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Credits: <keyword id="6408304" type="UNKNOWN" weightage="20" keywordseo="doordarshan">Doordarshan</keyword> <ul><li>Ramanand Sagars popular TV serial '<keyword id="6373819" type="PERSON" weightage="20" keywordseo="ramayan">Ramayan</keyword>' — which is re-airing on Doordarshan — became the world's most-watched show on April 16 with 7.7 crore viewers. </li><li>Ramayan had nearly 6 times viewers than HBO’s most-watched episode — the finale of Game of Thrones on April 16. </li><li>Ramayan gained 174 million viewers within four days of re-telecast. Whereas, it received more than 500 million views between 28 March and 4 April. </li></ul>Ramanand Sagars popular TV serial 'Ramayan' — which is re-airing on Doordarshan — became the world's most-watched show on April 16 with 7.7 crore viewers, says Doordarshan. <div type="twitter" handle="DDNational" handlename="Doordarshan National" image="http://pbs.twimg.com/profile_images/936893913650012160/yeaKQaZ5_normal.jpg" favoritecount="18233" retweetcount="5499" status="WORLD RECORD!!Rebroadcast of #Ramayana on #Doordarshan smashes viewership records worldwide, the show becomes most… https://t.co/db5WZi2o79" createdat="1588264140000" id="1255896948474654720"></div> Ramayan had nearly 6 times viewers than HBO’s most-watched episode — the finale of Game of Thrones. . According to Nielsen data,<a href="https://www.businessinsider.in/entertainment/the-game-of-thrones-finale-was-hbos-most-watched-episode-of-all-time-even-before-counting-piracy/articleshow/69419749.cms"> an estimated 1.36 crore viewers watched the last episode</a> of GOT. Moreover, this isn't the time Ramayan made a world record . From 1987 to 1988, 'Ramayan' became the most watched serial in the world. Till June 2003, it remained recorded in the Limca Book of Records as "the most watched mythological serial in the world". After India shut itself down to contain the COVID-19 outbreak, Doordarshan brought back all its classics from the eighties to entertain people. Ramayan gained 174 million viewers within four days of re-telecast. Whereas, it received more than 500 million views between 28 March and 4 April. The re-telecast of three-decades-old mythological series Ramayan made DD national the most-watched channel. Its viewership grew 22% within a week (April 4-10), according to rating agency BARC. Apart from Ramayan, Doordarshan brought back its Golden Era shows back on TV — Shaktimaan, Mahabharat, and Byomkesh Bakshi. In fact, DD channels received the highest viewership across genre with 1.9 billion impressions in week 4th and 10th April, said the CARE Rating report. Ramayan was originally broadcast from January 25, 1987 to July 31, 1988. Then, every Sunday, at 9.30 a.m. the show was aired on TV. Interestingly, when the serial started airing in the country for the first time, people used to remain glued to the TV sets. Since there were less TVs at homes then, most of the people used to gather at some neighbour's place to watch 'Ramayan'. (With IANS) See also: <a href="https://www.businessinsider.in/entertainment/news/doordarshan-received-174-million-views-from-four-episode-of-ramayan-in-2-days/articleshow/74964788.cms?upcache=2">Ramayan’s 170 million views from four episodes says India still can’t get over popular mythological shows from the 80s</a>

Ramayan is the most-watched entertainment show in the world, says Doordarshan

<ul><li>(March 28)Ramayan received 170 million views in four episodes aired over the weekend, the Broadcast Audience Research Council. </li><li>The importance of each episode is so much that the time slot for airing Ramayan was changed on April 3 as it coincided with PM Modi’s special address to the nation.</li><li>Unlike other paid channels, DD Channel is free-to-air and is accessible to a large number of people. </li></ul> Ramayan, three-decades-old TV series, received 170 million views in four shows aired over the weekend, said the Broadcast Audience Research Council. This catapulted the Ramanand Sagar production as the highest watched “serial” in the Hindi general entertainment space ever. In fact, it receives so many eyeballs that the time slot for airing Ramayan was changed on April 3 as it coincided with PM Modi’s special address to the nation. Prasar Bharati didn’t want people to miss a single episode. <div type="twitter" handle="shashidigital" handlename="Shashi Shekhar" image="http://pbs.twimg.com/profile_images/1242408594290561026/mJSWmjfB_normal.jpg" favoritecount="7126" retweetcount="2300" status="Thrilled to share that the re-telecast of RAMAYAN on @ddnational has garnered the highest ever rating for a Hindi G… https://t.co/EnDeOJwOv1" createdat="1585825496000" id="1245668531695308801"></div> <table style="border-width: initial; border-style: none; width: 468pt; table-layout: fixed;"></colgroup><tbody><tr><td style="border-left:solid #000000 1pt;border-right:solid #000000 1pt;border-bottom:solid #000000 1pt;border-top:solid #000000 1pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Week Day </td><td style="border-left:solid #000000 1pt;border-right:solid #000000 1pt;border-bottom:solid #000000 1pt;border-top:solid #000000 1pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Slot </td><td style="border-left:solid #000000 1pt;border-right:solid #000000 1pt;border-bottom:solid #000000 1pt;border-top:solid #000000 1pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Viewers (in million) </td><td style="border-left:solid #000000 1pt;border-right:solid #000000 1pt;border-bottom:solid #000000 1pt;border-top:solid #000000 1pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Rat% </td></tr><tr><td style="border-left:solid #000000 1pt;border-right:solid #000000 1pt;border-bottom:solid #000000 1pt;border-top:solid #000000 1pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Saturday (March 28)</td><td style="border-left:solid #000000 1pt;border-right:solid #000000 1pt;border-bottom:solid #000000 1pt;border-top:solid #000000 1pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Morning </td><td style="border-left:solid #000000 1pt;border-right:solid #000000 1pt;border-bottom:solid #000000 1pt;border-top:solid #000000 1pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">34 </td><td style="border-left:solid #000000 1pt;border-right:solid #000000 1pt;border-bottom:solid #000000 1pt;border-top:solid #000000 1pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">3.4 </td></tr><tr><td style="border-left:solid #000000 1pt;border-right:solid #000000 1pt;border-bottom:solid #000000 1pt;border-top:solid #000000 1pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Saturday (March 29) </td><td style="border-left:solid #000000 1pt;border-right:solid #000000 1pt;border-bottom:solid #000000 1pt;border-top:solid #000000 1pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Evening </td><td style="border-left:solid #000000 1pt;border-right:solid #000000 1pt;border-bottom:solid #000000 1pt;border-top:solid #000000 1pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">45 </td><td style="border-left:solid #000000 1pt;border-right:solid #000000 1pt;border-bottom:solid #000000 1pt;border-top:solid #000000 1pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">5.2 </td></tr><tr><td style="border-left:solid #000000 1pt;border-right:solid #000000 1pt;border-bottom:solid #000000 1pt;border-top:solid #000000 1pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Sunday (March 30) </td><td style="border-left:solid #000000 1pt;border-right:solid #000000 1pt;border-bottom:solid #000000 1pt;border-top:solid #000000 1pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Morning </td><td style="border-left:solid #000000 1pt;border-right:solid #000000 1pt;border-bottom:solid #000000 1pt;border-top:solid #000000 1pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">40 </td><td style="border-left:solid #000000 1pt;border-right:solid #000000 1pt;border-bottom:solid #000000 1pt;border-top:solid #000000 1pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">4.7 </td></tr><tr><td style="border-left:solid #000000 1pt;border-right:solid #000000 1pt;border-bottom:solid #000000 1pt;border-top:solid #000000 1pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Sunday (March 30) </td><td style="border-left:solid #000000 1pt;border-right:solid #000000 1pt;border-bottom:solid #000000 1pt;border-top:solid #000000 1pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">Evening </td><td style="border-left:solid #000000 1pt;border-right:solid #000000 1pt;border-bottom:solid #000000 1pt;border-top:solid #000000 1pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">51 </td><td style="border-left:solid #000000 1pt;border-right:solid #000000 1pt;border-bottom:solid #000000 1pt;border-top:solid #000000 1pt;vertical-align:top;padding:5pt 5pt 5pt 5pt;overflow:hidden;overflow-wrap:break-word;">6.6 </td></tr></tbody></table>Source: BARC According to Sunil Lulla, BARC’s chief executive, the numbers notched up by the series was a bit surprising and called the move as a “brilliant” one by Prasar Bharati. He said the show will attract advertisers soon Unlike other paid channels, DD Channel is free-to-air and is accessible to a large number of people. As the Covid-19 pandemic is keeping people locked down in their homes,Doordarshan brought back its Golden Era shows back on TV — Shaktimaan, Mahabharat, and Byomkesh Bakshi. In fact, DD channels received a lot of viewership after the introduction of broadcasters like Star and Zee which took over the market. But now, the tables have turned as some of India’s youngest are watching the series and actively debating it on social media. The <a href="https://www.businessinsider.in/thelife/news/indian-social-media-finds-a-new-komolika-in-kaikeyi-as-ramayan-fever-catches-on/articleshow/74923893.cms">number of memes and discussion of feminism in the series shows that the novelty factor </a>and its old-world charm has brought it a new set of fans. And, it has changed the brand image of DD as well. In 2019, the total number of viewers on all DD channels was 193 million — a little more than what Ramayan’s four episodes garnered in two days. “Prasar Bharati has subscribed to the services of M/s Broadcast Audience Research Council (BARC), India for viewership data of <keyword id="6408304" type="UNKNOWN" weightage="20" keywordseo="doordarshan">Doordarshan</keyword> (DD) channels. As per BARC data, viewership of <keyword id="438518" type="ORGANIZATION" weightage="20" keywordseo="DD-National">DD National</keyword> channels increased from 15.81 crore in 2018 to 18.31 crore in 2019, while that of DD Regional channels has increased from 15.78 crore in 2018 to 19.33 crore in 2019,” Information &amp; Broadcasting (I&amp;B) minister Prakash Javadekar said in the Lok Sabha. See also: <a href="https://www.businessinsider.in/entertainment/news/list-of-disney-movies-available-on-disney-hotstar/articleshow/74949934.cms">Reset your mood with these feel-good movies live on Disney+ Hotstar from April 3</a>

