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Abundantia Entertainment Launches AI Division to Revolutionize Storytelling

Vikram Malhotra-led Abundantia Entertainment has unveiled a new artificial intelligence-focused division named ‘Abundantia aiON’, aimed at fusing technology with human creativity to redefine storytelling. The initiative will integrate AI across stages like ideation, visual design, and production to craft innovative films, series, and characters. Built on the philosophy of “Human First. AI Empowered.”, aiON seeks to position AI as a creative catalyst rather than a replacement for human imagination. The division will collaborate with global tech leaders to develop creative infrastructure and train writers, artists, and filmmakers to use emerging technologies in storytelling. The move follows Abundantia’s partnership with Collective Artists Network for Chiranjeevi Hanuman – The Eternal, touted as a “Made-in-AI” feature film set for release in 2026. Commenting on the launch, Vikram Malhotra, Founder & CEO of Abundantia Entertainment, said, “At Abundantia, we believe technology should amplify imagination, not replace it. AI isn’t here to take over creativity—it’s here to magnify it. We see AI as a collaborator, a force multiplier for human imagination.” The company plans to announce its first slate of AI-driven projects soon. Meanwhile, Abundantia continues to expand its lineup with upcoming releases including Subedaar (starring Anil Kapoor), Daldal (featuring Bhumi Pednekar), an untitled comedy with Madhuri Dixit, Triptii Dimri, Dharna Durga, and Ravi Kishan, and a business drama series directed by Hansal Mehta. Source: Economic Times

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$100 Million Hopes Fade: FIFA and IOC Struggle to Attract Indian Broadcasters Amid Market Slowdown

India’s once-booming sports broadcasting market is undergoing a sharp correction, weighed down by broadcaster consolidation, the ban on real-money gaming (RMG), and challenging time zones for upcoming global events. As a result, global sports bodies like FIFA and the International Olympic Committee (IOC) are finding it increasingly difficult to secure higher media rights deals from Indian broadcasters, industry insiders revealed. Both FIFA and the IOC are reportedly eyeing over $100 million each from the Indian market — nearly four times what local networks are prepared to offer. In comparison, India contributed around $61 million for the Qatar 2022 World Cup and $31 million for the Paris 2024 Olympics during the last rights cycle. FIFA floated its invitation to tender (ITT) in July for the 2026 and 2030 World Cups, while the IOC launched a similar tender for the 2026 Milano Cortina Winter Games and the 2028 Los Angeles Olympics. However, progress has been sluggish as Indian broadcasters balk at the steep asking prices. The market’s competitive edge has dulled significantly, with only two major contenders — JioStar and Sony — now dominating negotiations. JioStar, heavily invested in cricket, is reluctant to stretch further, while Sony remains conservative amid weak advertising prospects for non-cricket sports. The government’s ban on RMG platforms has also dealt a severe blow, wiping out an estimated ₹6,000–₹7,000 crore from the sports advertising ecosystem — a crucial source of funds for premium sports rights. Compounding the issue, both the 2026 FIFA World Cup in North America and the 2028 Olympics in Los Angeles will air during late-night hours in India, reducing live viewership potential and ad revenue. Industry veterans argue that global bodies are misreading the Indian market. The IOC, sources say, expects ICC-level valuations due to cricket’s inclusion in the LA28 Olympics, while FIFA is benchmarking against its record-breaking global contracts. “The era of irrational bidding is over,” said a senior media executive. “With broadcaster consolidation, the RMG ban, and inconvenient time zones, even top-tier events don’t offer viable returns. The mismatch between global expectations and Indian realities has never been greater.” Another executive added that while India’s growing Olympic ambitions — including its potential bid for the 2036 Games — could boost interest, time zone differences and the mandatory feed-sharing rule with Doordarshan under the Sports Broadcasting Signals Act continue to erode the commercial appeal of exclusive rights. Sources noted that JioStar had initially approached FIFA for a two-cycle rights deal, but the global football body opted for an open bidding process, anticipating higher offers. That strategy has backfired — JioStar has since pulled back, and Sony remains cautious. Viacom18, which merged with Star India to form JioStar, was the previous rights holder for both FIFA and IOC events. Despite structural challenges, both properties performed decently in their last outings. The Paris 2024 Olympics attracted over 170 million Indian viewers across JioCinema and Sports18, generating roughly ₹110 crore in ad revenues. Since then, JioCinema has merged with Disney+ Hotstar to form JioHotstar, while Sports18 has been absorbed under Star Sports. Source: Economic Times

