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Tuesday, February 10, 2026 6:43 PM

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NCLAT sets aside NCLT order in Culver Max insolvency case, orders fresh hearing

The National Company Law Appellate Tribunal (NCLAT) has granted relief to Culver Max Entertainment, formerly Sony Pictures Network India, by overturning an order of the National Company Law Tribunal (NCLT) that had rejected its insolvency petition against an Odisha-based fintech company. The appellate tribunal has sent the matter back to the Cuttack bench of the NCLT, directing it to hear the case afresh after giving Culver Max an opportunity to address procedural shortcomings in its application. In its ruling, the NCLAT noted that the NCLT should have allowed Culver Max to rectify defects in the insolvency plea, particularly relating to authorisation, instead of dismissing it outright. Since no such opportunity was provided, the appellate tribunal held that the April 30, 2024 order of the NCLT was legally flawed. A two-member NCLAT bench comprising Justice Yogesh Khanna (Judicial Member) and Ajai Das Mehrotra (Technical Member) clarified that it was not expressing any view on the merits of the insolvency case. However, it set aside the impugned order and instructed the NCLT to allow Culver Max to cure the defects and then adjudicate the matter on merits. The tribunal added that the process should ideally be completed within two months, as per its order dated December 10, 2025. The dispute arose after the NCLT dismissed Culver Max’s Section 9 application under the Insolvency and Bankruptcy Code (IBC) against Rechargekit Fintech. The tribunal had rejected the plea on the ground that no board resolution or formal authorisation approving the filing of the insolvency application was placed on record. Challenging this decision, Culver Max argued before the NCLAT that the NCLT should have invoked the proviso to Section 9(5)(ii) of the IBC, which allows applicants time to correct defects in an incomplete application. The appellate tribunal agreed, observing that it was the duty of the NCLT to notify the applicant and provide an opportunity to rectify such defects. Section 9(5)(ii) of the IBC empowers the NCLT to reject an incomplete application but also mandates that the applicant be given notice and up to seven days to remove the deficiencies. Since this procedure was not followed, the NCLAT ruled that the dismissal order could not be sustained. Source: PTI

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Mandatory Labelling of AI-Generated Content Likely Soon After Industry Consultations: IT Secretary

The government is set to notify new rules on mandatory labelling of AI-generated content after completing extensive consultations with industry stakeholders, IT Secretary S Krishnan has said. Speaking to PTI, Krishnan noted that the industry has largely shown a responsible approach and has not strongly opposed the proposed move, recognising the rationale behind content labelling. According to him, most industry feedback has focused on seeking clarity around what degree of AI intervention should trigger labelling—particularly the distinction between substantive, material changes made using AI and routine technical enhancements that do not alter meaning or facts. Inputs received are currently being reviewed in consultation with other government ministries, and the final rules are expected to be announced shortly. Krishnan emphasised that the proposal does not impose restrictions or require registration with third parties, but simply asks platforms to clearly label AI-generated or synthetically modified content. He underlined that citizens have a fundamental right to know whether content is authentic or AI-generated. He explained that even minimal AI-driven changes—such as altering a few words—can significantly change context and meaning, whereas routine enhancements like camera optimisation on smartphones may only improve quality without affecting substance. While the government is open to accommodating reasonable industry concerns, excluding all forms of modification could be problematic, as even small AI edits can have major real-world impacts. The proposed amendments to the IT Rules, first floated in October, aim to curb the spread of deepfakes and misinformation by requiring platforms such as Facebook and YouTube to take greater responsibility for identifying and flagging synthetic content. The draft rules seek mandatory labelling, metadata embedding, and visibility markers for AI-generated or modified media, including visual identifiers covering at least 10 per cent of the screen or the initial 10 per cent of an audio clip. The IT Ministry has warned that deepfake audio, video, and other synthetic media can be weaponised to mislead the public, harm reputations, influence elections, and facilitate fraud, making clear labelling and accountability essential in the age of generative AI. Source: PTI

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OTT Platforms to Stay Outside CBFC Oversight, Government Tells Lok Sabha

