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Tuesday, February 24, 2026 1:05 AM

Media Entertainment & Art Community

Warner Reopens Talks with Paramount After Netflix Waiver Amid Ongoing $80B+ Merger Battle

Warner Bros. Discovery has reopened takeover discussions with Paramount Skydance after receiving a temporary waiver from Netflix, even as it continues to recommend its previously agreed merger with the streaming giant. In a regulatory filing on Tuesday, Warner said Netflix had granted it a seven-day window to re-engage with Paramount and address outstanding concerns in its latest proposal. The waiver, valid through Monday, enables the companies to clarify terms and resolve what Warner described as “deficiencies” in Paramount’s bid. Despite reopening talks, Warner’s board reiterated its support for the Netflix transaction. Shareholders are set to vote on the proposed deal at a special meeting scheduled for March 20. Netflix, in a statement, expressed confidence that its offer delivers “superior value and certainty,” while acknowledging the broader industry uncertainty sparked by Paramount’s competing bid. The company characterized the waiver as an opportunity to “finally resolve” the ongoing situation. Paramount, however, described Warner’s decision to impose a time-bound engagement as unusual. It argued that the board could have independently evaluated whether its offer was more attractive. Nevertheless, Paramount confirmed its willingness to participate in constructive discussions and continue pursuing its all-cash tender offer of $30 per share — which it maintains is more favorable than Netflix’s proposal. The company also indicated it could raise its bid to $31 per share, pending further engagement, and is pressing ahead with plans for a proxy battle. The competing offers differ significantly in scope. In December, Netflix agreed to acquire Warner’s studio and streaming operations in a deal valued at $72 billion. Including debt, the enterprise value stands at approximately $83 billion, or $27.75 per share. The transaction would follow Warner’s planned separation of its cable networks business. Paramount, by contrast, is seeking to acquire Warner in its entirety — including assets such as CNN and Discovery — through a $77.9 billion hostile bid. Including debt, that offer values the company at roughly $108 billion, or $30 per share. Analysts at Raymond James noted that if Paramount were to raise its bid to the $32–$33 range, it would become increasingly challenging to argue that the Netflix agreement offers better value. However, they added that Netflix still holds a strategic advantage and could counter with a higher offer if needed. In an effort to win over shareholders, Paramount has sweetened its proposal by introducing a “ticking fee” — 25 cents per share per quarter if the deal does not close by year-end — and has pledged to cover Warner’s $2.8 billion breakup fee owed to Netflix under the existing agreement. Support for Paramount’s tender offer remains limited. As of last week, approximately 42.3 million Warner shares had been tendered and not withdrawn — a fraction of the company’s 2.48 billion outstanding shares — and significantly lower than the 168.5 million shares reported in January. Meanwhile, activist investor Ancora Holdings has voiced opposition to the Netflix deal, adding another layer of complexity to the takeover battle. Regulatory scrutiny looms large over both proposals. Lawmakers have raised antitrust concerns given the scale of the potential consolidation in the media and entertainment sector. The U.S. Department of Justice has begun reviewing the transactions, and other global regulators are expected to examine the deals closely. Both Paramount and Netflix have confirmed they secured securities clearance from German authorities last month. Investor reaction has been measured but positive. Shares of Warner Bros. Discovery climbed more than 3% in Tuesday trading, while Paramount Skydance rose over 5%. Netflix shares edged slightly higher. Source: AP

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JioHotstar Hires Senior Leaders from Google, Flipkart, CRED and Amazon Pay to Accelerate AI-Led Streaming

