GECs
The resurgence of horror shows on GECs
MUMBAI: The horror genre has formed an important part of TV entertainment since the 1990s when Zee Horror Show, Aahat and Ssshhh…Koi Hai were anticipated shows. A resurgence of horror shows on TV has been noticed in the past one month. Ekta Kapoor’s Qayamat Ki Raat, which airs on Star Plus, and Colors TV’s Kaun Hai, both opened to incredible ratings in their first week. Vivek Dahiya and Karishma Tanna starrer Qayamat Ki Raat bagged the seventh spot with 5.6 million impressions while Kaun Hai received 3.89 million impressions and was at the 11th spot.
Bodhi Tree Multimedia has produced quite a few horror shows like Rooh and Fear Files for Zee TV. “Horror has always been a genre that has worked in the Indian market. It is also been an underserved genre with only our show Fear Files running for the past one year. So more horror shows coming was always anticipated,” says Bodhi Tree Multimedia founder Mautik Tolia.
Endemol Shine CEO Abhishek Rege holds a different opinion. He feels that the Indian audiences are dedicated to all sorts of genres and horror was possibly an underserved one. “Although many shows are launching, how many does the market need will only be known after the ratings or the consumption pattern comes out.”
If horror shows want to create a mark today, they have to come up with good content. Earlier horror shows used to have just one story in an episode. Now horror shows have long term stories with a supernatural background.
Earlier, late prime time was the slot given to the horror shows assuming that the kids are asleep by then. But now things are changing. The horror shows have got promoted to earlier time slots (7-9 pm). According to Rege, any time after 8-8.30 pm is a good time slot for a horror show. Shows like Aahat, Fear Files or X-Zone were hard core horror shows. Nowadays there are many shows which have different approaches and if they are not hardcore horror they can be broadcasted at early prime time slot.
Tolia thinks that the increase in the number of horror shows in India could be due to exposure to international content releasing in India. “A lot of good international horror has been produced over the past few years. Films from the Conjuring universe, Quiet Place, Lights Out, It, Mama and now Hereditary have breathed new life into the genre. So the rub off effect is surely being seen.”
Advertisers tend to stay away from horror shows due to their low viewership. The earlier shows couldn’t get advertisers due to the late time band. The sudden surge in horror seems to be the channels’ attempts at expanding its offering before festive season kicks in. They could then be replaced with reality format shows.
Madison Media Sigma CEO Vanita Keshwani feels differently. She says, “According to me, the crime/thriller genre works most for the Indian audience than the horror genre. Shows like Savdhaan India and Crime Patrol garner more viewership than Aahat and Fear Files. Since shows like Qayamat Ki Raat, Laal Ishq and Kaun Hai have just launched it’s too early to give a judgment on those shows. According to me the horror as a genre is not doing well. But I think they are betting on it.”
Indian makers have even been plagued by budget issues and a very narrow approach towards the depiction of horror inspired by Indian imagery. However Indian horror is also seeing a paradigm shift in terms of quality of content over past few years. A new breed of filmmakers is churning out a spate of horror films and shows that are able to blend Indian imagery with great storytelling.
Even though the shows in this genre may or may not gain good TRP, the experimentation continues for adding variety to a channel’s offering.
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.
