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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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Homebound advances in Oscars 2026 race, brings Indian cinema back into global spotlight

Indian cinema has once again made its presence felt on the global awards stage, with Homebound moving into the next round of voting for the Best International Feature Film category at the Oscars 2026. The Academy of Motion Picture Arts and Sciences (AMPAS) announced that 15 films from around the world have been shortlisted from a pool of entries submitted by 86 countries and regions. India’s Homebound is among this elite list, standing alongside films from Argentina, Brazil, France, Germany, Iraq, Japan, Jordan, Norway, Palestine, South Korea, Spain, Switzerland, Taiwan, and Tunisia. The shortlisted titles include Belen (Argentina), The Secret Agent (Brazil), It Was Just an Accident (France), Sound of Falling (Germany), The President’s Cake (Iraq), Kokuho (Japan), All That’s Left of You (Jordan), Sentimental Value (Norway), Palestine 36 (Palestine), No Other Choice (South Korea), Sirat (Spain), Late Shift (Switzerland), Left-Handed Girl (Taiwan), and The Voice of Hind Rajab (Tunisia). Confirming the development, The Academy shared an update on its official social media platforms, noting that the selected films have advanced to the next stage of voting. The final Oscar nominations are scheduled to be announced on Thursday, January 22. Directed by Neeraj Ghaywan, Homebound has already enjoyed an impressive international journey, premiering at major film festivals including Cannes, Toronto International Film Festival, and the Melbourne International Film Festival. With its inclusion in the Oscar shortlist, the film has achieved a rare distinction, becoming only the fifth Indian film in the Academy Awards’ 98-year history to reach this stage in the International Feature Film category. Starring Ishaan Khatter and Vishal Jethwa in lead roles, the film explores the lives of childhood friends Shoaib and Chandan, whose shared aspiration to join the police force shapes their destinies. Janhvi Kapoor plays a key role, adding emotional depth to a narrative rooted in friendship, ambition, and the social pressures faced by young people in contemporary India. Ishaan Khatter marked the achievement by sharing the news on his Instagram stories. Homebound is produced by Karan Johar, Adar Poonawalla, and Apoorva Mehta, with co-producers Marijke deSouza and Melita Toscan Du Plantier. The project also boasts acclaimed filmmaker Martin Scorsese and Pravin Khairnar as executive producers. The film’s progression in the Oscars race is being seen as a significant moment for Indian cinema, reinforcing its growing resonance on the international stage. Source: ANI

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Government Sets Up Live Events Development Cell to Power India’s Rapidly Growing Concert Economy

The Union Ministry of Information and Broadcasting has launched a Live Events Development Cell (LEDC) to provide a structured push to India’s fast-growing live entertainment and concert ecosystem, according to an official statement. Envisioned as a single-window facilitation platform, the LEDC will help simplify regulatory processes, coordinate with states and industry stakeholders, and create an enabling environment for large-scale live events. The broader objective is to position India as one of the world’s leading live entertainment destinations by 2030. The move comes at a time when the organised live events industry is witnessing strong momentum. Valued at ₹20,861 crore in 2024, the sector is expanding at nearly 15% annually and is projected to grow at a CAGR of 18%, outperforming several traditional media segments. Constituted in July 2025 under the direction of Union I&B Minister Ashwini Vaishnaw, the LEDC brings together representatives from central and state governments, industry associations, and major event management companies to drive coordinated policy support and sectoral growth. The initiative follows Prime Minister Narendra Modi’s remarks at the WAVES Summit in May 2025, where he underscored the live entertainment industry’s untapped potential to boost investment, tourism, and India’s global cultural footprint. Currently, the sector supports over 10 million jobs, with each large-format event generating more than 15,000 direct and indirect employment opportunities. Growth is no longer limited to metros, as Tier-2 and Tier-3 cities emerge as new demand centres. Data cited from a BookMyShow 2025 report highlights a 490% surge in live event footfalls in Visakhapatnam, while Shillong and Guwahati recorded growth of 213% and 188%, respectively. Overall consumption across music concerts, sports, and theatre rose by 17%. Industry experts note that the increasing presence of global performers alongside extensive domestic tours signals a maturing and globally competitive market. To bridge infrastructure gaps and improve ease of doing business, the ministry has also set up a Joint Working Group with private sector players, including District by Zomato. Through these measures, the LEDC aims to double the size of the live events industry, create 15–20 million jobs, and place India among the top five global live entertainment hubs. Source: Economic Times

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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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