JioHotstar has significantly bolstered its leadership team by onboarding senior executives from some of the world’s leading consumer internet and technology companies, as it sharpens its focus on AI-driven, personalised streaming experiences. The latest hires strengthen the platform’s capabilities across product, engineering, data, discovery, marketing intelligence and monetisation, signalling JioHotstar’s next phase of growth. The newly appointed leaders bring experience from organisations such as Google, Flipkart, Amazon Pay, CRED, Razorpay, Myntra, ShareChat and Cleartrip, adding depth to JioHotstar’s technology and consumer experience stack. Among the key appointments, Shrinivas SG joins to head Discovery and Personalisation. Formerly with Flipkart, he brings extensive experience in building large-scale search and discovery systems, including GenAI-powered conversational commerce with a strong focus on vernacular, voice and video-led discovery. Naveen Prashanth, who joins from Google, will lead Consumer Marketing. At Google, he oversaw marketing for YouTube Shorts, Creators and Artists in India, driving brand growth and monetisation. He has also worked with McKinsey & Company, advising FMCG and B2C firms on growth and transformation strategies. On the engineering front, Abhishek Sharan brings over 15 years of experience building high-traffic consumer platforms. Having held leadership roles at Flipkart and Myntra, he has worked across search, recommendations, advertising systems, applications, and trust and safety. Most recently, he served as Head of Engineering at SuperMoney and will now lead Viewer Experience Engineering at JioHotstar. Strengthening advertising and monetisation technology, Abhishek Varshney joins from CRED, where he spent nearly five years developing products across payments, ordering and financial engineering. His earlier stints include roles at Razorpay and Flipkart. Further reinforcing its product and engineering leadership, Chandramauli Singh (from ShareChat) and Nishant Paliwal (from Cleartrip) bring expertise in recommendation systems, scalable platform architectures and user engagement frameworks. JioHotstar has also appointed Chandru as Senior Vice President – Product Management, where he will lead subscriptions and new initiatives. With over 13 years of experience, Chandru previously spent more than a decade at Amazon Pay, playing a key role in building large-scale consumer and payments platforms. An alumnus of IIM Bangalore, he has also worked at Mu Sigma. The company’s push towards intelligent, data-led streaming is further supported by earlier hires such as David Zakkam, who leads analytics and data strategy, and Emmy Award-winning technologist Stephen Bugaj, appointed Senior Vice President – GenAI Content & Technology. With this expanded leadership bench, JioHotstar aims to accelerate its transformation into a responsive, AI-powered and insight-driven streaming platform, enhancing content discovery, engagement and monetisation as it scales to meet evolving consumer expectations.

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Noida Film City to Host World’s Largest Integrated Content Creators’ Incubation Ecosystem

Noida Film City is poised to emerge as a global hub for the creator economy with plans to establish the world’s largest integrated Content Creators’ Incubation and Lab Ecosystem. Announced in line with the vision articulated in the Union Budget 2026, the initiative underscores India’s ambition to lead the next wave of global creative innovation. Filmmaker Boney Kapoor said the proposed ecosystem will be a first-of-its-kind platform designed not just for learning, but for enabling creators to build sustainable careers. The initiative aims to support creators in developing original intellectual properties (IPs), launching scalable creative ventures, and accessing global markets. Conceived as a comprehensive incubation-to-production framework, it will cater to the full creative spectrum—from feature films and OTT productions to new-age digital formats such as vertical storytelling and short-form episodic content. Located within the Bayview Bhutani Film City in Noida, the ecosystem will bring together a diverse community of creators, including filmmakers, digital influencers, gamers, musicians, podcasters, and storytellers. By housing multiple creative disciplines under one roof, the project is expected to drive collaboration, accelerate innovation, and enable creators to monetize content across international platforms. The Film City will be equipped with cutting-edge studios, advanced technology infrastructure, structured incubation labs, and mentorship programmes led by industry veterans and cinematic icons. With thoughtfully designed and visually distinctive production spaces, it is set to become a landmark destination for global content creation. The initiative aligns with the government’s Make in India and Viksit Bharat vision, while opening new avenues for employment, economic growth, and global visibility for India’s rapidly expanding creator community. Source: Economic Times

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Steven Spielberg Completes EGOT With First-Ever Grammy Win

Legendary filmmaker Steven Spielberg has officially entered the elite EGOT club after winning his first Grammy Award on February 1, marking a historic milestone in his decades-long career. Spielberg earned the Grammy for Best Music Film at the 68th Annual Grammy Awards for Music by John Williams, a documentary he produced that celebrates the life and extraordinary legacy of iconic composer John Williams. The film explores Williams’ profound influence on cinema through unforgettable scores for classics such as Jaws, E.T. the Extra-Terrestrial, Indiana Jones, Jurassic Park and Schindler’s List. With this win, Spielberg now holds at least one competitive Emmy, Grammy, Oscar and Tony Award, placing him among just 28 individuals to have achieved EGOT status. The term “EGOT” was first popularised in the 1980s and represents the highest cross-platform recognition in American entertainment. Reacting to the achievement, Spielberg expressed gratitude to the Grammy voters and his collaborators, noting that the honour was especially meaningful because it recognised John Williams’ unmatched contribution to music and culture. He described Williams’ impact as “immeasurable” and praised director Laurent Bouzereau for crafting a deeply personal and powerful film. A Career Spanning Every Major Stage Spielberg’s path to EGOT recognition reflects his influence across film, television and theatre: Oscars: He has won three Academy Awards—Best Director and Best Picture for Schindler’s List and Best Director for Saving Private Ryan—alongside more than 20 nominations. Emmys: As a producer, Spielberg won Primetime Emmys for hit shows including E.R. and Animaniacs. Tony: He received a Tony Award in 2022 as a producer of the Broadway musical A Strange Loop, which won Best Musical. Grammy: The win for Music by John Williams completes the EGOT set. A Five-Decade Creative Partnership The Grammy victory is especially symbolic given Spielberg’s long-standing collaboration with John Williams, who has composed music for 29 of the director’s films since The Sugarland Express in 1974. Williams, now 94, remains one of the most honoured composers in history, with dozens of major awards and over 50 Academy Award nominations. The documentary features insights from leading figures across film and music, tracing Williams’ journey from early television work to defining some of the most recognisable themes in modern cinema, including Star Wars, Superman and Harry Potter. Still Going Strong at 79 Despite reaching EGOT status, Spielberg shows no signs of slowing down. His next film, Disclosure Day, starring Emily Blunt, is scheduled for release later in 2026, alongside multiple projects in development under his Amblin Entertainment banner. The Grammy win not only caps an extraordinary career but also reinforces Spielberg’s lasting impact across every major entertainment medium—cinema, television, theatre and music storytelling—cementing his place as one of the most influential creators of all time. Source: Forbes  