Ramayan’s 170 million views from four episodes says India still can’t get over popular mythological shows from the 80s

Nearly a month into the nationwide lockdown announced by the Indian government to prevent the spread of COVID-19, online search trends on Yahoo India reflect the curiosity and anxiety that people are facing. Owing to the pandemic, novel Coronavirus-related searches rose by a whopping 427%. The top five COVID-19 keywords searched were 'COVID-19 updates', 'Symptoms of COVID-19', 'COVID-19 treatment', 'COVID-19 death toll' and 'live COVID-19 tracker.' People also mass-searched for 'lockdown in India,' 'vaccine for <keyword id="1754604" type="PERSON" weightage="20" keywordseo="coronavirus">coronavirus</keyword>,' 'social distancing', and '<keyword id="4751090" type="PERSON" weightage="20" keywordseo="Hydroxychloroquine">Hydroxychloroquine</keyword> for coronavirus'. The latter is an anti-malarial drug that the US President Donald Trump described as a "game changer" in the fight against the Coronavirus crisis. <div type="Article" hostid="261" msid="75341330" title="Coronavirus cases in India count hits 23,000 mark— 718 dead and 4,748 recovered as of April 24" mstype="2" mssubtype="0"></div> During the pre-lockdown phase, actor <keyword id="1655" type="PERSON" weightage="20" keywordseo="Priyanka-Chopra">Priyanka Chopra</keyword> was the most searched female celebrity followed by Katrina Kaif and Deepika Padukone. All this changed when 'Babydoll' singer <keyword id="1758842" type="PERSON" weightage="20" keywordseo="Kanika-Kapoor">Kanika Kapoor</keyword> tested positive for COVID-19 on her return from London. Kapoor replaced these superstars to take the top spot and even ran into trouble for not self-quarantining on return. Post-lockdown, superstars <keyword id="6357912" type="PERSON" weightage="20" keywordseo="amitabh-bachchan">Amitabh Bachchan</keyword> and Rajinikanth topped the list of most searched male celebs. Yahoo's 'Search in the Lockdown,' chronicles and compares what users in India searched for before and during the lockdown, shows trends that are based on users' daily search habits in the last one month. Before COVID-19 began to rule the search bar, the top search keywords online for news, included 'Delhi election results,' 'Delhi riots/Delhi violence' and 'JNU violence'. The top searched keywords (people) included Donald Trump, Arvind Kejriwal and <keyword id="29632" type="PERSON" weightage="20" keywordseo="Jyotiraditya-Scindia">Jyotiraditya Scindia</keyword>. During the global shutdown, netizens are also looking online for productivity tools while working from home, with video conferencing apps Zoom and Skype being the top two searches. In the entertainment arena, searches for 'Bigg Boss', 'Drive', 'Tanhaji', 'Housefull 4' and 'Good Newwz' were replaced by the old classic 'Ramayan' that was re-telecast on Doordarshan. Pandemic based movie 'Contagion' was also highly searched. Top questions Indlooked for answers to online during the lockdown are: What is COVID-19? How long does coronavirus live on surfaces? How to make a mask at home? Is there any vaccine for Coronavirus? Does Coronavirus spread through air? What happens to Coronavirus patients in quarantine? <div type="Article" hostid="261" msid="75344399" title="PM Modi launches eGramSwaraj portal and app to help villages go digital" mstype="2" mssubtype="0"></div>

Most Indians are watching Ramayan and searching for Kanika Kapoor during the lockdown