The Centre has reaffirmed that content streamed on over-the-top (OTT) platforms will not fall under the purview of the Central Board of Film Certification (CBFC). The clarification was given in the Lok Sabha in response to a query raised by MP Dr. M K Vishnu Prasad. Minister of State for Information and Broadcasting Dr. L. Murugan stated that digital streaming content is regulated under the Information Technology (Intermediary Guidelines and Digital Media Ethics Code) Rules, 2021, and not through the film certification body. Under the existing framework, OTT platforms are mandated to adhere to a prescribed Code of Ethics. This includes complying with all applicable laws, refraining from prohibited content, and adopting age-based content classification to guide viewers. To monitor compliance, the IT Rules provide for a three-level regulatory mechanism. At the first level, publishers are responsible for self-regulation and addressing complaints related to their content. The second level involves oversight by self-regulatory bodies constituted by the publishers themselves. The third and final level empowers the Central Government to intervene when necessary. Complaints related to OTT content are initially handled by the concerned platform, allowing publishers to resolve issues internally in accordance with the IT Rules, 2021. Dr. Murugan highlighted that this multi-tier system is designed to strike a balance between safeguarding creative expression and ensuring legal accountability, with digital content regulation being managed through a structured grievance redressal process rather than CBFC certification. Source: Economic Times

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BCCI still not a national sports federation, Mandaviya tells Lok Sabha

The Board of Control for Cricket in India (BCCI) is not recognised as a National Sports Federation (NSF), Union Sports Minister Mansukh Mandaviya informed the Lok Sabha on Monday, reaffirming a long-standing position that is likely to change after the National Sports Governance Act is fully implemented next year. Responding to a question from Trinamool Congress MP Mala Roy, who sought clarity on whether the government plans to step in to oversee major sports bodies such as the BCCI and the financially strained All India Football Federation (AIFF), Mandaviya said NSFs are autonomous, voluntary organisations expected to adhere to sound governance practices. He clarified that the BCCI has so far remained outside the NSF framework because it does not depend on government funding. However, once the new law comes into force, the BCCI will be required to register as an NSF, as cricket has been included in the Olympics and is scheduled to feature in the 2028 Los Angeles Games in the T20 format. Passed in August, the National Sports Governance Act provides for the creation of a National Sports Board (NSB), which will introduce stricter accountability norms. Under the new system, all NSFs must secure NSB recognition to be eligible for central government funding. Addressing concerns related to transparency, Mandaviya noted that the government has eased provisions related to the Right to Information (RTI) Act. Only sports bodies that receive government grants or assistance will fall under the RTI framework, offering relief to the BCCI, which has consistently opposed RTI coverage. The minister also told the House that NSFs receiving annual grants exceeding ₹1 crore are subject to audits by the Comptroller and Auditor General (CAG) of India. Source: PTI

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Music Tourism Surges as Over 5.6 Lakh Indians Travel for Concerts in 2025: Report

India is no longer just consuming entertainment — it’s packing its bags for it. According to BookMyShow’s Throwback 2025 report, music tourism witnessed an exceptional upswing this year, with more than 5.6 lakh Indians travelling across cities to attend concerts. This surge created booming micro-economies around each event, driving business for airlines, hotels, cabs and local eateries. Premium live experiences also saw a major leap, with attendance nearly doubling in 2025. Fans increasingly favoured VIP zones, elevated viewing decks and curated hospitality, signalling a clear shift toward experience-driven entertainment. Several state governments helped fuel this rise. BookMyShow inked MoUs with tourism departments in Assam, Telangana, Gujarat and Delhi to attract global artists, improve event infrastructure and generate local employment—cementing live entertainment as a growing economic contributor. Live events on the rise Overall, live entertainment consumption grew by 17%, with more than 34,000 events—from concerts and comedy shows to cultural festivals—held nationwide. Tier-2 cities like Visakhapatnam, Vadodara, Indore, Shillong and Rajkot recorded explosive triple-digit growth, highlighting a widespread appetite for diverse experiences. Notably, solo attendance soared, with 1.8 million people choosing to enjoy events on their own. Cinema continues to unite India Despite the live-event boom, cinema retained its position as India’s favourite collective pastime. Regional films strengthened their presence, while nostalgia re-runs brought 58 lakh viewers back to theatres. Hyderabad shone as the re-release hub, with Interstellar leading the revival wave after selling out multiple runs. The Dussehra weekend delivered the highest footfall of 2025 with 6.8 million tickets sold. Kantara: A Legend Chapter–1 became the year’s biggest repeat-watch title, drawing more than 6 lakh returning fans. Meanwhile, Coolie topped advance bookings with 2.4 million pre-sold tickets. BookMyShow notes that 2025 marked a year of deliberate engagement—Indians didn’t just watch entertainment; they pursued it, travelled for it and made it a part of their weekly lifestyle. Source: Economic Times

