 7 per cent and digital media will bring in more than Rs 1 trillion to become the biggest sector which generates about 36 per cent of overall market revenues.
This shift is the expansion of distribution endpoints. We know how satellite television was once the primary secondary window but today, it coexists with YouTube, OTT platforms, Connected TV, and FAST channels. Each of these platforms caters to distinct audience demographics and consumption behaviors, helping content owners to obtain more value from the same asset across multiple formats.
For instance, films that had great reruns, now find continuous engagement across digital platforms. On YouTube, classic Hindi cinema continues to attract significant viewership, reaching audiences across generations and geographies with remarkable consistency. At Shemaroo Entertainment, this is reflected in our film library shaped over decades as part of a long association with Indian entertainment. From classics such as Amar Akbar Anthony to much-loved entertainers like Jab We Met, Welcome, Dhamaal, Phir Hera Pheri, Dhol, Golmaal, and Bhagam Bhag, many of these titles continue finding new audiences while retaining their place in popular memory. Their enduring appeal reflects how culturally resonant stories can continue creating value over time. Similarly, FAST channels have created curated, always-on environments where catalogue content can continue to thrive through star-led and genre-based programming.
This multi-platform approach has very well transformed films into long-tail IP assets which are capable of generating recurring revenue across advertising, subscription, and syndication models.
The evolution of audience behavior is equally important. Nowadays, it’s more important to find what’s more relative than what’s recent as viewers are more influenced by mood, memories, and algorithmic suggestions than by release schedules. Even if a movie was released decades ago, it can trend alongside a newly released movie, if surfaced in the right context. Thoughtful packaging, whether through festival-based playlists, actor-driven collections, or genre clusters, allows catalogue content to remain dynamic and continuously discoverable. Shemaroo Entertainment has built extensive film libraries over decades and its focus has mostly been on recontextualizing content for the consumption of newer environments. This process doesn’t just include digitization and restoration, but also re-packaging of films as per platforms.
Syndication itself has evolved into a key growth driver. In perspective, when looking at the domestic market, curated content packages continue to find strong demand across broadcast and digital platforms. Meanwhile, in the international market, especially in markets like Middle East, North America and Southeast Asia, the appetite for Indian content is opening up new monetization avenues. Here, the ability to package and position catalogue content effectively becomes as important as the content itself.
Importantly, the need to re-package catalogue content does not diminish the role of new content. In fact, originals and fresh IP are essential to sustaining the long-term value of a film library because they act as discovery engines that bring audiences into the ecosystem, while catalogue content drives depth, retention, and repeat engagement.
This interplay between the “new” and the “known” is what defines a robust content strategy today. While new films generate spikes in consumption, catalogue titles offer familiarity and comfort. These are factors that are increasingly valuable in an era of content abundance and decision fatigue. This is also shaping our strategy, drawing value from both a deep catalogue assets and a growing focus on original IPs to strengthen long-term audience engagement and build more predictable revenue streams.
There is growing recognition that long-term value in entertainment will be shaped not only by how intelligently existing content continues to live, travel and find relevance, but also by how consistently new stories are created to renew that ecosystem. In that sense, film libraries and original IP are not parallel bets, but reinforcing engines of growth. For media companies, the opportunity lies in making these two forces work together, because that is increasingly where more resilient and predictable businesses are being shaped.
Note: The views expressed in this article are solely the author’s and do not necessarily reflect our own.