<ul><li><keyword id="6355164" type="UNKNOWN" weightage="20" keywordseo="ICC">ICC</keyword> opened 45 years of <keyword id="8967110" type="UNKNOWN" weightage="20" keywordseo="cricket-footage">cricket footage</keyword> archives for broadcasters.</li><li>The ICC postponed all events scheduled before June 2020.</li><li>The BCCI too postponed the IPL 2020 till April 15.</li></ul>For those who are missing the IPL and lamenting over the delay of the T20 world cup, there is good news. The International Cricket Council said that it is opening its archive of cricket match footage for the last 45 years for its broadcast partners across the world. This will allow cricket fans across the world to re-live some of the most iconic moments of cricket, including the 1983 World Cup in which India defeated West Indies to win its first world title. ICC Chief Executive Manu Sawhney said, “We are facing unprecedented times as a sports industry and the need to connect with our fan communities is perhaps greater than ever. With no live cricket to unite our fans around the world we thought the next best thing would be to release our archive to broadcast partners so fans can enjoy some magnificent memories.” Broadcasters will decide what to show While complete footage of the last 45 years has been made available, cricket fans will not be able to decide what to watch. The broadcasters will select the matches to show once they rework their programming schedules in the coming weeks. The footage available to broadcasters includes matches starting form the 1975 World Cup and most knockout matches from subsequent editions. T20 fans who might be missing the IPL will get to watch the four editions of the Champions Trophy and five editions of T20 World Cup. A lot of Indian broadcasters have been showing reruns of shows. Indian state owned television channel Doordarshan too has started showing shows from the 80s like Ramayan and Mahabharata. Watch parties on Facebook ICC also said that fans can also join the ‘watch parties’ that it will be hosting on its Facebook page. Some of the most iconic games will be replayed in full during these parties. Eight ICC events postponed till June 2020 The ICC had yesterday announced that it is <a href="https://www.businessinsider.in/sports/news/world-cup-cricket-qualifiers-t20-and-other-events-that-icc-postponed/articleshow/74828412.cms">postponing</a> eight ICC events, including the T20 World Cup qualifiers till June 2020 due to the Coronavirus pandemic. The IPL 2020 was <a href="https://www.businessinsider.in/ipl-2020-postponed-to-april-15-as-the-game-will-have-no-charisma-without-foreign-players/articleshow/74611334.cms">postponed</a> to April 15 due to the Coronavirus pandemic. As India is currently under a 21-day nationwide lockdown, the BCCI may soon take a call on the IPL 2020. See also: <a href="https://www.businessinsider.in/sports/news/world-cup-cricket-qualifiers-t20-and-other-events-that-icc-postponed/articleshow/74828412.cms">World Cup Cricket qualifiers, T20 and other events that ICC postponed</a> <a href="https://www.businessinsider.in/ipl-2020-postponed-to-april-15-as-the-game-will-have-no-charisma-without-foreign-players/articleshow/74611334.cms">IPL 2020 postponed to April 15 as the game will have no ‘charisma’ without foreign players</a> <a href="https://www.businessinsider.in/policy/economy/news/rbi-governor-shaktikanta-das-announces-steps-to-save-indian-economy-amidst-coronavirus-lockdown/articleshow/74840342.cms">WATCH RBI Governor Shaktikanta Das unveil $50 billion ammunition to keep the Indian economy breathing amidst coronavirus lockdown</a>

After DD rewinds with Ramayan, sports channels will show old cricket matches for the last 45 years

<ul><li>Whether it was surviving the second wave or breaking viewership records during Diwali, 2021 was a rollercoaster year for the television industry.</li><li>Broadcasters spent the first half of 2021 recovering from the impact of multiple lockdowns but the festive season helped the industry get back on its feet.</li><li>As we move forward this year, a few industry experts tell us about new opportunities that 2022 will bring forth for the broadcast industry.</li></ul>With cancellations of live events and sports and no scope to produce fresh General Entertainment Content, the broadcast industry faced a huge creative challenge and financial burden in 2020. However, the television industry was quick to find its ace card -- they started re-airing their classic shows and movies to woo their audience. The return of old mythological shows like Ramayan and Mahabharat from the 90s not only led to an exponential rise in viewership but also increased advertisers’ count. These shows soon became the main source of entertainment among Hindi GECs, and both adults and kids watched the epic stories together. With the audiences stuck at home, television was quick to break its viewership records. Doordarshan had announced that Ramayan became the world's most-watched show on April 16, 2020 with 7.7 crore viewers. Doordarshan’s average daily viewers also grew by 62 million. The need for escapism, news updates and knowledge also increased in times of trouble, creating a need for content. As the lockdown restrictions eased in the country, GECs resumed their production in phases and the great advertising carnival of IPL brought the much-needed cheer for the broadcast industry and consumers in September. The year 2020, undoubtedly, had a far-reaching impact on consumer behaviour and their viewing patterns changed in 2021. Despite economic challenges that were accelerated with the second wave of COVID-19, legacy advertisers continued to increase spends on TV and starts-up were the biggest advertisers on IPL 2021. The second wave did take the industry a step back but television recovered gracefully as the festive season began in August. As per BARC, Ad Volumes on TV for September 2021 was the highest since 2019, which was 15%. The highest spurt was observed for Bhojpuri language channels, where ad volumes were more than double that of 2019, and 38% higher than in 2020. While Hindi language channels account for the largest share of TV advertising, Tamil and Telugu language channels witnessed robust growth over 2020. At the same time, with new changes in viewing patterns after the pandemic, over-the-Top platforms also posed a big threat to television viewership. However, broadcast players started realigning their goals, understanding these changing patterns and adopting agile approaches for content development. As a result, broadcasters have been working towards tailor-making their content that is adept to multiple platforms’ front-end user interfaces. This approach accelerated digital transformation in the broadcast industry by a few years and helped us believe that television and digital are indeed capable of growing hand-in-hand in India. This trend will continue to take shape further in 2022 as well. So as we move forward this year, the broadcast industry is optimistic about rising to its full strength together. We spoke to a few industry experts to discuss what lies ahead. Here’s what they said: Abhishek Dutta, South Asia Network Head, POGO and Cartoon Network: Homegrown kids’ content is definitely the one trend to watch out for. In 2021, WarnerMedia India’s kids’ entertainment channels, Cartoon Network and POGO launched several successful shows that celebrate Indian flavors as relevant localized content continues to hold sway among Indian viewers. According to FICCI-EY media and entertainment industry report (March 2021), regional languages will make up 60% of television consumption by 2025. This has dictated our strong hold on the pulse of the Indian audience and is reflected in our continued investment in homegrown content. This trend also means there is a massive opportunity for the wider animation industry sector in India – from creation and production to developing talent. Our fans-first strategy has shaped the “glocal” approach to our kids’ business in India. One that is focused on world-class animation and relatable stories. 100% homegrown shows and international content localized to suit Indian viewing preferences will continue to rule the roost. Anu Sikka, Head of Content Creation, Channel Strategy &amp; Research at Kids Cluster, <keyword id="187712" type="General" weightage="20" keywordseo="viacom18" source="Orion">Viacom18</keyword>: Engaging viewers in a language they best understand is essential in order to deliver great experiences. As content creators, it is important to narrate stories in a way that young dynamic minds can understand, relate and build a strong affinity. In India, with an exponential growth in the consumption of regional language content, viewers are keen on engaging with the characters in a language of their choice, thereby leading to larger brand visibility and deeper engagement levels. An increase in multi-lingual content will be the key driver for growth in the television industry. Curating multi-lingual content will lead to audiences developing an unbreakable bond with the storyline and its characters and further strengthen the relationship with the brand. Ruchir Tiwari, Cluster Head - Hindi Movie Channels, ZEEL: In 2021, there was a lot of acceleration because of the pandemic in terms of content consumption. It is evident in the way many billions of Indians have consumed long form content, multi-language content. Predominantly for the Indian market, expectations of the audience are very, very clear. What this is going to do is force all content makers to make good content. I think, right now, whatever the ratio of good content is -- the success rate was never very high because good content is a complex game plan. Now, 2022, it will be an opportunity as well as a challenge to the content creators to make compelling content and then the creators will start from this point of personal development. For me, compelling good content is a must have. Without that, there is no way out and that's the biggest opportunity we all have as an industry. Simran Hoon, CEO, The Q: With the hyper-dynamic market confusion and change in viewers’ preference, the manner and method of storytelling has gained prominence. Innovation in storytelling is hence the need of the hour and this will be one of the strongest trends that will emerge in the coming year. GEC’s will have to re-strategize to showcase content that is not just original and relevant but also interactive and engagement-driven. Another trend for 2022 is how content on Television is viewed. TV will be seen as a medium of entertainment and not ‘the destination.’ The Q has been an early adopter of this trend and has built itself in a unique style with our multi-platform availability. Anshul Ailawadi, Business Head – Youth, Music and English Entertainment, Viacom18: While 2021 was about optimism and perseverance, 2022 will be about taking bold bets and experimenting with content. The last 2 years have accelerated several shifts in consumer preferences and habits. Creators are now focussing on different feedback loops as markers of success instead of conventional viewership metrics. Content is being consumed in so many ways, it’s hard to assess (accurately) the potential of a story at the time of greenlighting it. We will see new concepts, new storylines and new faces across genres as age-old rules are tested, and at times, even broken.