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Australia Enforces World’s First Social Media Ban for Under-16s

Australia has officially become the first country in the world to ban social media access for children and teenagers under 16. Under the new legislation, major platforms — including Instagram, Facebook, Threads, X, Snapchat, TikTok, YouTube, Reddit, Twitch and Kick — must prevent users below the age threshold from accessing their services. While parents and minors won’t face penalties for violations, tech companies risk fines of up to 32 million dollars if they fail to comply. The government says the move is aimed at shielding young people from harmful online content, but critics warn it may unintentionally push vulnerable teens toward unsafe, unregulated digital spaces. The decision has sparked debate across Australia, drawing concern from tech giants and free-speech advocates, even as many parents and child-safety organisations have welcomed the policy. Prime Minister Anthony Albanese had first signalled plans for an age-based restriction last September. Source: newsonair  

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Netflix Strikes $72bn Deal to Acquire Warner Bros’ Film & Streaming Units, Reshaping Global Entertainment

Netflix has announced a landmark agreement to acquire Warner Bros Discovery’s film and streaming divisions for $72bn (£54bn), marking one of Hollywood’s biggest-ever consolidation moves. The streaming giant outbid Comcast and Paramount Skydance after a prolonged contest, securing control of iconic franchises such as Harry Potter, Game of Thrones, and the HBO Max platform. The acquisition—still subject to regulatory approval—signals Netflix’s ambition to dominate the evolving entertainment landscape. Co-CEO Ted Sarandos said merging Warner Bros’ century-old storytelling legacy with Netflix originals like Stranger Things would help “define the next century of entertainment.” Netflix expects to save $2bn to $3bn by removing overlaps in technology and support operations. Warner Bros films will continue to release in cinemas, and its TV studio will remain open to third-party production. While both companies’ boards approved the deal unanimously, Hollywood unions and cinema groups have voiced strong opposition. The Writers Guild of America urged regulators to block the merger, warning of job losses, reduced content diversity, and higher consumer costs. Cinema United also cautioned that the tie-up could harm movie theatres worldwide. Analysts say the acquisition underscores Netflix’s aggressive push for global supremacy but could present challenges in integrating two massive entertainment ecosystems. If approved, the deal is expected to drive significant industry shifts, including reduced film and TV output and potentially higher subscription prices. Warner Bros will complete an internal split into two separate companies—its streaming and studios arm, and Discovery Global—before the takeover closes next year. Source: BBC

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Green Gold Animation, the studio behind the popular Chhota Bheem franchise, plans ₹250 crore fundraise at ₹800 crore valuation

Green Gold Animation — the Hyderabad-based studio known for creating the iconic Chhota Bheem series and the Krishna animated films — is looking to raise ₹250 crore at an estimated ₹800 crore valuation as it gears up for a major expansion, founder Rajiv Chilaka revealed. With a workforce of nearly 500 employees, the two-decade-old company aims to develop fresh intellectual properties (IPs) and significantly scale up its animation production capabilities for both Indian and global markets. “We are considering a ₹250 crore raise at an ₹800 crore valuation to power our next phase of growth, with a strong focus on enhancing our animation infrastructure and creating new IPs,” Chilaka said. He added that the company is even open to a potential shift in ownership, provided the strategic partner aligns with its long-term vision. “If a controlling investor can help us scale sustainably and responsibly, we’re open to that conversation,” he noted. The move comes at a time when India’s media and entertainment landscape is undergoing rapid consolidation, shrinking content budgets, and changing viewer habits — pushing animation studios to reassess scale, efficiency, and monetisation strategies. Source: Economic Times

