Hindi
Strategies rule over content, fail
Nothing worthwhile came along since Dangal, the film which helped the cinema halls sustain. When it did, two major production houses decided to release their films simultaneously. Kaabil from Rakesh Roshan’s production house and Raees from Excel Entertainment.
Both the releases wanted to cash in on the long weekend as the 26 January, the Republic Day holiday fell on Thursday. To start with, both films releasing on the same day, whatever the occasion, was suicidal. And, for a producer to do that in an era when the multiplex owners call the shots had a role to play when having agreed to give both films an equal exposure, reneged and went along with Raees, which was not really meant for the multiplex audience. The outcome for both the films is tragic.
The idea of releasing the film on Thursday to cash in on the Republic day, made sense. But, what was the logic of both film deciding to hit the screens on Wednesday, the day before the holiday. It was a midweek working day ahead of a long weekend. It turned out to be a bad decision. Both films had a poor opening day collections. While Kaabil suffered because of the competition, Raees was affected as the film’s negative word of mouth spread which reflected on its collections on other days.
*Raees had an average opening of around Rs 20 crore on Wednesday. On Thursday, because of the holiday, it touched its peak only to drop by as much as 50 per cent on Friday and decline thereafter with even Sunday figures being below par. Looking at these figures, the film showed a potential to reach about Rs 90 crore for the opening weekend of five days.
*Kaabil opened to a weak response and though the film enjoyed positive word of mouth from a section of the audience, it did not reflect much on the collections. This praise seemed more from the fallout of disappointment with Raees. It was more like a comparison than the real praise for the film. The film opened to half the figures of Raees and had its best day in Republic Day.
The film collected Rs 57.4 crore for its opening weekend of five days.
*OK Jaanu collected Rs 3.5 crore in its second week taking its two week total to Rs 20.35 crore.
*Dangal added Rs 8.92 crore in its fifth week to take its five week total to Rs 383.87. It added another Rs 1.19 crore for the sixth weekend which takes its 38-day total to Rs 385.06 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.