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Supreme Court clears way for CCI probe into JioStar over alleged abuse in Kerala cable TV market

The Supreme Court on Tuesday declined to interfere with a Kerala High Court order that permitted the Competition Commission of India (CCI) to continue its investigation into allegations of unfair trade practices in Kerala’s cable television market, dealing a setback to broadcaster JioStar India. JioStar, which holds over 34% share of India’s TV network market, had challenged the high court’s ruling that upheld the CCI’s decision to probe allegations of abuse of dominant position raised by Asianet Digital Network (ADN). The Kerala High Court bench hearing the matter comprised Justices Sushrut Arvind Dharmadhikari and Syam Kumar VM. Before the Supreme Court, JioStar was represented by senior advocate Mukul Rohatgi, while the CCI was defended by additional solicitor general N. Venkataraman. Dismissing the plea, a bench of Justices JB Pardiwala and Sandeep Mehta said it found “no good ground” to interfere with the high court’s order after examining the submissions and the record. The case has wider corporate linkages, as Viren and Akshay Raheja—promoter shareholders in Reliance-controlled Hathway Cable—along with their family investment firm, Hathway Investments, also hold stakes in Asianet Satellite Communications, the parent company of ADN. The dispute traces back to February 2022, when the CCI ordered an investigation into Star India, then owned by Walt Disney, following a complaint by ADN. Since then, Star India has merged with Reliance Industries-owned Viacom18 to form JioStar, which is now under Reliance’s control. ADN has accused JioStar of abusing its dominant position and denying market access, allegedly in violation of Sections 4(2)(a)(ii) and 4(2)(c) of the Competition Act, 2002. The complaint centres on alleged “sham” marketing and advertising agreements between Star and Kerala Communicators Cable Limited (KCCL). Under the Telecom Regulatory Authority of India’s (TRAI) New Tariff Order, broadcasters are allowed to offer a maximum discount of 35% on the maximum retail price (MRP) to distributors and must adhere to transparent and non-discriminatory pricing. ADN alleged that Star circumvented these norms by offering KCCL discounts of up to 50% through separate marketing and advertising arrangements. According to ADN, these agreements were purportedly aimed at promoting Star’s flagship Malayalam channel—popularly known as Asianet—which commands more than 60% viewership share in Kerala. However, the advertisements were allegedly aired on a low-visibility ‘Test’ channel with negligible audience reach, raising questions over the genuineness of the promotional activity. ADN claimed that these practices resulted in discriminatory discounts, restricted market access for competitors, and gave KCCL an unfair competitive edge. While upholding a single-judge order dated May 28, 2025, the Kerala High Court had dismissed JioStar’s challenge and directed the CCI to hear all stakeholders before issuing a reasoned order. The court also instructed the regulator to first decide, as a preliminary issue, whether it has jurisdiction in light of the TRAI Regulations, 2017. If necessary, the CCI may pause its proceedings until TRAI examines the matter. The high court directed that the entire exercise be completed within eight weeks from December 3, 2025, while allowing the parties to seek an extension if required. Source: Economic Times

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Spotify India Posts Profit in FY25 as Subscriptions Drive Turnaround