Trends that will shape the broadcast industry in 2022

<ul><li>Doordarshan is bringing back two of its superhit shows from the eighties - Ramayan and Mahabharat. </li><li>This week we list down the top 90s TV shows available on <keyword id="3163762" type="PERSON" weightage="20" keywordseo="SonyLIV">SonyLiv</keyword>, Zee5, Hotstar and other OTT platforms. </li><li>Visit Business Insider for more stories. </li></ul>Doordarshan is bringing back two of its superhit shows from the eighties - Ramayan and Mahabharat. If you are one of those who wants to use extra screen time to watch old shows, here are some options for you. Here are a few shows streaming on SonyLiv and other OTT platforms, this week. Aahat on SonyLiv 
	
 
 
 
 <div type="image" title="Aahat" msid="74393978" hostid="261"></div>









 <keyword id="256908" type="COMPANY" weightage="20" keywordseo="Imdb">IMDb</keyword>: 7.1/10 Stars: Vijay Raj, Sachin Khurana, <keyword id="836886" type="PERSON" weightage="20" keywordseo="Sunny-Leone">Sunny Leone</keyword> Description: Aahat was the iconic horror show for the 90s kids in India. The shows which were not always about ghosts did bring in a twist of supernatural activity. Be it a mysterious mirror or shoes that tell a story, Aahat was the first tryst with horror for many millennials. Shaktiman on Amazon Prime Videos 
	
 
 
 
 <div type="image" title="Shaktiman" msid="74394032" hostid="261"></div>









 IMDb: 8.1/10 Description: Shaktiman was an Indian superhero who can do anything with his costume on but in real life is a failing photographer. He is every kid’s favourite and fights crime across the city. CID on <keyword id="2171129" type="COMPANY" weightage="20" keywordseo="Sony-LIV">Sony LIV</keyword> 
	
 
 
 
 <div type="image" title="cid" msid="74394086" hostid="261"></div>









 IMDb: 6.6/10 Creator: B.P. Singh Stars: <keyword id="240988" type="PERSON" weightage="20" keywordseo="Aditya-Srivastava">Aditya Srivastava</keyword>, Dayanand Shetty, Shivaji Satam CID has perhaps one of the longest running detective crime shows in India. Each episode of the series would have a crime followed by an investigation by a team led by <keyword id="594029" type="COMPANY" weightage="20" keywordseo="ACP-Pradyuman">ACP Pradyuman</keyword>. The best part of the show is that each episode tells a different story and does not require continuity to keep track of. Twin Peaks on Hotstar 
	
 
 
 
 <div type="image" title="Twin peaks" msid="74394139" hostid="261"></div>









 IMDb: 8.8/10 Creators: Mark Frost, David Lynch Stars: Kyle MacLachlan, Michael Ontkean, Mädchen Amick Description: In this American thriller drama, an intelligence officer investigates the murder of a high school girl, Laura Palmer, in the town of Twin Peaks. Though the show ran only for one season, it acquired a cult following later on. Hip Hip Hurray Zee 5
 
 
 
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IMDb: 8.3/10 Stars: Bhoomika Chawla, Pamela Mukherjee, Rushad Rana Description: Hip Hip Hurray, one of the first Indian millennial shows, was based on the lives of three students of grade 12th. The series was a romantic drama that showed the adventures and problems of young kids rights from their relationships to drugs. See also: <a href="https://www.businessinsider.in/politics/news/boris-johnson-is-self-isolating-after-testing-positive-for-the-coronavirus/articleshow/74847498.cms">Boris Johnson is self-isolating after testing positive for the coronavirus</a>

Catch all these vintage TV shows like Aahat and Shaktiman on Amazon Prime, SONYLiv and more

