GECs
Uri reaction: Zee considers dropping Pak shows from Zindagi
MUMBAI: It makes sense, nationalism-wise. But, does it make sense, business-wise? An unexpected yet ideal tweet by media baron Subhash Chandra has catalysed a hot debate whether film actors from a hostile country should be allowed to earn millions working in the Indian film industry. His tweet follows in the footsteps of a political party sloganeering that Pakistan artistes working in India had better look for greener pastures elsewhere.
In his tweet, Chandra says, “Unfortunate stance of Mia Sharif at UN. Zee is considering stopping Zindagi programs from Pak, as well as artistes from there should leave.” Chandra’s reaction comes in the wake of a recent attack on the Indian forces by Pakistan-trained terrorists in Uri (Jammu and Kashmir) that left 18 army men dead. He is the chairman of India’s leading entertainment company as well as a member of the upper house of parliament, the Rajya Sabha.
Chandra has all along been making attempts to act as a bridge between India and Pakistan by himself or through his media empire. He even had meetings with the Pakistan prime minister Nawaz Shariff around two years ago when he launched Zindagi. At that stage, his son as well as Zeel MD & CEO Punit Goenka had tweeted: “Jodey Dilon Ko: Chairman Sh Subhash Chandra in conversation with Pakistan PM NawazSharif at the launch of @ZeeZindagiTV”
Zee Zindagi was positioned as a channel differentiated from the rest of the GECs as it offered a bunch of popular Pakistani TV shows which it had acquired from channels in the green flag nation. The purpose: give a ‘hungry for variety’ Indian audience a chance to engage with finite TV shows, shot with a focus on scripting and different dramatization.
Some of the Pakistani artistes who rose to fame and got work in the film industry figure are: Fawad Khan, Mahira Khan, Ali Zafar, Imran Abbas, Atif Aslam, and Rahat Fateh Ali Khan.
Zeel had earlier announced a revamp of the channel from 3 October and changed its slogan from ‘Jode Dilo ko’ to ‘Yeh Lamha Hi Hai Zindagi.’
Earlier this year, Chandra had taken another step towards promoting Indo-Pak unity with an initiative called Zeal For Unity (ZFU). Through ZFU, ZEEL brought together 12 filmmakers, six each from India and Pakistan, and funded their one-hour shorts, which were showcased across platforms like film festivals, television, theatre and digital under the ZFU initiative.
Questions that are being asked include whether Chandra will back his tweet with decisive action by pulling off all of Zindagi’s Pakistani content. Or, whether he was just posting his tweet at an emotional moment? Or, whether he had already decided to drop shows provided to it commercially by producers and broadcasters in the neighbouring state earlier, and was just latching on to the being-nationalistic opportunity.
Other questions that are being raised include whether other media houses will follow suit? Will they yank Pakistani content and artistes off their programmes? Will they air trailers featuring them? One can only wait and watch how this unravels.
MUMBAI: Lights, camera… connection because this time, the game isn’t just about winning, it’s about who’s with you. Sony Pictures Networks India is gearing up to launch a new reality game show, Tum Ho Naa, expanding its unscripted slate with a format that promises both emotion and engagement.
The show will premiere soon on Sony Entertainment Television and stream on Sony LIV, with Rajeev Khandelwal stepping in as host. Known for his measured screen presence and selective choices, Khandelwal’s return to television adds a layer of familiarity and credibility to the upcoming format.
While specific details of the gameplay remain under wraps, the positioning suggests a reality format that leans as much on emotional resonance as it does on competition, an increasingly popular blend in Indian television, where audiences are gravitating towards content that offers both stakes and storytelling.
Khandelwal, reflecting on his return, noted that his choices have often been guided by instinct rather than convention, describing Tum Ho Naa as a project that feels “close to the heart”. His association also signals Sony’s continued focus on anchoring new formats with recognisable faces who bring both relatability and depth.
The launch comes at a time when broadcasters are doubling down on original non-fiction formats to drive appointment viewing, even as digital platforms expand parallel reach. By placing the show across both linear television and OTT, Sony appears to be aiming for a dual-audience strategy capturing traditional viewers while engaging digital-first consumers.
As the countdown to premiere begins, Tum Ho Naa positions itself not just as another game show, but as a reminder that sometimes, the biggest prize on screen isn’t the jackpot, it’s the journey shared along the way.
