Hindi
Hungama brings Love Aaj Kal across three digital platforms
MUMBAI: Illuminati Films and Eros International have tied up with Hungama Digital Media to launch several entertaining services across the three digital platforms – mobile, internet and DTH.
The services include a ‘Love Aaj Kal Game‘ that can be accessed across the internet and mobile platforms and a ‘Love Aaj Kal social networking site application‘ that is available across all popular social networking sites.
Love Aaj Kal the most awaited film of the year is presented by Saif Ali Khan and Dinesh Vijan‘s Illuminati Films, in association with Eros International.
Hungama Digital Media has conceptualised, designed and executed the digital services to capture the playful and romantic elements of the film and create excitement about the film before its release.
Commenting on his company‘s initiatives, Hungama Digital Media Managing Director and CEO Neeraj Roy said, “The rapid growth of the internet and mobile phone market in India and advent of the smart phones are all signs of a lifestyle that is interactive and dynamic. Today people want their television set also to interact with them and through our promotions of Love Aaj Kal on Tata Sky, Hungama has made this interaction possible.
“Digital media allows consumers to sample and consume content wherever they are, whenever they want it. At Hungama, we use our expertise on these platforms to create services for films that does not merely create awareness but instead goes a step further to ensure interaction with the film.”
Said Saif Ali Khan and Dinesh Vijan, producers of Love Aaj Kal, “We at Illuminati wanted to promote the film on a much larger platforms, which reach out to audiences all across the world and the digital media helps us blur the lines across geographies.
“Another aspect the film addresses is the difference between ‘love yesterday‘ and ‘love today‘; most youngsters today are connected digitally through at least one of the three digital screens, so one can only begin to imagine the kind of interest that will be generated for Love Aaj Kal through these digital initiatives.”
Said Eros International head of New Media Innovations Division, “We are excited about promoting Love Aaj Kal which is one of our biggest releases this year, through our association with Hungama who have developed some highly exciting and innovative content for our films. Recognizing the importance of digital marketing in a film‘s promotion.
“Eros continues in its endeavour in providing exciting new media content, which will help create maximum visibility for the film to today‘s growing generation of digital savvy consumers”
Hindi
New labour codes reshape rules for India’s media & entertainment sector
EY masterclass highlights unified framework, wage redefinition and expanded coverage.
MUMBAI: The new labour codes just rewrote the rulebook for India’s media and entertainment industry because when four old laws become four big codes, even the fine print needs a director’s cut. At the FICCI-EY Media & Entertainment Industry Report launch, EY partners Nirali Goradia and Lakshmi Ranganathan delivered a detailed masterclass on how the labour codes implemented in November 2025 are fundamentally changing the sector. The four consolidated codes Code on Wages, Code on Social Security, Industrial Relations Code, and Occupational Safety, Health and Working Conditions Code have replaced a fragmented set of central and state regulations that existed for decades.
The speakers explained that the new framework brings consistency across all types of establishments and workers. Previously, cine-workers, journalists and other media professionals were governed by separate, narrow laws. Now, definitions have been broadened: “audio-visual worker” now covers everyone involved in film, television, OTT, broadcasting and digital content creation, while “working journalist” extends to digital news platforms.
Key changes include:
- A uniform definition of wages, with at least 50% of total remuneration needing to qualify as wages for calculations like provident fund and gratuity.
- Expanded social security coverage for gig workers, platform workers and project-based freelancers.
- Unified working conditions, safety norms and leave entitlements.
- Simplified compliance through digital filings and a more principle-based approach.
Nirali Goradia emphasised that the codes aim to bring gig workers, freelancers and project-based talent under the social security net, though the exact contribution mechanism for platform workers is still being finalised. She noted that the intent is clear: no worker should be left out of basic protections such as provident fund, ESI, gratuity and safety standards simply because of the nature of their engagement.
Lakshmi Ranganathan highlighted that establishments in the sector must now carefully map their workforce—permanent employees, fixed-term contracts, freelancers and gig workers because different categories attract different obligations. She pointed out that gratuity vesting for journalists remains at three years, but the broader wage definition will impact calculations across the board. Organisations that previously computed contributions on basic salary (often 35-40%) will now need to move to at least 50% of total wages, potentially increasing costs by around 10% on a recurring basis. This change applies retrospectively for gratuity valuation as well, creating immediate balance-sheet implications for many companies.
The panel also discussed how the Occupational Safety, Health and Working Conditions Code has expanded the definition of “manufacturing process” to include digital printing and related activities. This brings more workers under safety and working-condition norms that were previously limited. Additionally, the codes introduce a clearer framework for fixed-term employment contracts, offering organisations flexibility while ensuring such workers receive benefits similar to permanent employees, including gratuity after one year.
One area still evolving is the treatment of platform and gig workers. The Social Security Code recognises this new category, but the exact funding mechanism and contribution structure are awaited. Industry experts expect a dedicated fund where platforms and employers will contribute, from which benefits can be extended to gig workers. Until the schemes are notified, organisations are advised to review their existing contractor and freelancer agreements to assess potential future obligations.
Both partners stressed the need for proactive steps. Companies should:
- Reclassify their workforce based on the new definitions of “employee” and “worker”.
- Review compensation structures to align with the 50 per cent wage threshold.
- Update contracts, especially for project-based and gig engagements.
- Reassess gratuity liabilities and payroll processes.
- Ensure compliance with expanded safety and working-condition requirements.
The speakers noted that while the codes bring much-needed unification and broader coverage, they also demand careful interpretation. The shift from highly prescriptive rules to a more principle-based regime means organisations must build internal frameworks to apply the codes consistently. This is particularly relevant for the media and entertainment sector, where project-based work, freelancers, short-term contracts and gig-style engagements are common.
In an industry that thrives on creativity and agility, the new labour codes are forcing a rewrite of the fine print. What was once a patchwork of rules is now a unified playbook and for media houses, the real plot twist will be how quickly they adapt to keep talent happy, costs manageable and stories flowing. The next few months, as states finalise their rules and schemes are notified, will be critical in determining exactly how this new framework reshapes hiring, compensation and workforce management across the sector.