Green Gold Animation, the studio behind the popular Chhota Bheem franchise, plans ₹250 crore fundraise at ₹800 crore valuation Read More »

India Needs Unified Policy Push to Build USD 100 Billion Creative Economy by 2030: CII

India must adopt a cohesive, well-coordinated policy framework to transform its creative sector into a USD 100 billion economic powerhouse by 2030, according to the CII’s India’s M&E Sector Report, unveiled at the 12th CII Big Picture Summit 2025 in Mumbai. The report projects that such a unified policy push could significantly boost the Media & Entertainment (M&E) industry’s GDP contribution while creating over five million new jobs. While the global M&E industry is expected to touch USD 3.5 trillion by 2029 with a 3.7% CAGR, India’s sector is poised for much stronger expansion at 9.8% CAGR, nearly 2.6 times the global rate. However, India still accounts for only 2% of the global media market, and its creative economy contributes merely 1% to the country’s GDP. To unlock full growth potential, the report calls for structural reforms, beginning with unified, modern regulation to replace the current fragmented, medium-specific laws that lead to inconsistent standards and compliance complexity. Such harmonisation, CII says, would support innovation, strengthen IP protection, and help India lead in fast-rising segments like gaming, streaming, and digital media. The report identifies infrastructure gaps as a major barrier to growth. Limited film studios, production facilities, and advanced tech infrastructure have led to capital flight and lost employment opportunities. CII recommends greater investment in top-tier production hubs, widespread 5G rollout, and technology integration to improve content creation and accessibility across India. Entrepreneurship challenges also need attention. The report advocates for a single-window digital clearance system, stronger anti-piracy enforcement, and simplified processes to improve business ease and attract global investments. Despite India’s rising global visibility in storytelling, the country’s media exports remain relatively low. CII suggests establishing dedicated export funds and streamlined export mechanisms to help Indian creators scale internationally and boost cultural impact. Talent shortages—particularly in animation, VFX, and digital media—pose another significant obstacle. The report recommends internationally aligned training standards and deeper collaboration between industry and academia to build a future-ready workforce. It concludes that a comprehensive National Media & Entertainment Policy, modeled on the National AVGC-XR Policy, could offer much-needed clarity and direction to navigate the industry’s rapid technological transformation. Source: ANI

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Zee Entertainment Launches ‘KidZ’ on Zee5, Re-enters Children’s Entertainment Segment

Zee Entertainment Enterprises has made a fresh push into the children’s entertainment space with the launch of KidZ, a dedicated kids’ service on its digital platform Zee5. The new vertical brings together a blend of learning-focused and fun programming curated for young audiences. To expand its family-focused offerings, the company has teamed up with top content creators and aggregators from India and abroad, ensuring a safe, engaging and education-driven experience for kids. Accessible via a special profile on Zee5 across all devices, KidZ launches with over 140 titles in several languages, with new episodes and shows arriving every Friday. The line-up includes well-known favourites such as Boonie Bears, Vir, Chacha Bhatija and Inspector Chingum. Zee is also building an exclusive slate of premium original kids’ shows set to debut from December 2025, combining story-driven narratives with informative elements and established character IPs. Chandan Khandelwal, Business Head for the Kids Division at Zee5 India & Global, said the goal is to build a safe, immersive destination that inspires curiosity and joy. The initiative ties into the strategic roadmap highlighted in the company’s May 2025 investor update, which identified children’s content as a high-growth segment. With digital consumption among younger viewers continuing to surge, Zee aims to strengthen its content library and scale its reach across entertainment verticals. KidZ marks Zee’s renewed focus on the kids category, more than a decade after the company exited its earlier edutainment experiment with ZeeQ, launched in 2012 but later discontinued as part of a strategic shift. Source: Economic Times  

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