<ul><li>With the industry changing at a rapid pace, throwing a new set of challenges every day, experts are hoping that 2021 will be a game-changer that will help them redefine a lot of rules in advertising, with smarter marketing techniques. </li><li>We spoke to a few industry experts to identify these new opportunities that 2021 will bring forth for the broadcast industry and here is what they had to say. </li></ul>In 2020, the <keyword id="34937" type="ORGANIZATION" weightage="20" keywordseo="media-industry">media industry</keyword> changed a lot and because of that, 2021 will see a far-reaching impact on consumer behaviour and their viewing habits. While some changes will take us back to the ‘old normal’ like on-set shoots, going back to office, etc., some would accelerate digitalisation in the media industry and push us forward at least by 2-3 years. When the whole country was confined to their homes, consumers turned to OTT platforms and TV channels to entertain themselves. TV sets and mobile phones became the only sources of connection with the outside world. News channels also benefited as people stayed glued to their TV sets to catch on COVID-related updates and lockdown measures. As a result, consumption of content increased like never before. There is no denying that the future is digital. Technology will continue to play an important role in redefining the business operations and broadcasters will also focus on delivering aggregated content and device experiences this year. During the lockdown, the return of old mythological shows like Ramayan and Mahabharat from the 90s led to an exponential rise in viewership and advertisers count on TV. These shows soon became the main source of entertainment among Hindi GECs as it contributed about 43% to overall viewership of the genre, revealed BARC. The re-telecast of Ramayan alone garnered the highest-ever rating for a Hindi GEC show since 2015 at 1.20 trillion minutes and Doordarshan’s average daily viewers grew by 62 million. As the lockdown was lifted gradually and the economy started limping back to normalcy in July, television continued to be the screen of the household and an important medium for advertisers to reach their consumers. After seeing a lean few months, IPL brought the much-needed cheer for the Indian advertising industry and consumers in September. Dream11 IPL 2020 set a viewership record with an overall consumption increase of 23% than 2019. IPL’s Television viewership reached an outstanding 31.57 million, revealed Star India. It was the biggest IPL carnival the nation saw. According to BARC, return of original shows on TV along with the festive season and live sporting events boosted the ad volumes, taking the overall growth in ad volumes to 34% as compared to H1, 2020 and eventually minimising the reduction in volumes to a marginal -3% for the overall year than 2019. After facing unprecedented turbulence in the year 2020, broadcasters are now looking forward to seeing what 2021 has in store for them. Here is what they are expecting: <keyword id="3387826" type="PERSON" weightage="20" keywordseo="Prathyusha-Agarwal">Prathyusha Agarwal</keyword>, Chief Consumer Officer, ZEEL: <div type="image" title="Prathyusha Agarwal" msid="80617012" hostid="261"></div> I see "Thriving VideoVerse of The Soaring 20s" as the biggest trend in Entertainment that will shape 2021. As a whole generation hit by the pandemic will kick into hyper-active mode to rebuild lives, economy and a whole new world, consumers will demand entertainment not as an earned indulgence at the end of a hard day's work but an always on entitlement. It will be a need as essential as the daily bread, acting as food for their souls, sparking their minds and a reservoir of emotions that they can dip into as a respite from the hard reality that a post COVID world will be. Viewers will share their dining tables and living rooms with our content on television satisfying the craving for anticipation of a new story, the first bite to savour the emotion and form a firm bond engaging with our characters every day. They will then stretch it across multiple screens, platforms and interactions, micro-dosing, binging on it, dipping in, dipping out and gorging on it through time and space. As broadcasters, we need to gear up our backend to tailor-make our content such that it is adept to the multiple platform front-end user interfaces. There is a shift needed from thinking of content development as an uncertain creative process to building a nuanced understanding of the cultural core that makes viewers tick, what they want/ need, where do they need it and have the capability to evolve our craft to deliver that. Its time to unleash the full potential of the Viewer VideoVerse which is way larger than any product x platform, seamlessly serving "fit for delight" content across screens. Nina Elavia Jaipuria, Head - Hindi Mass Entertainment and Kids TV Network, Viacom18: <div type="image" title="Nina Jaipuria." msid="80617021" hostid="261"></div> In a connected world where linear and digital media are increasingly becoming intertwined, the year 2020 has been crucial in reaffirming the fact that unlike many western countries, Television and Digital will grow together in India. And this is one of the key trends that will continue and further take shape in the year 2021. The industry is expected to grow at 17% CAGR over next 4-5 years – while digital is expected to grow at a rapid pace, the traditional TV medium is also expected to witness a steady growth. This TV + Digital combined growth will result in a continued hike in demand for content – both long form, episodic and short form – as well as provide significant opportunities for content creators. Rural and semi-urban areas witnessed highest growth driven primarily by increased reach due to top broadcasters going back on Freedish this year. Furthermore, the availability of original content in regional languages across all genres contributed to this upswing. Concurrently on digital, given the increased demand and competitive landscape, OTT players are betting heavily on regional and differentiated original content to expand their library and drive-up user engagement. The growth in consumption of content across touchpoints is a trend that will enable unlocking the industry’s true potential – from both macro-economic as well as soft power capabilities. Avinash Pandey, CEO, ABP Network: <div type="image" title="avinash ABP news" msid="80617060" hostid="261"></div> In 2021, online content consumption will continue to trend. Broadcasters are now open to new ideas of reaching out to their audiences, be it through podcasts or online video content. Furthermore, empathetic, intimate, and contextual storytelling will be crucial for content creators this year as the pandemic has placed a special focus on personal experiences and unfeigned stories. Hyperlocal content and neighbourhood stories, therefore, will help broadcasters engage with their consumers on a deeper level. At ABP Network, we have left no stone unturned when it comes to expanding on digital. We have invested into video content, podcasts and other forms of digital media to create greater value in the long-term. Our regional channels, too, continue to dominate in their respective markets across diverse platforms. Harnessing new opportunities on both fronts, we have expanded our offerings to create new avenues of growth and monetisation for 2021 and beyond. Abhishek Dutta, South Asia Network Head for Cartoon Network and POGO: <div type="image" title="Abhishek Dutta, Abhishek Dutta, South Asia Network Head for Cartoon Network and POGO" msid="80617040" hostid="261"></div> Indian viewers now expect relatability and relevance in terms of characters and contexts so demand for homegrown IPs will continue to rule the roost in 2021. India’s sustained co-viewing patterns and the rise in greater access to entertainment will cement Kids and Family Content as the ‘anchor genre’ in the country. Markand Adhikari, Chairman and Managing Director, SAB Group: <div type="image" title="Markand-Adhikari SAB" msid="80617050" hostid="261"></div> We will not just see the addition of new users but also increasing the retainership of existing digital consumers. Online gaming consumption and demand for OTT originals is only going to increase as technological advances greatly aid them. The best part is that their model is subscription-driven and not dependent upon advertisers. Though television is very much here to stay, OTT is going to gain a lot of traction in the mid-term. Further, the dependency of M&amp;E companies on technology will likely increase to leverage cost-efficiency and create revenue enhancement opportunities. As monetisation and revenue in terms of ad-spend, continues to grapple, profit protection and cash management with greater technology integration will gain strategic significance for M&amp;E companies. The industry is likely to remain focused on sustenance at current levels along with a renewed emphasis on flexibility which would accelerate the move to a variable cost model and reduced fixed costs. While the long-term implications of COVID-19 are yet to emerge, the above-mentioned developments will likely come into focus in the M&amp;E industry as the post-COVID reality becomes clearer.