Spotify’s India business returned to profitability in FY25, reporting a net profit of ₹75 crore, a sharp reversal from a net loss of ₹143 crore in the previous fiscal year. The turnaround was driven by strong revenue growth, led by a surge in paid subscriptions, along with a significant cut in advertising and marketing expenses, according to regulatory filings. Spotify India LLP recorded a 48% year-on-year increase in revenue from operations to ₹514 crore in FY25, up from ₹348 crore in FY24. Including other income, total revenue climbed 50% to ₹527 crore from ₹351 crore in the previous year. Subscription revenue emerged as the key growth engine, jumping 89% to ₹317 crore, as the music streaming industry increasingly nudged users towards paid plans by limiting free-tier consumption. In India, Spotify currently offers three subscription options: Lite at ₹139 per month, Standard priced at ₹99 per month for the first three months and ₹199 per month thereafter, and Platinum at ₹299 per month. Advertising revenue also showed healthy growth, rising 38.5% to ₹187 crore during the year. Spotify is estimated to have a user base of around 70–80 million in India. The company did not respond to queries seeking comment on the results. The Indian entity operates as a limited liability partnership, with Spotify AB holding a 99.99% stake and Spotify Ltd owning the remaining 0.01%. Improved profitability was further aided by strict cost management. Total expenditure fell to ₹451 crore in FY25 from ₹494 crore a year earlier. Advertising and marketing expenses declined sharply to ₹243 crore from ₹387 crore, delivering substantial savings. However, personnel costs rose to ₹100 crore from ₹85 crore due to higher hiring and compensation, while other expenses increased to ₹100 crore from ₹13 crore, partially offsetting the reduction in marketing spends. On the balance sheet front, total assets increased to ₹896 crore as of March 31, 2025, compared with ₹851 crore a year earlier. Cash and cash equivalents also rose to ₹634 crore from ₹599 crore, reflecting a stronger liquidity position. Despite the return to profitability, Spotify India continued to carry accumulated losses. Reserves and surplus remained negative at ₹1,221 crore at the end of FY25, though this improved from ₹1,312 crore in FY24. As per Spotify Technology SA’s global annual report, the India unit had net operating loss carry-forwards of €117 million as of December 2024. These losses can be offset against future taxable profits, subject to applicable laws and regulations. Source: Economic Times

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JioHotstar Revises Super & Premium Subscription Prices, Introduces Monthly Plans

JioHotstar has announced a revision in its subscription pricing, increasing rates for its Super and Premium tiers while rolling out monthly plans across all categories. The new pricing framework will come into effect from January 28, 2026. Under the updated structure, quarterly and annual plans for Super and Premium users will cost more, reflecting changing viewing habits. According to the platform, a growing number of users are shifting towards connected TVs and multi-device viewing, leading to a sharp rise in large-screen consumption over the past year. While Mobile plan users will see no change in their quarterly and annual prices, higher-tier subscribers will pay more for longer-term packs. The Premium annual plan has been increased from ₹1,499 to ₹2,199, and the Super annual plan has gone up from ₹899 to ₹1,099. Quarterly prices for both tiers have also been revised upward. At the same time, JioHotstar has introduced monthly entry-level plans, starting at ₹79 for Mobile users, aimed at first-time and short-term viewers seeking flexibility. Additionally, Hollywood content will now be included for new Super and Premium subscribers, while Mobile users can access international titles through a paid add-on. Existing subscribers will continue at their current rates as long as auto-renewal remains enabled. JioHotstar currently boasts over one billion downloads on Google Play and reaches more than 450 million monthly active users across India. Commenting on the change, Sushant Sreeram, Head – SVOD Business & CMO, JioStar, said the revised pricing aligns with evolving audience preferences. He noted that the update is designed to offer greater choice and flexibility, while supporting continued investment in premium content, live sports, and a high-quality streaming experience at scale. Source: Economic Times

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BookMyShow Reports ₹192 Crore Profit Driven by Strong Live Events Growth

Big Tree Entertainment, the company behind online ticketing major BookMyShow, has reported a consolidated net profit of ₹192 crore for the financial year ended March 2025, marking a sharp rise from ₹109 crore recorded in the previous fiscal. The growth was largely fuelled by robust performance in ticketing and a rapidly expanding live events business. As per filings with the Registrar of Companies (RoC), the company’s total income increased significantly to ₹1,869 crore in FY25, compared with ₹1,430 crore in FY24. During the same period, total expenditure also rose to ₹1,704 crore from ₹1,320 crore, reflecting higher operating costs associated with scaling up large-format live events. The surge in revenue and expenses was primarily attributed to the expansion of live entertainment offerings, including major music festivals, touring concerts, and comedy shows. BookMyShow, however, declined to officially comment on its financial performance. India’s largest online entertainment ticketing platform, BookMyShow competes with players such as Zomato-backed District. Beyond movie ticketing, the company has built a strong live events portfolio, hosting and managing popular properties like Lollapalooza India. Online ticketing continued to be the company’s biggest revenue contributor, generating ₹828 crore in FY25, up from ₹741 crore a year earlier. Meanwhile, revenue from live events saw a steep jump to ₹756 crore from ₹455 crore, highlighting growing consumer demand for concerts and on-ground experiences. In 2025, BookMyShow served as the ticketing partner for British rock band Coldplay’s India concerts under the Music of the Spheres World Tour. The company also benefited from a strong film release calendar during the year. Source: Economic Times

