GECs
New tariff order helped ZEEL’s strong domestic subscription revenue growth in Q1 FY20
MUMBAI: Zee Entertainment Enterprises Ltd (ZEEL) experienced strong growth in domestic subscription revenue in the first quarter of FY 2020 where the new tariff order played an important role. The leading broadcaster has guided for domestic subscription revenue for the overall year to grow in mid-twenties.
“The implementation of the new tariff order has allowed us to price our channels in line with their popularity, thereby leading to a sharp improvement in monetisation. Additionally, uniformity in pricing across platforms and increased transparency have led to a step jump in this quarter’s subscription revenue growth,” ZEEL MD and CEO Punit Goenka said in an earnings call after Q1 results.
The broadcaster also witnessed sharp growth in subscription revenue in the southern market too. Apart from the digitisation of the Tamil market, the new tariff order also played an important role here.
Goenka, talking about the growth in the Southern market, mentioned that either ZEEL channels were free in certain markets or their pricing was not proportionate with their viewership share while the new pricing regime gave them the opportunity to re-price content. He pointed out that the tariff has been frozen since the last 16 years and no price change was done since then for any of the channels after launch.
“Despite having built significant viewership over the last several years, our channels were really not priced in line with their popularity. Under the old tariff order, it would have been a long journey but the new tariff order gave us a chance to reset this pricing. So, that has allowed us to significantly improve our monetisation,” ZEEL corporate strategy and investor relations head Bijal Shah commented on the overall subscription growth.
“And on top of this, in this tariff order, discrimination between the platforms is not possible, which has also led to an improvement in subscription revenue growth. So, this is much more on expected lines. In fact, for the last 2-2.5 years, we have been guiding that tariff order will allow us to properly monetise the viewership which we have, and we are seeing that evolving the way we had envisaged,” he added.
However, the broadcaster did not outline any clear guidance in terms of advertising growth but Goenka did mention that ZEEL would beat the industry growth.
Goenka said this fiscal year also will not be very high on free cash flow generation despite slight improvement. But next year onwards, there will be a lot more cash conversion from the company’s bottom-line to cash with an actual ramp-up in free cash flows.
“It is the first quarter right now, so a bit difficult to give you an exact amount, but total working capital investment in FY20 will be in the range of Rs 500-700 crore, that is the kind of increase we will see in total in working capital in full year FY20. It could be closer to the lower-end of the range but we just want to keep some buffer for ourselves right now,” Shah noted.
MUMBAI: Lights, camera… connection because this time, the game isn’t just about winning, it’s about who’s with you. Sony Pictures Networks India is gearing up to launch a new reality game show, Tum Ho Naa, expanding its unscripted slate with a format that promises both emotion and engagement.
The show will premiere soon on Sony Entertainment Television and stream on Sony LIV, with Rajeev Khandelwal stepping in as host. Known for his measured screen presence and selective choices, Khandelwal’s return to television adds a layer of familiarity and credibility to the upcoming format.
While specific details of the gameplay remain under wraps, the positioning suggests a reality format that leans as much on emotional resonance as it does on competition, an increasingly popular blend in Indian television, where audiences are gravitating towards content that offers both stakes and storytelling.
Khandelwal, reflecting on his return, noted that his choices have often been guided by instinct rather than convention, describing Tum Ho Naa as a project that feels “close to the heart”. His association also signals Sony’s continued focus on anchoring new formats with recognisable faces who bring both relatability and depth.
The launch comes at a time when broadcasters are doubling down on original non-fiction formats to drive appointment viewing, even as digital platforms expand parallel reach. By placing the show across both linear television and OTT, Sony appears to be aiming for a dual-audience strategy capturing traditional viewers while engaging digital-first consumers.
As the countdown to premiere begins, Tum Ho Naa positions itself not just as another game show, but as a reminder that sometimes, the biggest prize on screen isn’t the jackpot, it’s the journey shared along the way.
