GECs
Zee TV unveils the top 16 contestants of the fourth season of DID Li’l Masters
MUMBAI: Zee TV, over the past 25 years, has been at the forefront of providing a platform to the talent of India’s common man and opening up a world of opportunities for the truly deserving. Amongst its home-grown non-fiction formats, Dance India Dance has established itself as one of the biggest talent hunt shows of all times. Giving dance its due respect, Dance India Dance has revolutionized the art form in India, making it a mainstream career choice for millions. After having begun the year entertaining audiences with the superlative talent of India’s young adults, it’s time for the country’s youngest generation to put on their dancing shoes and take center-stage as ‘Amul DID Li’l Masters powered by Lifebuoy’ premiered on Zee TV on 3rd March. A perfect reflection of Zee TV’s core philosophy Aaj Likhenge Kal, the show gives wings to the aspirations of young dance enthusiasts, empowering them to take charge of their destiny and pursue their passion for dance. Having introduced viewers to talent like Faisal Khan, Harpreet, Jeetumoni and Teriya Magar amongst many others, DID Li’l Masters, in its latest season, celebrates the unmatched dancing talent that sets ‘Blockbuster Bacche’ apart from the ordinary, lending them an instant following and a celebrity status. Having aired episodes showcasing the exciting auditions, DID Li’l Masters is all set to reveal its top contestants in the upcoming weekend’s episodes. The ultimate celebration of dance, DID Li’l Masters airs every Saturday and Sunday at 9 PM only on Zee TV! The show is produced by Essel Vision Productions ltd.
Like every action-packed season filled with priceless moments, DID Li’l Masters is living up to its promise of being truly dhamakedaar and blockbuster. This time around, it’s not only the blockbuster bacche that will take audiences by storm. Guiding, coaching and mentoring the little dance prodigies through their journey on the show are two reality TV debutantes who’re making a transition from Bollywood to the small screen. With everything from critically acclaimed films to widely popular dance numbers under her belt, the gorgeous Chitrangada Singh has floored audiences with her looks, charm, acting prowess and dancing ability. Having cemented his position as a master story-teller and a multi-faceted director, Siddharth Anand will add yet another feather to his cap, with his debut as judge on the show. Together along with ace choreographer Marzi Pestonji who has been an integral part of the DID family across seasons, they will help the talent strike a perfect balance between dance and drama in their performances. Motivating the kids every step of the way, choreographing their routines and polishing their acts are the show’s skippers Vaishnavi Patil, Tanay Malhara, Jeetumoni Kalita and Bir Radha Sherpa – each of who have risen from the very same platform. Adding some tongue-in-cheek wit, spontaneity and comic relief to the show are its talented host duo- Jay Bhanushali who continues his association with DID and child comedienne Tamanna who had viewers in splits when she shot to fame on Zee TV’s India’s Best Dramebaaz.
Zee TV, Deputy Business Head, Deepak Rajadhyaksha said, “With a strong legacy of creating stars out of India’s common man through our varied homegrown non-fiction formats, Zee TV launched Dance India Dance back in 2009. The franchise has only grown ever since and transcended the boundaries of being a mere reality show and changed the landscape of dance in the country, cutting across age groups through its extensions like Li’l Masters and Super Moms. In fine sync with our brand philosophy Aaj Likhenge Kal, the previous seasons of DID Li’l Masters have enabled young talent in the country to leverage their dancing talent and build an extraordinary future in the field of dance. Through a slew of opportunities and the right kind of exposure, the show has given birth to an all-new breed of young budding dancing superstars who have emerged as names to reckon with in the entertainment fraternity. The new season of DID Li’l Masters celebrates the kind of superlative dancing talent that separates the blockbuster kids from the ordinary and wins them an instant celebrity status. In fact, a Bollywood Blockbuster aura has been created around the new season through all its communication, brand imagery and a season-long Bollywood theme. The format now enables the contestants to perform as solos, duos and groups, exploring and establishing the latest trends, forms and styles in the dance circuit. And, as we welcome this season’s Top 16 contestants, we wish them luck and hope that their dance journey brings them the fame and recognition that they deserve.”
Commenting on her TV debut as a judge on DID Li’l Masters, Chitrangada Singh said, “Dance has always been my passion and as an actor in our film industry, dance has played a big role in my journey. I think of dance as a form of expression and a medium to tell stories. We’re probably the only culture that manages to beautifully integrate dance into our films and it even takes the story forward, adding its own unique flavor. As judge on DID Li’l Masters, I am looking forward to sharing my knowledge pertaining to the importance of expressions and grace in dance with the contestants, especially the Top 16, as they progress through the season. I am enjoying my stint completely as it has given me an opportunity to experience, first-hand, the amazing pool of talent in our country, the young children whose incredible talent promises to shape our future to build a better tomorrow!”
Bollywood director Siddharth Anand who has joined the judges’ panel this year said, “On the set of my film, in a way, I also judge talent, and direct them. There, it’s my vision. Here, there’s a creative director with whom I have extensive discussions on what their vision is for the show and what they want to portray. I love the passion that this team has; it matches the passion that I have for my work,” says Siddharth, who has done his homework through extensive workshops of dance.” Speaking of the kind of talent he is looking for in the show, he said, “I will take a holistic approach and will be looking at the stories that they are trying to tell through their dance, expressions, costumes, overall presentation and how well they use the stage. I’ll leave the technicalities to my co-judge Marzi.”
Ace choreographer Marzi Pestonji further added, “DID Li’l Masters is about etching the future of dance in our country. The show serves as a great medium for budding young talent, honing their skills to become experts in this field. The winners of the show, over the years, have experienced tremendous fame in the industry and achieved new heights in their career. I am thrilled to continue to be a part of this journey and present the next generation of dancing sensations. This season’s contestants truly have what it takes to make the country dance to their tunes!”
After months of grueling auditions held in every nook and corner of the country, DID Li’l Masters is all set to announce its Blockbuster Top 16 Bacche who will find their training ground with the skippers as they are divided under ‘Tanay Ke Tigers’, ‘Bir Ke Baahubali’, ‘Jitumoni Ke Jaanbaaz’ and ‘Vaishnavi Ke Veer’. While Tanay Ke Tigers ace in dance styles like popping animation with bone breaking, krumping and contemporary, Bir Ke Baahubali shine in freestyle and contemporary, and Jitumoni Ke Jaanbaaz outperform everyone in lyrical hip-hop and freestyle, Vaishnavi Ke Veer excel in Kathak and Bollywood hip-hop. Forming a part of Tanay Ke Tigers are AP Rockers (from Ramtek, Nagpur), Mann R Patel and Amit Delwani (from Morni, Rajkot), Brinda Dahal (from Nepal) and Soorya Sreejith (from Trivandrum). Joining Bir Ke Baahubali are Stacie Valerie Mawrie (from Shillong), Gautam Dance Studio (from Bhubaneshwar), Abhinav Arun (from Kolam) and Tamman Gamnu (from Itanagar). Ready to shake the dance floor through Jitumoni Ke Jaanbaaz are RDA Crew (from Gomia, Jharkhand), Urva Bhavsar (from Ahmedabad), Satyam Rai and Fire Stepper Crew (from Faridabad). And, making their dance dreams come true as Vaishnavi Ke Veer are twins Tanya and Tanisha, Rohan Thapa (Nepal), Beat Boys India (from Indore) and Jiya Thakur (from Hyderabad).
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.
