Hindi
Strike over, Bollywood faces problem of plenty
MUMBAI: The Bollywood strike may have ended, but the door has opened for a problem of plenty as producers rush for a release pipeline.
More than 90 films are lined up for release in exactly 30 week’s time before the year ends. That means an average of three releases per week to accommodate a stockpile, spurring producers to work out plans to beat the clutter and avoid internal clashes so as to maximise revenue for all.
“Producers will soon form a committee that will work towards clearing the backlog of films,” a noted film producer tells Indiantelevision.com on request of anonymity.
Beating the logjam will be quite a task as the studios threaten to swing back into action fast. Says Big Cinemas COO Mahesh Ramanathan, “As we had declared earlier, we will be releasing 18 movies in 2009. We are moving according to our plans. We have already had a release on 30 January last when we released Luck By Chance.”
With the strike called off, Big Cinemas will follow its 12 June release of Kal Kisne Dekha with Sikander, Mirch and Chaloo Movie. “A spate of other films will hit the screens post-July,” says Ramanathan.
UTV has played it safe by not scheduling any of its films during IPL and T20 World Cup. “Our first release will come in the form of Agyat that will be released on 24 July and Kaminaay will release in August,” a source in UTV says.
UTV’s slate includes films like Main Aur Mrs Khanna, Agyat, What‘s your Rashee, Wake Up Sid, Hook Ya Crook, Delhi Belly, Jihaad, A Wednesday (remake in Tamil and Telugu), Yahoo, Film City, Arjun, Alibaba & 41 Thieves, Ex-Terminators and Rajniti, Hawai Dada.
In the pipeline also are five films of UTV SpotBoy (Aage Se Right, Pan Singh Tomar, Seasons Greetings, Peter Gaya Kaam Se and Chillar Party), Sanjay Leela Bhansali‘s next with Hrithik Roshan and Aishwarya Rai, Anuraag Basu‘s next and a Anees Bazmee directed comedy.
Other films that have been lined up for release in subsequent weeks include Arif Shaikh’s Let’s Dance, Mukta Arts’ Paying Guest ( both 19 June), Yashraj Films‘ New York (26 June), Sajid Nadiadwala‘s Kambakkht Ishq (3 July), Ramgopal Varma‘s Agyat (24 July), Imtiaz Ali directed Love Aajkal (31 July), Y.T Entertainment Ltd & Anjum Rizvi Film Co.’s Fast Forward (10 July), Shree Ashtavinayak Cine Vision Ltd’s Luck (31 July), UTV’s Kaminay and Sujoy Ghosh‘s Aladin (14 August). ASA Productions and Enterprises Pvt Ltd’s Phhir (7 August) Three- Love, Lies and Betrayal ( 3 September), All The Best- Fun Begins (16 October) and Shree Ashtavinayak Cine Vision Ltd’s Blue (16 October).
Would producers have to increase on the marketing spends for their films to beat the clutter? “No, spends would be normal as before. Promotional expenses are going to be the same. Where is the chance of spending extra bucks on promotion. In fact, given less of time between releases, costs are likely to come down by half,“ avers Ramanathan.
Several other producers agree that promotional costs could fall. Says the UTV source, “Promotional costs are going to go down and so will the spending on hoardings and TV promos. In fact, TV channels have seen a considerable drop in their Q1 results because of a drop of commercials. You could attribute this aspect to the downturn. Producers are not taking the six-week promo course anymore.”
Agrees producer Yash Patnaik, who will soon be releasing his film Kaalo: “The days of six-week promotion is a thing of the past. Let’s take the case of YRF’s New York. Given the fact that the film is releasing on 26 June, where do they get time to properly promote their film? No doubt it’s a good banner, but every film needs a promotion. Two to three week’s promotion is what producers are looking at.”
Will a minimum time suffice for a film’s promotion? “Why not! Take for example a film like Kambakkht Ishq that is releasing in the first week of July. They easily have four weeks to promote their film and that is the normal time one gets for promotional purpose,” avers Patnaik.
In the current situation, the exhibition of a film will also take a dip. “I feel that the maximum time that a film will run in theatres would be four weeks beyond which there would be no space. A lot of films would be waiting to see the day on the silver screen,” quips Patnaik.
Ramanathan disagrees: “If a film is doing well, why would it be pulled out of a multiplex. If other films are in line, multiplexes having many number of screens could divide a film’s exhibition by showing it on a screen for a limited number of shows.”
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.
