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

/ Media Entertainment & Art Community

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

/ Media Entertainment & Art Community

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

/ Media Entertainment & Art Community

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

/ Media Entertainment & Art Community

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

/ Media Entertainment & Art Community

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

/ Media Entertainment & Art Community

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

/ Media Entertainment & Art Community

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

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

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

/ Media Entertainment & Art Community

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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Broadcasters Gear Up for Legal Battle Against TRAI’s Ad Cap Notice

/ Media Entertainment & Art Community

TV broadcasters are preparing to challenge the recent show cause notices issued by the Telecom Regulatory Authority of India (TRAI) over alleged violations of the 12-minute-per-hour advertising cap. Broadcasters, along with industry bodies such as the Indian Broadcasting and Digital Foundation and the News Broadcasters and Digital Association, are evaluating legal strategies, with a final decision expected next week. Executives across the sector said the notices caught them off guard, especially as the matter is still pending before the Delhi High Court. They argued that enforcing the cap now could worsen the financial stress on broadcasters, who are already grappling with rising operational costs, weak advertising demand, and audience migration to OTT streaming platforms and DD Free Dish. The notices, issued on November 18, have given broadcasters 15 days to explain why action should not be taken for allegedly exceeding the advertising time limit. Industry leaders say many free-to-air channels currently rely heavily on ad-heavy prime-time slots for revenue, and cutting inventory now would strain them further. They added that despite reduced inventory theoretically pushing up ad rates, the current muted advertiser sentiment makes price hikes unrealistic. Executives also questioned the regulatory imbalance, pointing out that digital video platforms face no similar restrictions on ad volumes. They argued that the TV sector is over-regulated at a time when it is already losing market share. According to TAM AdEx, TV ad volumes fell 10% year-on-year in the first nine months of 2025. The FICCI EY media report showed that TV advertising revenues dropped 6% to ₹29,400 crore in 2024 due to reduced ad volumes and a decline of over 10% in the number of advertisers. Legal experts said TRAI may push for an expedited hearing on the ad cap case, which has been pending for more than a decade. The Delhi High Court had granted interim protection in 2013, barring coercive action against broadcasters. The case is now scheduled for its next hearing on January 27, 2026, with the interim order remaining in force until then. Source: Economic Times

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ICC Unveils Full Schedule for U19 Men’s Cricket World Cup 2026

/ Media Entertainment & Art Community

The International Cricket Council (ICC) has released the complete fixture list for the ICC U19 Men’s Cricket World Cup 2026, which will be jointly hosted by Zimbabwe and Namibia from January 15 to February 6, 2026. The event will feature 16 teams competing in 41 matches, culminating in the final at the Harare Sports Club on February 6. The tournament will open with three exciting clashes: India vs USA, Zimbabwe vs Scotland, and a landmark moment as Tanzania makes its maiden U19 World Cup appearance against the West Indies. Matches will be staged across five venues — Harare Sports Club, Takashinga Sports Club, Queens Sports Club (Zimbabwe), and Namibia Cricket Ground along with HP Oval (Namibia). Adopting the familiar structure, the competition will begin with four groups of four teams, progressing to the Super Six, followed by the semi-finals and the title match. Reigning champions Australia will commence their title defence against Ireland on January 16 in Windhoek. A highly anticipated face-off between traditional rivals India and Bangladesh is scheduled for January 17 in Bulawayo. Automatic qualification was granted to ten teams based on their 2024 World Cup showing, while hosts Zimbabwe and five regional qualifiers completed the lineup — a strong reflection of cricket’s expanding global footprint. Teams are expected to arrive on January 8, with warm-up games set between January 9 and 14. Group allocations are as follows: Group A: India, Bangladesh, USA, New Zealand Group B: Zimbabwe, Pakistan, England, Scotland Group C: Australia, Ireland, Japan, Sri Lanka Group D: Tanzania, West Indies, Afghanistan, South Africa Sharing his enthusiasm for the upcoming edition, ICC Chairman Jay Shah highlighted the tournament’s legacy in nurturing cricket’s biggest names — from Brian Lara and Sanath Jayasuriya to Virat Kohli, Kane Williamson, Steve Smith, and Shubman Gill. He noted that the 2026 tournament promises to provide young talents with a platform that mirrors the pressures of top-tier international cricket. Shah also celebrated Tanzania’s debut, calling it a sign of the sport’s increasing global reach, and extended his best wishes to all participating teams. Key schedule highlights include: January 15: USA vs India (Bulawayo), Zimbabwe vs Scotland (Harare), Tanzania vs West Indies (Windhoek) January 16: Pakistan vs England (Harare), Australia vs Ireland (Windhoek), Afghanistan vs South Africa (Windhoek) January 17: India vs Bangladesh (Bulawayo), Japan vs Sri Lanka (Windhoek) February 6: Final (Harare Sports Club) The complete schedule spans from January 15 to February 6, featuring the group stage, Super Six matches, semi-finals, and the championship finale. Source: IANS

ICC Unveils Full Schedule for U19 Men’s Cricket World Cup 2026 Read More »