Hindi
New films fail to attract viewers
*The poor run of films at the box office continues unabated save for an odd Dangal or a reasonable entertainer in Badrinath Ki Dulhania. Not that any of these films can sustain a multiscreen cinema complex for more than a few weeks
The week saw two new releases, Phillauri and Anaarkali of Aarah, both female-oriented and also off the beaten track. Phillauri saw actor Anushka Sharma turn producer launching her production banner, Clean Slate Films. The sustainability of such a films is grossly limited and they draw footfalls, albeit in limited numbers, barely for a weekend.
A lot of actors are turning to production activities. But, Anushka, rather than take cue from her peers such as Salman Khan, Shah Rukh Khan and Aamir Khan, and make a commercially viable film, chose an abstract theme, that of superstition and supernatural. The intent seems to be awards rather than rewards; probably for the protagonist, Anushka herself, as well as for some technical aspects like special effects. What good is an award if the people have not taken to your film?
What raises a question, besides the choice of subject, is that what was the logic of making a film almost entirely in Punjabi?
*Phillauri, counting on only Anushka Sharma to draw the crowds could not quite manage that. The film’s opening was not encouraging, with Punjab where the film’s lead actor, Diljit Dusanjh is a big star, faring little better. The film colledted Rs 13.9 crore for its opening weekend
*Anaarkali Of Aarah, though a local story of Bihar, and with rural background, found some appreciation as the film offered some great performances by its main actors, Swara Bhaskar, Sanjai Mishra and Pankaj Tripathi. However, these factors did not reflect on the film’s box office collections as the film remained in the range of a few lakh.
*Director duo Abbas Mustan, who gave many successful films with various actors in their career as directors, failed badly when it came to launching their family scion, Mustafa. A totally outdated story idea and patchy script were not the right recipe to launch an actor. The film managed to collect Rs 3.25 crore in its first week.
*Trapped collected Rs 2.1 crore in its first week.
*Aa Gaya Hero proves to be the swan song for Govinda’s career. Must hurt more because this also happened to be his home production. The film struggled to cross the one crore mark to end its first and last week with the figures of a little over one crore.
*Badrinath Ki Dulhania, made the most of poor crop of new releases. The film collected Rs 26.6 crore in its second week and is still holding steady in its third week. The film has taken its two week total to Rs 99.2 crore.
*Commando 2 added Rs 35 lakh in its third week to take its three week total to Rs 23.95 crore.
*The Ghazi Attack has added Rs 40 lakh in its fifth week taking its five week tally to Rs 19.3 crore.
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.