Broadcast industry: Trends to watch out for in 2021

Kolkata, Apr 8 () With shooting of different megaserials postponed indefinitely due to COVID-19 pandemic,several popular Bengali mega sops of early 2000 are making acomeback on prime time slots.Prominent among the lot is 'Gaaner Oparey', helmed bylate Rituparno Ghosh as creative director, which had given theBengali audience a new, fresh content from the repetitivetearjerker stuff of telly soaps, industry sources said.The serial, which showed a unique romantic tale of twoyoung Tagore lovers having different temperament and view ofTagore music was telecast from June 2010 till April 2011."I am happy to bring back Gaaner Oparey, our first TVproduction, on telly before the audiences again after almost adecade. It had set a new benchmark in Bengali serials and thecredit goes to Rituparno Ghosh and the team," ProsenjitChatterjee the producer of the serial told on Tuesday. The serial, being aired from April 6 on everyevening, also features Bengali actress turned MP MimiChakraborty and popular actor Gourab Chakraborty, both freshfaces at that time.Seventeen years after being telecast on Doordarshanand running for a year, another popular Bengali serial'Janani' also made a come back on Monday to be telecast forsix weeks from 9:30 pm.The ensemble cast features Anuradha Roy, ShankarChakraborty, Kushal Chakraborty, Reshmi Sen, Kaushik Sen andMrinal Mukhopadhyay among others."Instead of repeating daily soaps telecast weeks back,we want to dish content-rich literary works of yesteryearswhich evoke nostalgia among the senior citizens and middleaged and curiosity among the new generation who are morehooked to web series," a member of the production house said.Production houses are also airing 'Sahityer SeraSamay' a collation of the stories by renowned Bengaliauthors aired years back and 'Amar Thikana Tai Briddhashram',a much discussed fictional show on the plight of elderlyforced to live in old age homes.80-year old Mita Pal, a resident of Birati area in thenorth, is happy to see Mimi Chakravorty again in GaanerOparey."I can still vividly recall how I would wait for thisserial every evening. I had even rescheduled my visits toneighbours houses and relatives not to miss a single episodetill it became a bit stale months before it ended. Now inCorona lockdown phase I am looking forward to watch it andJanani every day."She was echoed by her 25-year old niece Aritrika whorecalls how serials like these brought a whiff of freshnessand made teenagers like her turn to TV serials.Ankita Mitra, a young professional commented, "thecoming back of serials like Ramayan, Mahabharata, Byomkesh,Shaktiman on TV, the old habit of cooking at home, readingbooks and spending afternoon and evenings at home, no shoppingmall, slow internet and empty streets make us feel as if the90s are back." SUSRG RG

Old popular Bengal TV serials back on prime time slots

<ul><li>While the <keyword id="1754604" type="PERSON" weightage="20" keywordseo="coronavirus">Coronavirus</keyword> outbreak has led to productions of films and daily soaps being stopped across the country, TV viewership is going up due to people staying at home.</li><li>However, the GECs re now faced with the challenge of coming up with fresh content for its viewers.</li><li>In such a scenario, how are these channels planning to tackle the situation?</li></ul>It’s been close to 2 weeks since India’s film and television bodies decided to suspend shootings from to avoid the spread of the novel Coronavirus. The Indian Film &amp; Television Directors' Association (IFTDA), Producers Guild of India and Federation of Western Indian Cine Employees (FWICE) had decided on March 17 to put production and shooting on hold till March 31. As the PM announced his 21-day complete lockdown, production will not start before April 14. The biggest impact of this will be on GEC channels that usually work with a content bank of about two weeks. However, with the lockdown, these channels will soon run out of fresh content to air. Considering most people are stuck at home, OTT and TV viewership saw a spike, according to Broadcast Audience Research Council (BARC) India data. The total TV consumption saw a spike of 8% across India in the week ended March 20 (<keyword id="8763838" type="UNKNOWN" weightage="20" keywordseo="covid-19">Covid-19</keyword> Week 1), while the total time spent per user on smartphones went increased by 6.2% to 25 hours a week. Moreover, the consumption growth in the Hindi speaking markets (HSM) was at around 10% in comparison to the South region that grew by 5%. The HSM region saw an increase in terms of both reach and time spent. While this opens up possibilities for advertisers to catch more eyeballs, GECs are now faced with the problem of running out of content. In such a scenario, what is the strategy they are employing to ensure that they do not lose their audience who can only stay engaged if they are offered something new to watch? Ensuring all-round entertainment for consumers While production has come to a complete halt, all the channels believe that the show mustn’t stop and are strategizing at how to make the best use of the content at their disposal currently. Speaking about how it is working around the current situation, <keyword id="3387826" type="PERSON" weightage="20" keywordseo="Prathyusha-Agarwal">Prathyusha Agarwal</keyword>, Chief Consumer Officer, <keyword id="174248" type="DOMAIN" weightage="20" keywordseo="Zee-Entertainment-Enterprises-Ltd">Zee Entertainment Enterprises Ltd</keyword> said, “Taking into consideration the explosion in TV consumption and the changing composition of audiences, there is a need to customize programming for this emerging trend. At ZEE, we have geared up to serve these emerging trends with content for everyone in the family. For instance, starting March 25, Zee TV introduced an exclusive band ‘PyaarVyaar Originals’ with three new finite series including Sakshi Tanwar and Ram Kapoor starrer ‘Karle Tu Bhi Mohabbat’, Sharman Joshi Starrer ‘Baarish’ and Ronit Roy Starrer ‘Kehne Ko Humsafar Hain’ for the first time on television between 9 pm and 11 pm every week night. Longer binge-worthy episodes of our popular fiction shows have also been lined up across most channels to provide an immersive experience to our viewers who are staying much longer in front of the television. &amp;tv has also lined up curated specials of their comedy hits along with inspirational and devotional content to bring in positivity into our viewers’ living rooms.” For <keyword id="1570722" type="PERSON" weightage="20" keywordseo="Manisha-Sharma">Manisha Sharma</keyword>, Chief Content Officer, Hindi Mass Entertainment, <keyword id="187712" type="COMPANY" weightage="20" keywordseo="Viacom18">Viacom18</keyword>, the need of the hour is for the channels to take care of every family’s all-round entertainment needs. Speaking about what their roadmap in terms of content is, Sharma said, “At a time like this, we want to give our viewers the best of the content mix which will keep them smiling and comforted and hopefully let this time go by smiling and watching with their families in the confines of their homes. We have an eclectic mix of current and popular erstwhile shows that will take care of all their entertainment needs ranging from comedy, drama, slice of life, and reality shows. We have dedicated blocks for comedy, drama, and romance to give the viewers the best of the best content. A healthy dose of comedy between 5-6 pm with reruns of Belan Wali Bahu, popular show Dil Se Dil Tak starring Sidharth Shukla and Rashami Desai will be back at 6pm. We will continue to air fresh episodes of Vidya, Choti Sarrdaarni, Shakti…Astitva Ke Ehsaas Kii, Barrister Babu, Shubharambh and Naati Pinky Ki Lambi Love Story at their respective timeslots.” Riding on the nostalgia wave Doordarshan played a masterstroke with the announcement of the re-launch of yesteryear classics including Ramayan, Mahabharat and Byomkesh Bakshi. A lot of people have been talking on various social media platforms about what are the shows they would want channels to bring back. And a lot of the channels are listening to what the audience wants. Zee is bringing back some of its old, popular shows from its library across its channels, like ‘Kasamh Se’ on Zee TV and ‘Sambhaji’ on Zee Marathi and ‘Goyenda Ginni’ on Zee Bangla amongst others. Similarly, Viacom18 will be bringing back its show Dil Se Dil Tak and Bigg Boss 13. Speaking about what viewers can expect from its stable, <keyword id="8986388" type="UNKNOWN" weightage="20" keywordseo="arpit-machhar">Arpit Machhar</keyword>, Head of Marketing, <keyword id="8986387" type="UNKNOWN" weightage="20" keywordseo="enterr10-television-network">Enterr10 Television Network</keyword> (<keyword id="7514645" type="UNKNOWN" weightage="20" keywordseo="Dangal-TV">Dangal TV</keyword>) said, “We go through a lot of historical data before acquiring the license of any show. Dangal TV ratings, undoubtedly, have also been helpful in successfully monetising already aired shows. In the past, shows like Bandini, Chandragupt Maurya, Bhagwaan Shree Krishna have done exceptionally well. Ramayana, too has a very strong connect with viewers across India beyond the Hindi speaking markets. Mythological and historical shows along with some well-produced thrillers and family dramas make it an interesting package for viewers. We are in tune with this, considering Dangal TV too has been airing Ramayana as well as similar mythological shows like Devi Adi Parashakti, Mahima Shani Dev Ki for a while now. Devi Adi Parashakti and Mahima Shani Dev Ki are among the top 2 shows across Hindi GEC, HSM(U+R) as per latest data by BARC India for Week 11. We are aware that such content always has an audience and therefore we will continue to keep our viewers engaged with such shows.” Covid-19’s business impact While many sectors like events and out-of-home have been badly hit due to the lockdown, broadcasters are hopeful that they will be impacted less. Considering viewership is on the rise too, it presents an opportunity for both broadcasters and advertisers to make something out of an adverse situation. Dangal TV has seen a spike in its viewership, like most other GECs and is not focusing on new ideas. “Despite the COVID-19 challenge, Dangal TV is experiencing a spike in the average time spent.We are witnessing the early signs of a consumption uptick with an increase in the viewership. At Enterr10 Television Network, we are strongly connected and engaged with our viewers. Our numbers have been ahead of us. We are readily willing at focusing on exploring new ideas, IPs, etc. We haven’t stepped back in terms of exploring what more is possible, even during this period. Even in this unprecedented situation, we will continue to invest in good library, innovative programming and in distribution that will further aid in consolidating our position in both rural and urban markets. While there is huge competition amongst TV channels, our first priority is to consolidate, maintain and further strengthen our leadership position on television.” Pointing towards the fact that a lot of advertising on TV comes from FMCG that have been relatively less impacted, Sharma shared her optimism about the future. “The lockdown has hit the manufacturing, supply chain and consumption of all brands and that will invariably have an effect on ad spends. However, TV and digital will have a marginal impact as compared to other mediums like print, outdoors and radio as TV viewership is expected to see an upswing due to the forced lockdown. Secondly, a large amount of advertising revenue for a GEC comes from FMCG brands that are relatively less impacted in the current situation. Also, since it is an industry phenomenon, all GEC channels will witness a drop in ad spends,” explained Sharma. Added Agarwal, “Over the next 3 weeks, we expect content consumption on TV to go up as people look to keep themselves entertained. Given the temporary nature of the lockdown, it would be imprudent to quote any implication as of now, but we are sure that TV has become an essential service providing the much needed companionship to families in the current times.”