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Prasar Bharati Launches ‘Creator’s Corner’ to Promote India’s Creator Economy

In a major step towards strengthening India’s growing creator economy, public broadcaster Prasar Bharati has announced the launch of a new 30-minute programme titled Creator’s Corner on DD News and its digital platforms. The show will air in prime time from Monday to Friday at 7 pm, with repeat telecasts at 9:30 am from Tuesday to Saturday. The initiative will showcase content created by digital creators, with individual segments ranging from two to ten minutes. Submissions will be selected through an application process and vetted by an independent panel to ensure quality and diversity across subjects. All creators and their channels will receive full on-screen credit for their work. Information and Broadcasting Minister Ashwini Vaishnaw described the move as a landmark reform for Prasar Bharati, calling it the first time content creators are being integrated into a national public broadcasting network under a structured revenue-sharing model. Under this model, 90 per cent of the revenue generated will go to the creators, while Prasar Bharati will retain the remaining 10 per cent. Minister of State for Information and Broadcasting L Murugan said the programme will provide a credible national platform for influencers and creators producing meaningful and high-quality content. Vaishnaw also stated that 2026 will mark a year of wide-ranging reforms for Prasar Bharati, with a shift towards modern programming styles aligned with technology, contemporary themes and the expectations of younger audiences. He further announced a complete restructuring of the Ministry of Information and Broadcasting, including the introduction of a new operating system aimed at making the ministry and its allied bodies more industry-focused, creator-friendly and technology-driven. The Creator’s Corner initiative was unveiled in the presence of Minister of State L Murugan, Information and Broadcasting Secretary Sanjay Jaju, Prasar Bharati CEO Gaurav Dwivedi, and other senior officials. Source: PTI

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Dhurandhar Sets New Benchmark as Highest-Grossing Hindi Film in India

Aditya Dhar’s action-packed spy thriller Dhurandhar has rewritten Indian box office history by becoming the highest-grossing Hindi film ever in the domestic market. The makers announced that the film has surpassed Rs 831 crore net collections in India, claiming the top position among all Hindi-language releases to date. Led by Ranveer Singh, the film added Rs 5.70 crore net on Day 33 (Tuesday), taking its total India net earnings to Rs 831.40 crore. With this feat, Dhurandhar has edged past the previous record-holder, the Hindi version of Pushpa 2: The Rule, which had amassed Rs 830 crore. Confirming the milestone, the production team said in a statement that the film’s achievement marks a defining moment for Indian cinema, setting a new standard for box office success in the Hindi film industry. Before Dhurandhar, the record was held by Pushpa 2: The Rule (Hindi). Other major Hindi blockbusters include Shah Rukh Khan’s Jawan with Rs 643 crore and the horror-comedy ** Stree 2**, which earned Rs 627 crore in India. The film’s success has been driven by strong week-on-week performance. It opened with Rs 218 crore in its first week, followed by Rs 261.50 crore in week two. Week three brought in Rs 189.30 crore, while week four added Rs 115.70 crore. The film collected Rs 35.80 crore during its fifth weekend and has continued to maintain steady weekday numbers. Written and directed by Aditya Dhar, Dhurandhar is a high-intensity espionage drama inspired by real-life geopolitical and terror-related events, including the Kandahar hijacking, the 2001 Parliament attack, and the 26/11 Mumbai terror attacks. Much of the story unfolds in Lyari, Karachi, a region known for its history of gang violence and turf wars. The film has generated sharply divided opinions from critics and audiences alike. Produced by Aditya Dhar and Lokesh Dhar under B62 Studios, in association with Jio Studios led by Jyoti Deshpande, the film features an ensemble cast including Sanjay Dutt, Akshaye Khanna, Arjun Rampal, Sara Arjun, R. Madhavan, and Rakesh Bedi. Reacting to the achievement, Yash Raj Films congratulated the team on social media, calling Dhurandhar a landmark moment in Indian cinema and applauding Aditya Dhar and Jio Studios for delivering the highest-grossing Hindi film ever in a single language. Source: Economic Times

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