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Foreign Investment in India’s I&B Sector Slows Sharply in June Quarter Despite Strong Overall FDI Momentum

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Foreign direct investment (FDI) inflows into India’s Information and Broadcasting (I&B) sector recorded a significant slowdown during the April–June 2025 quarter, even as the country’s broader FDI landscape remained steady. According to the latest data from the Department for Promotion of Industry and Internal Trade (DPIIT), cumulative FDI in the I&B sector stood at ₹76,143.29 crore by the end of June 2025 — up marginally from ₹75,590.84 crore in March 2025 and ₹74,369.17 crore in December 2024. This translates to just ₹552.45 crore in fresh FDI inflows during the first quarter of FY26, marking a steep 54.8% drop compared to ₹1,221.67 crore in the previous quarter. The figures, compiled from April 2000 onwards, indicate that investor sentiment in the I&B industry has cooled off after a relatively strong start to the year. While cyclical adjustments may partly explain the decline, analysts point out that the sector’s overall contribution to India’s total FDI remains small. High-growth areas such as Telecommunications, Automobiles, and Computer Software & Hardware continue to dominate, collectively accounting for over 25% of cumulative inflows. In contrast, the entire I&B segment—including print, broadcasting, and online media—makes up less than 1% of total FDI received since 2000. Despite the slowdown in the media sector, India’s overall FDI performance continues to demonstrate resilience. Cumulative inflows between April 2000 and June 2025 have surpassed ₹92 lakh crore. During the April–June 2025 quarter alone, total FDI (including equity, reinvested earnings, and other capital) amounted to ₹2,22,120 crore, with equity inflows contributing ₹1,59,428 crore. Experts suggest the current dip in I&B investments reflects a mix of regulatory uncertainties, industry consolidation, and fewer big-ticket deals. However, growing interest in digital media, OTT platforms, and sports broadcasting could spur renewed investor confidence later in the year—particularly as policymakers revisit FDI rules to align with the rapidly evolving digital ecosystem. With India’s media and entertainment sector undergoing rapid digital transformation, stakeholders are optimistic that upcoming reforms could help unlock new opportunities and make the I&B landscape more attractive to global investors. Source: Economic Times

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Netflix joins hands with IICT and FICCI to nurture India’s next-gen creative tech talent

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Streaming leader Netflix has entered into a strategic partnership with the Indian Institute of Creative Technology (IICT) and FICCI to build and strengthen the pipeline of creative-technology professionals in India. The memorandum of understanding (MoU) was signed during the 25th edition of FICCI Frames, marking a major step toward advancing India’s AVGC-XR (Animation, Visual Effects, Gaming, Comics, and Extended Reality) ecosystem. Under this collaboration, Netflix will utilize its Fund for Creative Equity to provide scholarships to selected students identified jointly with IICT. The fund aims to empower underrepresented talent in the media and entertainment industry by offering equitable learning and career opportunities. As part of the initiative, Netflix will actively participate in three of IICT’s national councils — R&D, Academic, and Industry Development — to foster synergy between academia, industry experts, and policymakers in shaping the future of India’s creative technology sector. Mahima Kaul, Director of Global Affairs, Netflix India, said the partnership is designed to strengthen the country’s AVGC sector and empower young creators. “Through this collaboration, we aim to equip aspiring storytellers and innovators with world-class tools and opportunities to fuel creativity and drive India’s digital entertainment economy,” she said. Dr. Vishwas Deoskar, CEO of IICT, emphasized that the alliance bridges the gap between academic learning and real-world industry experience. “By offering mentorship, practical exposure, and access to global best practices, we are preparing the next generation of creative technologists to thrive in the evolving AVGC-XR landscape,” he noted. Munjal Shroff, Chairman of the FICCI AVGC-XR Forum, added that the initiative will position India as a global hub for creative technologies. “This partnership not only builds future-ready talent but also fuels innovation and lays the foundation for sustainable growth in the sector,” he said. Source: PTI

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Festive Cheer Boosts Box Office: PVR INOX Records Over 50% Occupancy as Moviegoers Flock Back to Cinemas

