How Indian TV and Film Producers Exploit Talent: Why Industry Needs Overhaul

The entertainment industry glitters with success stories, but behind the glossy veneer lies a dark reality—one where contracts are breached, payments are withheld, and talents are left financially ruined. The recent legal dispute between actress Manasi Salvi and producer Saurabh Tewari over the show Mahadev & Sons is just the tip of a very large, very ugly iceberg.

This article presents documented facts, direct quotes, and court-ordered outcomes to expose a systemic culture of exploitation. From television sets to film productions, the story is disturbingly consistent.

The Mahadev & Sons Dispute: Two Sides of the Story

Actress Manasi Salvi has escalated her dispute with producer Saurabh Tewari by filing a defamation case. Her version of events is as follows:

· She alleges the producer repeatedly sent messages claiming the channel wanted her removed, causing emotional stress and leading to reduced screen time.
· Salvi communicated her exit via email on April 21, receiving a reply that her work would be wrapped up and she could collect her contract.
· The producer reversed his stance 11 days later, attempting to enforce the original contract. Salvi's lawyers deemed this legally untenable.
· She decided to go public because producer Saurabh Tewari "ranted everywhere, to the media, the Producers Association and Artists Association".

Producer Saurabh Tewari, speaking to JustShowBiz, offered his counter-narrative:

· He accused Salvi of being "keen to breach the contract" despite his attempts to find a solution, such as offering a schedule where she could work 20 days on a new show and 10 days with their production.

Producer Pearl Grey entered the fray in support of Tewari:

· She accused Salvi of being "moody," instigating co-actors, and halting shoots.
· However, Salvi reposted reports alleging that Grey's own production, Doli Armaano Ki, had been the subject of complaints to CINTAA by cast and crew over unpaid dues. Salvi's post implied Grey's payments to staff were settled at a reduced rate: "Since the producer did not have money, it was settled at 60%, and 40% had to be forfeited".

This back-and-forth reveals a crucial flaw: the "difficult artist" narrative is often a smokescreen for contractual violations. The core issue remains the contract, not the personality.

A Recurring Pattern: Other Cases of Exploitation

1. Shashank Ketkar vs. Producer Mandar Devasthali (Marathi Television)

Actor Shashank Ketkar, known for the Marathi show Sukhachya Sarini He Man Baware, has been fighting for his dues for five years. The show went off-air in 2020, but the producer has allegedly not cleared his payments.

In an Instagram post that went viral, Ketkar wrote that he has been trying to contact the producer for the past five years. After contact was re-established on October 8, 2025, the producer "didn't even clear his dues on the promised dates". Ketkar stated that he is now "fed up with his lies" and called the producer "shameless" and "thick-skinned". He gave the producer an ultimatum: clear the full payment by January 5, 2026, or face exposure in a detailed video.

Adding to the weight of these allegations, another actor from the same show, Sangram Samel, commented on Ketkar's post revealing his own unpaid dues: "I still have around 3.5 lakh rupees pending. Forget about TDS. Five years ago, when we posted, some people suddenly came out in support—400-500 people... If everyone had even deposited 500-500 rupees, maybe we would have received some of our money". When asked by a user if others also hadn't been paid, Samel responded: "Almost everyone from that serial".

Ketkar publicly urged his fellow actor: "Don't sit quietly... I have great respect for him, but what can we do with that respect?". He has since initiated legal proceedings against the producer.

Producer's Response: Mandar Devasthali has not issued an official statement addressing these specific allegations.

1. Mere Sai Writers vs. Dashami Studioz (Television)

The writers of the popular devotional TV show Mere Sai have come forward with serious allegations against producers Nitin Vaidya, Ninad Vaidya, and Aparna Padgaonkar under their banner Dashami Studioz. In an exclusive interview with India Today, the writers revealed that their payments have been pending for three years, with dues mounting to over Rs 15 lakh for individuals.

Writer Nitin Keswani shared his ordeal: "When the new season started after a gap of two to two-and-a-half years, they made a false promise to me. They said, 'You please join again, and write for us. We will clear all your dues.' But they cheated me again. I had clearly told them that I was joining only because they promised to clear my old dues. They made me keep writing, and they continued lying to me. They made me write around 15–20 episodes, and at one point, I told them clearly that since they were not clearing my payments, I couldn't continue writing for free. But the issue kept dragging on".

"You are such sweet talkers. They keep saying that they will clear everything, but nothing is happening," Keswani added.

Writer Koel Chaudhari echoed similar concerns: "Since 2024, I haven't received anything. And unlike the last season, our show did really well. So what's the excuse for not paying us?". She further revealed the extent of the problem: "As far as I know, even the director hasn't been paid, and it's not just this show. Writers from other shows they produced, like Ahilya, also haven't been paid. There was another show on Colors as well, where writers had huge dues pending. So, they are basically repeat offenders. They kept producing more shows, but the payments to writers and crew from earlier projects remain pending".