With limited fresh content at their disposal, here's how GECs are tackling the lockdown

<keyword id="6354700" type="PERSON" weightage="40" keywordseo="Anil-Kapoor">Anil Kapoor</keyword>’s 24, the adaptation of the American TV series with the same name, had been touted as a game-changer in the Indian television space. It had a popular first season and is currently on its way to the second. But it was not the first time when Indian TV got a significant makeover. Over the years, we had been watching serials and soaps that entertained, amused, surprised and even shocked the audience. Here’s a look. 
 
1. Hum Log 
Shown on the Doordarshan in 1984, this series marked the beginning of the television revolution in India while viewers had their first taste of soap. It lasted 156 episodes and several characters, including Basesar Ram, Bhagwanti, Nanhe, Badki, Majhli, Chutki, Lalloo and Imarti Dadi, became household names. 
 
2. Ramayan 
Those who were born in the 80s could well believe it when we say that the streets became empty on Sundays at 9.30 am as it was the time to watch the Ramayan. Starring Arun Govil as Ram, Deepti Chikhalia as Sita and Dara Singh as Hanuman, Ramayan is the world’s most viewed mythological series. 
 
3. Dekh Bhai Dekh 
If Hum Log mirrored the middle class Indian family, Dekh Bhai Dekh, produced by Jaya Bachchan, told the story of a rich, modern but loving joint family. It was one of the popular sitcoms, aired on Doordarshan’s GEC, DD Metro. Starting in 1993, the show ran successfully for 4 years. 
 
4. Flop Show Stand-up comedy and comic shows are the rage today. But this show never failed to minister a regular dose of laughter to its audience. It was written and directed by the legendary satirical comedian, late <keyword id="34752" type="PERSON" weightage="40" keywordseo="Jaspal-Bhatti">Jaspal Bhatti</keyword>, who also played the lead role. Flop Show was, ironically, a big hit. 
 
5. Swabhimaan Directed by <keyword id="6370367" type="PERSON" weightage="40" keywordseo="Mahesh-Bhatt">Mahesh Bhatt</keyword> and scripted by Shobha De, this show introduced the viewers to the world of complex relationships, infidelity, power, property entanglements and what not. It was the first show to complete 500 episodes in a span of 2 years. 
 
6. Meri Awaz Suno 
Those who stay glued to their seats to watch talent hunts like India’s Got Talent, Indian Idol, Voice of India and more, would be glad to know that it was a show on Doordarshan, called Meri Awaz Suno, which had helped discover the extremely talented Sunidhi Chauhan. The show was hosted by Annu Kapoor and judged by <keyword id="31278" type="PERSON" weightage="40" keywordseo="Lata-Mangeshkar">Lata Mangeshkar</keyword>. 
 
7. Zee Horror Show 
Those who swear by the thrill of horror will remember the spine-chilling Zee Horror Show, which brought all things uncanny bang into our drawing rooms. Presented by the Ramsay Brothers, it was one of the most popular shows of the 90s. 
 
8. Kyunki Saas Bhi Kabhi Bahu Thi (KSBKBT) 
The longest running show in the history of Indian television, KSBKBT introduced us to the glorious Gujarati family – Virani. It was the story of Tulsi and her endeavours to become an ideal wife, daughter-in-law, sister-in-law, mother, mother-in-law, grandmother and grandmother-in-law. Due to its domestic connect, it was the No. 1 show even in its eighth year. 
 
9. Kaun Banega Crorepati In the new millennium, mega star <keyword id="6357912" type="PERSON" weightage="40" keywordseo="amitabh-bachchan">Amitabh Bachchan</keyword> became a part of your everyday life with Kaun Banega Crorepati. Based on the UK game show, Who Wants to Be a Millionaire, this one started in 2005 and recently completed the 7th season. This show changed lives of many with big cash prizes. 
 
