GECs
One more feather in Star’s English GEC cap
MUMBAI: Not content with having a clutch of channels firmly ensconced in the English entertainment space, Star India is gearing up to add one more English GEC to its existing bouquet.
Titled STAR World Premiere HD, the channel will debut on the Star network on 24 September. It will cater to a super premium audience aka global Indians by airing the biggest US shows from the biggest studios like FOX Studios, Warner, Disney and Sony in a cluster of 26 episodes.
Speaking about its TG, STAR India business head Kevin Vaz said: “We thought there is a certain super premium kind of audience, which is very up-to-date with global trends. And I would like to call it more as global Indian.”
We want to eliminate the concept of a release gap between US and India says confident Kevin Vaz
“They know the space in terms of luxury goods, technology, entertainment needs etc. When it comes to television, many channels have a longer gap from the US release. So how do we satisfy this audience? We thought this would be a good opportunity to give them entertainment on a daily basis.”
Spelling out who constitutes its TG, Vaz said: “It is the most premium audience in India, comprising the one per cent of top SEC, A+ and between the age group of 20 to 35.”
With Star reaching out to 67 per cent of the total English audience, STAR World Premiere HD will air four hours of original content every day,Monday to Friday. Saturday and Sunday will see a lot of catch-ups with the channel planning to air drama and comedy-based shows, respectively.
The newbie’s proposition reads: ‘Watch with the World’ for it will air shows on television that are playing in the US at the same time and will play in India within the same week. “We want to eliminate the concept of a release gap between US and India,” Vaz pointed out.
So, shows including Agents of S.H.I.E.L.D, The Blacklist, Betrayal, Dads, The Goldbergs, The Michael J. Fox Show, Mom and Sleepy Hollow will be telecast on television for the first time both in the US and in India. While audiences here will get to see the latest seasons of shows such as The Simpsons (S25), New Girl (S3), Revolution (S2) , Two & A Half Men (S11), White Collar (S5), Sons of Anarchy (S6), Revenge (S3), Person of Interest (S3), New Girl (S3), The Neighbors (S2), Last Man Standing (S3), Modern Family (S5), Homeland (S3), It’s Always Sunny in Philadelphia (S9), Castle (S6) and Criminal Minds (S9).
The network will aggressively promote the new channel through digital and on-air. For starters, the Facebook page boasts 1,221 likes and is being kept up-to-speed with pictures, videos, polls and all the hot goss, even sharing links with official pages of the various shows aired on the channel. So also the official twitter handle of the channel @SWPremiere was abuzz with nearly 188 tweets from over 521 followers at the time of penning this article. It also has the hash tag #WatchWithTheWorld.
Its main website http://premiere.starworld.in/ is also decked up with pictures of the biggest shows.
But will the network tie-up with other network channels as well? “At the end of the day, through our star network channels, we will reach out to most of our audiences. I don’t think we need to go outside the kind of network that Star network has,” said a confident Vaz
On the other hand, planners feel that the channel is not going to be a typical advertising model. Agreeing on this, Helios Media managing director Divya Radhakrishnan states: “In today’s time, people download all the latest shows on the internet and then watch it, because they are not able to watch seasons parallel happening in the US. So it is a good move by the network, which is trying to attribute this small bunch of audiences who are doing that.”
Radhakrishnan feels that the advertising GRPs will be very small for the newbie. She says: “The network is trying to address those audiences and people who download from net and will be open to subscription model. They will go more for the subscription model revenue driven rather than advertising one. The way they are advertising is watch it along with the America. So whatever shows is getting premiered in America, you don’t have to wait for it to come to India and you don’t have to download it from the net and they will air it. So that is their USP.”
This is the fourth English GEC from the STAR Network stable after STAR World, FOX Crime and FX.
GECs
Sahara One reports financial results, notes director exit and business realignment
Muted revenues, steady expenses and strategic adjustments shape company’s current phase
MUMBAI: In a tale where the sands seem to be slipping faster than they can be gathered, Sahara One Media and Entertainment Limited has reported another quarter of wafer-thin income and widening losses, even as a boardroom exit adds to the unease.
The company informed the Bombay Stock Exchange that its board, in a meeting held on April 4, approved its unaudited financial results for the quarter ended September 30, 2025. The numbers paint a stark picture. Total income for the quarter stood at just Rs 0.13 lakh, unchanged sequentially and sharply down from Rs 0.26 lakh a year earlier.
Losses, meanwhile, deepened. The company posted a net loss of Rs 24.16 lakh for the quarter, compared to Rs 18.81 lakh in the June quarter and Rs 39.69 lakh in the same period last year. For the six months ended September 2025, the cumulative loss stood at Rs 39.69 lakh, while the full-year loss for FY25 was reported at Rs 60.72 lakh.
Expenses continued to outweigh income by a wide margin. Total expenses for the quarter came in at Rs 24.30 lakh, led by employee benefit costs of Rs 6.51 lakh and other expenses of Rs 17.78 lakh. Earnings per share remained in the red at Rs (0.11) for the quarter.
The balance sheet reflects a company with significant assets on paper but limited operational momentum. Total assets stood at Rs 23,065.57 lakh as of September 30, 2025, broadly unchanged from March 2025. Equity share capital remained steady at Rs 2,152.50 lakh, while total equity was reported at Rs 18,004.85 lakh.
Cash and cash equivalents saw a modest uptick to Rs 6.75 lakh from Rs 4.68 lakh earlier, supported by a positive operating cash flow of Rs 180.01 lakh for the period.
Yet, beneath these numbers lies a more complex narrative. The company’s auditors flagged their inability to obtain sufficient evidence to form a conclusion on the financial statements, citing lack of access to records. They also raised concerns over the company’s ability to continue as a going concern, pointing to insufficient funds, delayed recoveries, and stalled content investments.
Adding to the governance overhang, the company disclosed that Rana Zia has resigned as whole-time director, effective October 16, 2025, citing other professional commitments. The resignation, noted and accepted by the board, also brings an end to her role across company committees.
Regulatory pressures continue to loom large. The Securities and Exchange Board of India has already initiated penal actions for non-compliance with listing norms, with trading in the company’s shares remaining suspended. There is also a risk of promoter demat accounts being frozen.
Legacy legal issues remain unresolved. A substantial deposit of Rs 694,027.88 thousand linked to the long-running OFCD dispute involving Sahara group entities is still under the purview of the Supreme Court of India. Restrictions on asset disposal continue to weigh on the company’s financial flexibility.
Operationally, challenges persist across multiple fronts. Advances worth Rs 1,92,916 thousand given for film content remain stuck, with delays in project completion and uncertain recoverability. The company’s YouTube channel, despite being operational, has generated no revenue for over three years due to compliance lapses. In a further twist, management has indicated that revenues may have been fraudulently diverted through unauthorised changes to its AdSense account, with a police complaint in the works.
There are also missed revenue opportunities. Television content rights continue to be used by a related party despite the expiry of the licence agreement, with fresh negotiations still underway.
For now, Sahara One Media and Entertainment Limited appears caught between legacy disputes and present-day operational hurdles. As losses linger and governance questions mount, the road to recovery looks less like a sprint and more like a slow trudge through shifting sands.