Writer-producer Farhan Salaruddin shared that only 40 percent of his payment was cleared in random instalments, while 60 percent remains pending. He wrote for the second season of Shirdi Wale Sai Baba, which wrapped in June 2025: "The payment that came was also scattered, and the last one came in on November 6. It's been four months, and not a single rupee has been paid. They just keep delaying it, giving new dates".

Producer's Response: India Today reported that the producers "have defaulted on payments to several members of the cast and crew" and the publication noted that they did not provide an official comment. Multiple attempts to reach them for a response were unsuccessful.

1. Faraz Khan vs. Pooja Entertainment (Bollywood)

Actor Faraz Khan, who played Thabeel in Tiger Shroff's 2023 film Ganapath, has accused Vashu Bhagnani's Pooja Entertainment of withholding his payment for nearly two years, despite fulfilling his contractual obligations.

Taking to Instagram, Faraz issued a scathing statement: "My name is Faraz Khan. I was hired by Pooja Entertainment to play the role of Thabeel in the Hindi feature film Ganapath, directed by Vikas Bahl. My co-actor Armaan Khera and I shared nearly every scene, like on-screen twins. While he has been paid in full, I haven't received a single rupee of what I'm owed".

He slammed the studio for systemic mistreatment: "All top-billed cast and crew members have been paid—many with exorbitant fees. But when it comes to compensating the so-called 'small guy' like me, they choose to ignore and manipulate. It's more than just unprofessional—it's disgraceful". Faraz described his experience as an example of "dishonesty, disrespect, and deliberate delay," stating, "Let the industry and the public know how Pooja Entertainment treats its actors".

Issuing a firm ultimatum, Faraz warned that unless his payment is made and a public apology issued, he will pursue legal action. "Pay your people. Honour your contracts. Stop harassing independent artists," he concluded.

Notably, Faraz's allegations come amid reports that Pooja Entertainment accumulated massive debt after the commercial failure of high-budget projects, leading to the sale of their Juhu office in June 2024 to clear debts amounting to Rs 250 crore. Several crew members previously echoed similar complaints, with insiders claiming only the lead actors were paid in full.

Producer's Response: There has been no official statement from Vashu Bhagnani or Pooja Entertainment specifically addressing Faraz Khan's allegations, though the production house's financial troubles have been widely reported.

Anugraha S. Nambiar vs. Resort Makers (Digital Streaming)

Malayalam actor Anugraha S. Nambiar, a newcomer trying to establish herself, has accused the makers of the Tamil web series Resort (streaming on JioHotstar) of contractual traps, financial exploitation, and verbal abuse. In an emotional video on Instagram, Anugraha alleged that after signing a one-year exclusive agreement, the production house failed to provide her with work or remuneration for four months, yet invoked the contract to block her from accepting other professional opportunities.

"I lost a project with JioHotstar itself because they forced me to block my dates, promising an important role in Resort, only to lock me into this situation," she alleged. Coming from a small village in Kerala, she expressed her frustration: "You should not use dreamers and beginners like this".

The ordeal has taken a severe toll on her physical and mental well-being. She revealed that the stress resulted in epileptic seizures and a subsequent fall that required hospitalization. Due to the lack of payment, she admitted to facing extreme poverty and even starvation.

Anugraha further accused the show's lead actor Vijay Kumar Rajendran's wife, Nakshatra Murthy, of sending a derogatory voice message while she was hospitalized: "Either you marry her or tell her to come and act". She also stated that when Vijay learned about her hospitalization, he was unempathetic and allegedly told her friend that she need not return to the series.

Producer's Response: Nakshatra Murthy released a video statement categorically denying all allegations. She claimed that the friend Anugraha referred to was her boyfriend, who had screamed at her and asked for money. "Why should we give her money? Why should she ask her boyfriend to resort to such means? He is no one to shout at us," Nakshatra said, adding that Anugraha's issue appeared "pre-planned" and that she was "playing with a proper script". The legal battle has since escalated, with Vijay Kumar Rajendran and Nakshatra Murthy issuing a legal notice demanding an apology from Anugraha.

1. Vendors vs. Balaji Motion Pictures (Bhooth Bangla)

Vendors associated with the Akshay Kumar-starrer Bhooth Bangla alleged pending dues totaling nearly Rs 48 lakh. According to a Mid-Day report, one vendor claimed that Rs 30 lakh was still unpaid, while another alleged non-payment of Rs 18 lakh.