10. Bigg Boss 
While the real life of common man had already come under the scanner with talent hunt shows like Boogie Woogie and Sa Re Ga Ma Pa, it was the time to get up, close and personal with your fav stars. And Bigg Boss, based on Bigg Brother, did just that. A show that gave a sneak peek into the real life of stars was an instant hit among the viewers. 
 
11. Satyamev Jayate When his counterparts were busy throwing mental and physical challenges at the audiences, Mr Perfectionist, <keyword id="6355923" type="PERSON" weightage="40" keywordseo="Aamir-Khan">Aamir Khan</keyword>, thought of striking an emotional chord. With his <keyword id="9363" type="UNKNOWN" weightage="40" keywordseo="Talk-show">talk show</keyword>, Satyamev Jayate, he highlighted sensitive social issues of the country. He cried, smiled and hoped for a better India and so did his audience. The show is all set for its second season to go live in March 2014. 
 
12. Comedy Nights with Kapil He was a nonentity in Bollywood. But little did stand-up comedian Kapil Sharma know that one day he would be hosting one of the most watched chat shows. The popularity of the show can be gauged by the fact that even mega stars like <keyword id="4546" type="PERSON" weightage="40" keywordseo="Shah-Rukh">Shah Rukh</keyword> and <keyword id="6354583" type="PERSON" weightage="40" keywordseo="Salman-Khan">Salman Khan</keyword> can’t skip promoting their movies on the show. Indeed a game changer!

12
Small Screen Shows That Changed The Face Of Indian Television In A Big Way

Near the end of 2013, the animated movie <keyword id="6366669" type="ENTERTAINMENT" weightage="60" keywordseo="Mahabharat">Mahabharat</keyword> was released and was touted as “India’s most expensive multi-starrer <keyword id="21778" type="TECHNOLOGY" weightage="80" keywordseo="animation">animation</keyword> film.” The voice actors included the who’s who of contemporary Indian cinema. Amitabh Bachchan lent his voice to the iconic character of Bhishma; Ajay Devgan was Arjun; Sunny Deol was Bheem and Vidya Balan was Draupadi. None of the actors charged any fee and yet, the movie had a budget of Rs 50 crore. After the first week, it managed to earn just Rs 1.5 crore. 
 
Mahabharat was a phenomenal flop. 
 
But much of it had to do with the low quality animation that people ended up watching on-screen. And the studio blamed for such below-par work was a Juhu-based one called Pen India Pvt Ltd. Surely, there was nothing wrong with the story – Mahabharat is one of the most popular epics in the world. And the voice-acting was top-notch. So the only factors behind the debacle were the quality of animation and marketing. 
 
Outsourcing kills creativity Like many other industries, animation in India earns most of its revenues through outsourced projects from American and European studios. According to a secondary research presented in the <keyword id="6372077" type="CITY" weightage="40" keywordseo="Nasscom">NASSCOM</keyword> Industry Report, the money earned by Indian animation and VFX studios from global projects has steadily increased over the past decade. 
 
While that is good news from a business standpoint, the increasing number of outsourced projects also means that the animators are constantly working under strict deadlines and their project work is always under remote supervision which hardly leaves any room for creative decision-making. For the global studios, the Indian animation talent is akin to a sweatshop where the designs and plans are already in place and the workers are only expected to execute them. Such an environment not only tramples upon creativity but also leaves little time to pursue one’s creative aspirations. The few animators who choose not to work for those studios often find it difficult to earn a decent living. This is because the domestic market for animation is quite small. In 2009, domestic projects only accounted for 30% of the total revenues the industry earned. The rest came from outsourced animation, gaming and VFX work. 
 
Failure to woo the target audience 
As animated movies are relatively new in India, one of the biggest mistakes happened in figuring out the right content for a particular demographic. If you were to look at some of the animated films that came from India and achieved very little success, you might end up thinking – here’s a country where kids love Hindu mythology. 
 
It might seem odd now but that’s exactly what the producers had in mind when they released movies like Ramayan, Chhota Bheem, Ghatotkach, Krishna, etc. All of these feature stories from Hindu mythology and as India has the largest Hindu population, the producers just assumed that these stories would be popular. What a wrong assumption to make! What they don’t realise is that these stories are already known to Indian kids and they are not getting anything new or original out of these films. However, the Indian film industry is partly to blame for this – originality has never been its strong point. 
 Animation film-makers of India need to learn from studios like <keyword id="161299" type="COMPANY" weightage="40" keywordseo="Pixar">Pixar</keyword>, <keyword id="11201" type="CITY" weightage="40" keywordseo="Dreamworks">DreamWorks</keyword> and Disney who come up with highly original scripts such as <keyword id="241494" type="ENTERTAINMENT" weightage="40" keywordseo="Wall-E">WALL-E</keyword>, Kung-fu Panda, Madagascar, Toy Story, How to Train Your Dragon and more. On the other hand, the Indian audience must change their mindset and start enjoying good animated films. Discarding an animated movie as a ‘cartoon’ film is an indication that most Indian viewers still think that anything animated is meant ‘for the kids.’ If only our people grew up on Japanese Manga and Anime from a very early age… 
 
Training counts Animation can be taught while sketching is a talent that is honed over a longer period of time. So, the first thing wannabe animators need to know is that you need to love art, drawing and sketching. In India, people often choose animation as a career just because it is a booming sector. Five years ago, they might have chosen biotechnology or marine engineering for the same reason. But that’s not the way to go about choosing a career. There are a handful of really good schools in India for learning animation, illustration or design – such as the National Institute of Design (NID), Srishti School of Art and Design, <keyword id="2199190" type="UNKNOWN" weightage="40" keywordseo="J-J-Institute-of-Applied-Art">J.J. Institute of Applied Art</keyword>, etc. Aspirants should target these schools instead of opting for short-term certificate courses that promise placement. Some of the best Indian animators studied in these well-known institutions. For instance, Vaibhav Kumaresh, a student of NID, is one of the most coveted names in Indian animation. He is the one who created Channel V’s famous Sardar Simpoo Singh Sodhi and the Amaron Battery characters. Gitanjali Rao, an alumnus of J.J. Institute of Applied Art, won an award in <keyword id="6366702" type="CITY" weightage="40" keywordseo="Cannes">Cannes</keyword> in 2006 for her animated short, Printed Rainbow. 
 
The future of animation in India can go either way. If we can come up with a few studios which will devote resources and talent for consistently creating really good content and art, the production will be on par with the industry leaders. A good marketing team can then sell it to the world. But without such initiatives, animation in India may just end up being a prop for creating logos for production houses and meeting deadlines for other studios who will get all the credit for creativity.

You Searched For "ramayan live" and got 11 results

Ramayan is the most-watched entertainment show in the world, says Doordarshan

BI India Bureau

Ramayan’s 170 million views from four episodes says India still can’t get over popular mythological shows from the 80s

Preeti Soni

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