GECs
Sony Entertainment Television acquires the rights to Endemol Shine’s MasterChef India
Mumbai: Celebrating food, togetherness and diversity, Sony Entertainment Television embarks on an appetising journey as it acquires the rights for the Indian adaptation of the internationally revered culinary reality format, “MasterChef”, produced and distributed by Endemol Shine India.
The show has been airing on StarPlus ever since it was adapted from the original international version, produced by EndemolShine India.
The Indian version of MasterChef is based on the Australian show, MasterChef Australia, which itself is based on the original British MasterChef, created by Franc Rodaam. It is a top-rated show across the globe, from the UK to Australia, France to Israel, Italy to the Middle East, India and beyond.
The show has been wowing audiences for more than thirty years. It is produced in over 50 countries worldwide and broadcast in over 200 territories, with over 64 local versions and more than 10,000 episodes, with over 500 milestone seasons. MasterChef is watched globally by over 250 million viewers and has transformed over 100 amateur chefs into professionals.
Sony Entertainment Television (SET) head-programming (non-fiction) Sonal Yadav said, “MasterChef has revolutionised the global foodscape, changing the way cooking is perceived while transforming the lives of amateur chefs globally who have a passion for cooking.” The pandemic has seen a swift rise in home chefs who embark on culinary adventures, experimenting and whipping up food recipes. Hence, now is an apt time to bring forth a platform like MasterChef India that puts the spotlight on such aspirants. We are delighted to be collaborating with Endemol Shine India to cook up a flavorful new season that will celebrate India’s diverse gastronomic excellence.
Speaking on the collaboration, Endemol Shine India CEO Rishi Negi said, “MasterChef has revolutionised the global foodscape, changing the way cooking is perceived while transforming the lives of amateur chefs globally who have a passion for cooking. The Pandemic has seen a swift rise in home chefs who embarked on culinary adventures experimenting and whipping up food recipes. Hence, now is an apt time to bring forth a platform like MasterChef India that puts the spotlight on such aspirants. We are delighted to be collaborating with Endemol Shine India to cook up a flavorful new season that will celebrate India’s diverse gastronomic excellence.”
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.