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PVR INOX Ltd is celebrating a blockbuster Dussehra weekend, witnessing a remarkable surge in footfall as audiences return to theatres in large numbers. The multiplex giant reported over 50% occupancy across its cinemas, welcoming more than 8.5 lakh movie lovers during the extended Dussehra–Gandhi Jayanti weekend. “Our theatres are buzzing with festive energy as audiences across India return to enjoy the magic of cinema,” said Gautam Dutta, CEO (Revenue & Operations), PVR INOX Ltd. With the second quarter showing strong growth momentum, the company expressed optimism for the upcoming festive season, which promises a packed lineup of anticipated releases. Titles like Kantara: A Legend Chapter 1, Jolly LLB, and One Battle After Another headline the Bollywood and Hollywood slate, while regional films continue to impress audiences nationwide. Regional blockbusters such as Idli Kadai (Tamil/Telugu), Maria (Tamil), Vada Pav (Marathi), and Nikka Zaildar 4 (Punjabi) are driving impressive box-office numbers, reflecting the vibrant diversity of India’s cinematic landscape. Currently, PVR INOX operates 1,757 screens across 353 properties in 111 cities in India and Sri Lanka, reaffirming its position as the country’s leading multiplex chain. Source: PTI

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Zee Marks 33 Years as India’s Satellite TV Trailblazer

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What began in 1992 with a single channel has today grown into a powerhouse that shaped India’s television and entertainment industry. Zee Entertainment Enterprises Ltd. (ZEEL), the country’s first private satellite broadcaster, has turned 33, celebrating its journey alongside the phenomenal growth of India’s media and entertainment sector—now valued at nearly ₹2.5 trillion and sustaining 2.8 million jobs. From the debut of Zee TV to an era of content abundance, India today hosts 900+ private satellite channels, 70+ OTT platforms, 40,000+ creative professionals, and more than 3,400 feature films produced annually. This transformation has turned homes into theatres and shaped the nation’s cultural fabric. Reflecting on the milestone, ZEEL CEO Punit Goenka said, “The story of Zee is intertwined with the rise of India’s M&E industry. Beyond numbers, it’s about the connections we’ve built and the creativity we’ve nurtured. As pioneers, we see this anniversary as an opportunity to propel forward and strengthen the creative ecosystem.” Over the years, Zee has kept pace with changing consumer tastes—fueling multilingual storytelling, expanding into music, films, digital and live entertainment, and now embracing short-form content for the mobile-first audience. With ₹1 lakh crore in foreign investment already flowing into the industry and projections estimating growth to ₹3.07 trillion by 2027, India’s entertainment sector is increasingly seen as a global cultural force. Zee’s 33-year journey is more than a corporate celebration—it’s a testament to how India learned to broadcast, binge, and beam its stories to the world. Source: Economic Times

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WaveX Expands with Seven New Incubation Centers for Media, Entertainment & AVGC-XR Startups

WaveX, the startup accelerator platform under the Ministry of Information & Broadcasting’s WAVES program, has unveiled seven new incubation centers across India, strengthening its commitment to nurturing startups in Media, Entertainment, and the AVGC-XR (Animation, Visual Effects, Gaming, Comics, and Extended Reality) ecosystem. This expansion builds on the flagship incubator at the Indian Institute of Creative Technologies (IICT), Mumbai, marking India’s first dedicated nationwide incubation-cum-acceleration initiative tailored for this sector. New Incubation Hubs The fresh incubation centers will be hosted at: Indian Institute of Mass Communication (IIMC), Delhi IIMC, Jammu IIMC, Dhenkanal (Odisha) IIMC, Kottayam (Kerala) IIMC, Amravati (Maharashtra) Film and Television Institute of India (FTII), Pune Satyajit Ray Film and Television Institute (SRFTI), Kolkata With this network, startups will have access to cutting-edge facilities for film production, game design, editing, and immersive content creation. IICT Mumbai already boasts world-class infrastructure, including an 8K Red Raptor Vista Vision camera, Dolby Atmos-enabled 4K HDR preview theatre, high-performance Alienware workstations, LED-wall-based virtual production stages, photogrammetry systems, sound and color-mix studios, 4K HDR editing suites, VR testing kits, and next-gen gaming consoles. Comprehensive Startup Support WaveX incubatees will benefit from: Co-working zones, digital/AV labs, and professional studios High-speed connectivity, hosting servers, AI compute services, and cloud credits (AWS/Google) Sandbox testing across OTT, gaming, VFX, animation, and immersive media Expert mentorship, global masterclasses, and curated investor-connect sessions Partnerships with IITs, T-Hub, and other incubators for cross-learning opportunities Additionally, selected startups may collaborate with I&B Ministry media wings such as Doordarshan, AIR, FTII, PIB, Publications Division, New Media Wing, and EMCC, with the possibility of receiving priority in outsourced projects. Application Details Batch Size: 15 startups per center Fee: ₹8,500 + GST per month Eligibility: Media, entertainment, and AVGC-XR startups preferred How to Apply: Submit applications at wavex.wavesbazaar.com under the “Apply for Incubation” option. Source: PIB

