GECs
Into the mind of a TV network programmer
How does a programmer really know he/she has hit the bull‘s eye with a story? Thinking of concepts and genres all the time; he/she could be toying with ten elusive ideas at one time.And when the time comes, might well chuck all the scripts in favour of an eleventh one.
It was with this end in mind that Indiantelevision.com decided to pick the brains of the people who bring the likes of Tulsi, Jassi and Simran into our homes. Some of them could well be referred to as the best programming brains in the country; professionals who have a natural flair for conceiving the right mix.
| Mass entertainment channels (DD, Star Plus, Sony, Zee, Sahara) continued to dominate television space both in viewership and revenue in 2004, according to TAM Media Research. Hindi entertainment channels account for 40 per cent of the country‘s TV viewership and 52 per cent of total advertisement revenue |
In a series of free wheeling conversations, these creative powerhouses reveal their likes, dislikes and offer their take on the programming paradigm shifts that have and are impacting the Hindi entertainment television landscape.
As Star India‘s Deepak Segal puts it, “Most of it is really on gut feel. But, yes – the rejection rate of stories and scripts is also very, very high.” Then there are those like SET India‘s Tarun Katial who, along with gut feel, also swear by qualitative market research. Whereas Markand Adhikari feels the Indian audiences are not really ready for something new.
Before getting into some serious programmerspeak, a quick scan down memory lane of the shows that left their imprint on Hindi entertainment television is in order. Years back we had chartbusters like Hum Log and Buniyaad, which took the country by storm. Then came what was arguably the biggest TRP chartbuster of all time, Ramayan. After that however, it has been private C&S television that has set the agenda. There was the era of Tara and Amaanat on Zee TV, then came the subtle themes like Saans and Sailaab.
Cut to 2000 with the super success of KBC and then of course came in the Balaji K series that have endured even after the ultimate game show ended its run.
So what could the next big thing be?
While content remains king on the general entertainment channels; the search is also constantly on for the next big concept cutting across all SECs and markets. And with other niche channels eating into their pie, the task seems to be getting tougher. At the end of the day, they have to produce programming that brings in audiences and revenues. So, where does the buck stop?
In terms of content, the buck clearly stops at the programming head. He/she would funnel all the programming coming on to the channel along with a team of producers and creative professionals. With a large-scale perspective on content, a sense of creativity, the programming head should also be alert to strategy, business and advertising angles. The role can actually get very fuzzy at times. Many feel the thinking and preferences of a programming head can often be seen in the final look of the channel.
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“We‘ve definitely evolved as an industry” Deepak Segal – Executive VP Content and Communications, Star India Read On |
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“I‘ve trained myself to like what the viewer likes” Tarun Katial – Business Head, SET India Read On |
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“We have definitely progressed technically but conceptwise we‘ve gone back in time” Markand Adhikari – Vice Chairman and Managing Director, SAB TV Read On |
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“TV is a progressive medium and content is the main driver” Karuna Samtani – COO, SaharaOne Read On |
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“India is too volatile a market to easily predict any definite trend” Ashwini Yardi – Vice President, Programming, Zee TV Read On |
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.
