Akash Jagga, a TV actor, talks about how payments often get delayed by 90 days and is a common practice in the industry now

After TV actor Shehzada Dhami alleged that a production house owes him Rs 30 lakh in unpaid dues, the spotlight turns to the industry’s long-standing culture of delayed payments, particularly for those who are new to the screen

Tanisha Banerjee (MID-DAY; July 12, 2026)

For millions of viewers, television actors are familiar faces who appear in their living rooms every evening, often associated with fame and success. But behind the polished sets and prime-time popularity lies a far less glamorous reality. Over the years, several actors have publicly alleged delayed or unpaid remuneration, exposing the financial uncertainty that exists within the industry.

That conversation has resurfaced after TV actor Shehzada Dhami (Yeh Rishta Kya Kehlata Hai) alleged that a production house owes him Rs 30 lakh in unpaid dues. Speaking up in his support, actor Shilpa Shinde (Bhabhi Ji Ghar Par Hai!) described some television producers as “white-collar mafia”.

Their claims join a growing list of similar complaints in the television industry. Actors including Nupur Alankar (Diya Aur Baati Hum), Kishwer Merchant (Hip Hip Hurray), even the family of deceased actor Manmeet Grewal (Aadat Se Majboor) have, at different points, spoken about delayed payments, financial distress, or the irregular cash flow that often accompanies television work.

While producers’ bodies have occasionally disputed individual allegations or cited contractual and production-related complications, the recurring nature of these complaints points to a systemic issue rather than isolated disputes.

TV actor Akash Jagga, who is best known for his roles in Kasautii Zindagii Kay (2020) and Sasural Simar Ka 2 (2021-2022), entered the television industry in 2020. He says that delayed payments are not an exception but an accepted part of the profession. It is an unspoken standard practice for actors, especially newcomers, to be paid 90 days after the shooting of a particular show. His conversations with senior actors reveal how drastically the payment culture has changed over the years.

“I’ve heard from seniors that actors used to receive payments almost immediately. Then it became a week, then a month, then two months. Today, many actors are paid nearly three months after an episode is telecast,” he says.

Unlike film stars with multiple revenue streams, many TV actors rely on regular shooting schedules for a steady income. Payments are frequently staggered, and speaking out against delayed dues can carry the risk of being labelled “difficult” in an industry driven largely by relationships and reputation. As more actors come forward with their experiences over time, the spotlight is shifting from standalone individual disputes to questioning how financially secure are the faces that dominate Indian television screens?

TV actor Shreya Sinha [name changed] recalls an incident that exposed the power imbalance many television actors face when it comes to getting paid. During one of her projects, she says the production house attempted to pay her only half of what had been agreed upon when she was cast.

“They sent me only half my payment. That wasn’t what we had discussed. I stood my ground and told them that if I had worked, I deserved to be paid in full,” she says. After repeatedly following up, Sinha eventually received the full amount in her next payment cycle. However, she says several of her co-actors, who were hesitant to question the producers for fear of being replaced, did not get their dues.

Such delayed and partial payments are not uncommon. “We were paid once every three months, and sometimes only around 20 per cent of the total amount would come. Some of my co-actors went six to eight months without receiving their dues.” She believes newcomers are especially vulnerable. Many young actors, eager for visibility, accept salaries as low as Rs 15,000 a month despite working a 12 to 14-hour shifts. “You can’t even pay your rent in Mumbai with that. They do it because they want an opportunity, but that’s exploitation,” she says.

While contracts may allow established actors to negotiate payment clauses, Jagga believes newcomers have little bargaining power. Eager to secure their first break, they often accept whatever terms are offered. “As soon as actors ask for a better budget, makers can easily replace them with someone new who’s willing to work for less. That’s why television budgets have kept shrinking.”

Jagga admits he, too, accepted such conditions when starting out. But reality catches up. “We spend long hours on set, sacrifice our personal lives, and our health, yet the pay doesn’t reflect the amount of work we put in.”

Shehzada Dhami’s allegations are not an isolated case. Last month, actor Satendra Soni (Laapata Ladies 2023) broke down in an emotional Instagram video, alleging that he had not been paid for his work and claiming he was threatened after repeatedly asking for his dues. His video struck a chord with many within the industry, once again highlighting the financial insecurity that can accompany life in television. While not every project is affected, payment disputes remain a recurring concern across India’s entertainment industry, underscoring the absence of uniform safeguards for freelance creative professionals.

Offering the producers’ perspective, actor, producer, director, and Indian Film and Television Producers Council (IFTPC) chairman for TV and Web Jamnadas Majethia says delayed payments are rarely intentional and are often a consequence of mounting financial pressures within the television ecosystem.

Majethia explains that payment delays often arise when a producer suffers financial losses or faces cash flow issues. In such situations, producers prioritise immediate operational expenses, including payments to daily wage workers, studios, and essential vendors, while actors and suppliers often receive their dues later.

“A producer has to ensure the shoot doesn’t stop. If the studio isn’t paid rent on time, the production comes to a standstill,” he explains, “And delayed deliveries can cause a further loss due to late delivery penalties.”

Majethia maintains that delayed payments are not an industry-wide norm but individual cases that receive greater public attention because of the industry’s visibility. He believes producers today are operating under unprecedented pressure.

“A producer is the most vulnerable person in the entire system,” he says, “Producers have to deliver the same quality of content despite significantly dropped budgets.” With television viewership declining and advertisers increasingly shifting their spending towards OTT platforms, production budgets have shrunk considerably for the television industry. “So where will the money come from?” he asks.