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Ashwini Vaishnaw Pushes for Indigenous Film Equipment, Model Cinema Rules

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Union Information and Broadcasting Minister Ashwini Vaishnaw on Tuesday emphasized the importance of manufacturing advanced film equipment such as professional-grade cameras in India under the ‘Make in India’ programme. Speaking at the National Film Awards ceremony, he highlighted the government’s commitment to boosting local production capabilities in the entertainment sector. Vaishnaw also revealed that the Centre is preparing Model State Cinema Regulation Rules aimed at harmonising permissions and approvals across states to make film production processes more seamless. The minister stressed the need to build a live concert economy, supported by clear policies, simplified permissions, and uniform guidelines, noting that such steps could significantly expand India’s creative industries. He reiterated Prime Minister Narendra Modi’s vision of positioning India as a global content hub. To further this goal, Vaishnaw said the country’s first International Institute of Cinema and Technology (IICT) has already started operations at the NFDC campus in Mumbai. The institute is offering 17 specialised courses in partnership with global technology giants such as Meta, NVIDIA, Microsoft, and Google. Highlighting global outreach, he mentioned that Indian creators are finding new opportunities abroad through the government-backed Waves Bazaar, which has been showcased in countries including Australia, South Korea, and Canada. Source: PTI  

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‘Homebound’ picked as India’s official Oscar entry for 2026

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Hindi film Homebound has been selected as India’s official submission for the 96th Academy Awards in the Best International Feature Film category. The announcement was made in Kolkata by filmmaker N. Chandra, chairperson of the 12-member selection committee, on Friday. Chandra revealed that 24 films across various Indian languages were in the race, calling the final choice “a very difficult decision.” He added, “We were not judges but mentors, looking for storytellers who have truly left an impact.” Directed by Neeraj Ghaywan and jointly produced by Karan Johar and Adar Poonawalla, Homebound features Ishaan Khatter, Vishal Jethwa, and Janhvi Kapoor in pivotal roles. The film follows the journey of two childhood friends from a modest village in northern India as they pursue a police job that offers them long-sought dignity and recognition. Source: PTI  

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Parliament Panel Seeks Legal, Tech Framework to Combat AI-Driven Fake News

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A parliamentary panel has urged the government to put in place robust legal and technological mechanisms to track, identify, and penalize those responsible for spreading AI-generated fake news. In its draft report, the Standing Committee on Communications and Information Technology — chaired by BJP MP Nishikant Dubey — emphasized the need for a balanced use of Artificial Intelligence. While AI is being applied to detect misinformation, the report cautioned that the same technology can also generate and amplify it. The report has been submitted to Lok Sabha Speaker Om Birla and will be tabled in the upcoming session. The committee has recommended stronger coordination between the Ministry of Information and Broadcasting, the Ministry of Electronics and Information Technology (MeitY), and other concerned departments. Among its proposals are exploring licensing requirements for AI content creators and introducing mandatory labelling for AI-generated text, videos, and images. It also highlighted ongoing government-backed projects such as deep learning-based speech detection systems and software tools designed to identify deepfake videos and images. The MeitY has already set up a nine-member panel to study deepfake-related challenges. While ministries have cautioned that AI in its current state cannot independently fact-check complex issues, the committee suggested using AI as a first filter to flag suspicious content, followed by human verification. Calling fake news a “serious threat” to democracy and public order, the panel urged amendments in penal laws, higher fines, and greater accountability. It also suggested mandating fact-checking units and internal ombudsmen in all media organizations, while stressing that such measures should be built through consensus among stakeholders. Although committee recommendations are not binding, they often guide government policy due to their bipartisan weight. Source: PTI

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