Hindi
iLabs acquires 60% in Lehren Entertainment, to launch first Bollywood news channel
MUMBAI: iLabs Capital, a venture fund which has among other investments a controlling interest in the TV9 chain of channels, has acquired 60 per cent stake in Mumbai-based Lehren Entertainment Pvt. Ltd. to launch the first Bollywood news channel.
iLabs is also expanding its broadcasting presence in Mumbai through the launch of TV9 Mumbai, a city-centric channel in Hindi language. This will be through Associated Broadcasting Company Pvt Ltd (ABCL), the company which is 80 per cent owned by iLabs and Unified Group and houses the TV9 channels.
In Lehren Entertainment, iLabs is making the investment through its wholly own subsidiary, Affiliated Media Company (AMC). Besides the TV channel, Lehren will have its other assets including a broadband portal and 10,000 hours of archival video.
Lehren TV has obtained the uplinking licence and plans to launch in April. “We are eyeing 14 April as the launch date. The dry run should start in mid-March,” says Lehren Entertainment founder and MD Mritunjay Pandey.
The Bollywood-centric free-to-air news channel will also have a small portion of its content for other films across the country. Besides news, it will have chat and gossip formats. “It will be a Hinglish (predominantly Hindi but also have English language) channel,” says Pandey.
The ad sales and uplinking will be handled by ABCL to drive in the synergies with the TV9 group of channels.
“We decided to join hands with Lehren because it has an old relationship with the film industry. With the other Hindi channel covering Mumbai, it will offer us a good bundle,” says ABCL vice president operations KVN Murthy.
Lehren‘s engagement with Bollywood dates back to the pre-satellite era when it started film-based entertainment shows in 1987. The videos packaged film scenes, songs, interviews and magazine content in the kaleidoscopic format of Bollywood.
Hindi
Remembering Gyan Sahay, the lens behind film, television and advertising
From a puppet rabbit selling poppadums to Hindi cinema, he framed it all.
MUMBAI: There are careers, and then there are canvases. Gyan Sahay, the veteran cinematographer, director, and producer who passed away on 10 March 2026 in Mumbai, had one of the latter. Over several decades in the Indian film and television industry, he turned lenses, lights, and the occasional puppet rabbit into something approaching art.
A graduate of the Film and Television Institute of India (FTII) in Pune, Sahay built his reputation as a director of photography across a career that stretched from the early 1970s all the way to the digital age. He was the kind of craftsman who understood that a well-composed shot is not merely a technical achievement but a quiet act of storytelling.
For most Indians of a certain age, however, Sahay will forever be the man behind the rabbit. His direction of the iconic long-running television commercial for Lijjat Papad, featuring its now-legendary puppet bunny, gave the country one of its most cheerfully persistent advertising images. It was the sort of work that sneaks into the national subconscious and takes up permanent residence.
His big-screen credits as cinematographer include Anokhi Pehchan (1972), Pagli (1974), Pas de Deux (1981), and Hum Farishte Nahin (1988). In 1999, he stepped behind a different kind of camera altogether, making his directorial debut with Sar Ankhon Par, a drama that featured Vikas Bhalla and Shruti Ulfat, with a cameo by Shah Rukh Khan for good measure.
On television, Sahay was particularly prized for his command of multi-camera production setups, a skill that made him a go-to technician for large-scale shows and reality programmes. In an industry that has never been especially patient with complexity, he was the calm hand on the rig.
In later life, Sahay turned teacher. He participated regularly in masterclasses and Digi-Talks, often hosted by organisations such as Bharatiya Chitra Sadhna, sharing hard-won wisdom on cinematography, the comedy of timing in a shot, and the sweeping changes brought by the shift from celluloid to digital. He was also said to have been involved in a project concerning a biographical film on Infosys co-founder N.R. Narayana Murthy.
Tributes from the film industry poured in following the news of his passing, with colleagues remembering him as a senior cameraman who served as a rare bridge between two entirely different eras of Indian cinema. That is, perhaps, the finest thing one can say of any craftsman: he kept up, and he brought others along with him.