Producer's Response: Balaji Telefilms Limited issued a strong denial. Their official statement read: "With reference to various recent media reports and social media posts regarding certain allegations about unpaid dues by Balaji Telefilms Limited for the film Bhooth Bangla, this is to clarify that the Company has fulfilled all its contractual payment obligations for the film and there are no unpaid contractual dues nor is anything further due and payable to any vendors engaged by the company for this film for any services rendered by them". The statement further added that the company "holds all its partners, vendors and creative teams in high respect and duly fulfills all its contractual obligations and maintains high standards of corporate governance".

Notably, despite the controversy, Bhooth Bangla has earned over Rs 220 crore worldwide since its release, intensifying discussions surrounding the allegations.

1. Shailesh Lodha vs. Asit Modi (TMKOC) – A Rare Victory

Actor Shailesh Lodha, who played the titular role in Taarak Mehta Ka Ooltah Chashmah for over 14 years, quit the show in 2022 and approached the National Company Law Tribunal for clearance of his dues.

After legal proceedings, Lodha won the lawsuit. As per the settlement terms, producer Asit Modi was ordered to pay Rs 1,05,84,000 by demand draft. Speaking to Bombay Times after the verdict, Lodha said: "The fight was never about the money. It was about seeking justice and self-respect. I feel like I have won a battle and I am happy that the truth has prevailed". He added that he "didn't bow down to the arm-twisting".

In a separate interview, Lodha revealed the real reason behind his exit: the producer's behavior. "The language that he used was not civil, leaving me infuriated... I could not tolerate the way he spoke to me. A show is made by many people coming together and not just one person". He alleged that even while he continued to shoot, his payments were being withheld, and they asked him to sign an agreement that would limit his rights.

Producer's Response: Asit Modi responded by claiming that Lodha "made false claims of winning the case. The very statement that he won the case is a wrong representation on the part of Shailesh Lodha. The court order says it was settled with consent". Modi expressed that he was "surprised as well as saddened by his behaviour".

1. Kunal Khemu and Ravi Khemu vs. Producer Ravi Durgaprasad Agarwal

In a case that flips the script, film producer Ravi Durgaprasad Agarwal filed a cheating complaint against actor Kunal Khemu and his father Ravi Khemu. According to the complaint, the producer approached Kunal to play the lead role in a Hindi film titled Overtake. After discussions, the producer gave Kunal Khemu Rs 21 lakh as a signing amount. However, Kunal and his father allegedly started demanding more money instead of starting the film, due to which the film could not proceed and the producer suffered heavy losses.

The complaint, filed through advocate Vedika Chaube in 2024, accuses the father-son duo of cheating, criminal breach of trust, and criminal intimidation related to a film project dating back nearly two decades. A Mumbai court has sought a response from the Amboli police in this matter.

Actor's Response: Neither Kunal Khemu nor his father has issued a public statement addressing these allegations.

The Core Problem: A System Designed for Exploitation

This litany of cases points to a systemic failure, not isolated incidents.

First, the Indian entertainment industry operates without a strong, centralized regulatory body to enforce contracts and ensure fair pay. Bodies like CINTAA have been accused by actors—including Shilpa Shinde—of being toothless and failing to protect artists.

Second, vague and exploitative clauses such as "exclusivity" and "morality" can be weaponized by producers against talent, as seen in the Resort case where Anugraha was contractually blocked from other work without being provided any.

Third, the master-servant dynamic remains deeply entrenched. Actors and writers are often treated as disposable, with producers assuming they can delay payments indefinitely because most talents cannot afford lengthy legal battles. Faraz Khan's statement—"All top-billed cast and crew members have been paid—many with exorbitant fees. But when it comes to compensating the so-called 'small guy' like me, they choose to ignore and manipulate"—captures this hierarchy perfectly.

Fourth, the fear of blacklisting silences many. Kotwal's admission—"This is affecting my future prospects... people will say she is a troublemaker"—is a sentiment shared quietly by countless others.

Finally, even when legal action is taken, outcomes are inconsistent. While Shailesh Lodha secured a significant settlement after a prolonged battle, many others—like the Mere Sai writers and Shashank Ketkar—continue to wait years for their dues.

A Blueprint for Reform

The proposed Kerala Entertainment Industry Equality and Empowerment Act offers a vital blueprint. Modeled after similar legislation in other creative sectors, it calls for:

· A statutory regulatory authority with enforcement powers
· Mandatory written contracts with clear payment terms
· Minimum wage guarantees for all cast and crew
· Grievance redressal mechanisms with strict timelines
· Penalties for non-compliance, including fines and blacklisting

The rest of the country must follow suit. Until then, the stories documented here will continue to repeat—talent after talent, production after production, with only the names changing.