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<ul><li>Viewers connect with characters who are becoming increasingly stronger than them following a story.</li><li>Today, there is more affinity towards characters and how they evolve and grow and be a part of a story that viewers follow instead.</li><li><keyword id="9948836" type="General" weightage="20" keywordseo="simran-hoon" source="Orion">Simran Hoon</keyword>, CEO, <keyword id="6063565" type="General" weightage="20" keywordseo="the-q" source="Orion">The Q</keyword> writes how the content consumption patterns are changing in the media landscape and why consumers are demanding better stories.</li></ul>For 210mn TV viewing households in India, television continues to be a medium of entertainment and also a source of credible news and information. Historically, <keyword id="905070" type="General" weightage="20" keywordseo="hindi-gecs" source="Orion">Hindi GECs</keyword> have built themselves on content that circles around family drama, mythology, the supernatural, crime fiction and reality entertainment. A strong robust content supply chain ensured that viewers consumed what was on offer. However, with a wide range of content becoming increasingly available on demand at a competitive price, viewers becoming more aware, and the impact of COVID-19, viewers now hold the power to command and demand for content as per their wants and preferences. Viewers globally are thirsting for content that is inclusive, unique, fresh in format, relevant and relatable. They want to consume content that is a reflection of the outside world; a reflection of their lives. And while there will always be an audience for family dramas and soaps that run on TV for decades, there already is a visible shift in consumption and viewership patterns wherein viewers are looking for more from Hindi GECs. Following are a few trends that showcase change in consumption patterns and viewers’ appetite to experiment and taste new formats and mediums: Characters over stories Viewers connect with characters who are becoming increasingly stronger than them following a story. Today, there is more affinity towards characters and how they evolve and grow and be a part of a story that viewers follow instead. Viewers have learned to root for a particular character as opposed to how they would want to see a story unfold. For instance, chronicles of historic figures win over viewers' interest because of the character and how they evolved. It is a journey of a character that a viewer now follows and sometimes even lives. So characters have become dinner table conversations over the story. Short format content The pandemic changed consumption patterns and altered preferences. Short form content, the likes of sketch comedies, et al are formats that one, including marketers and broadcasters’ would perceive to be digital friendly only. However, short format shows curated from the digital ecosystem with digital talent have been fast selling even on TV. Short episodic shows have great stickiness with viewers given how labile viewer attention span is. Animation on a Hindi GEC Globally, animated motion graphics targeting an older set of audience are at peak popularity; but would one dare to even think of how such content would be received on a Hindi GEC if offered to a non-kid audience demographic? Typically, <keyword id="62876" type="General" weightage="20" keywordseo="indian-television" source="Orion">Indian television</keyword> hasn’t been a witness to animated motion work stories and the lockdown was indeed a great period for this litmus test given that shoots had to be paused. Although generalized as content for kids, shows like Akbar Birbal, Vikram Betal, Panchatantra stories in their animated form received great success indicating that the Indian viewer is more than ready for animated content. Well-timed content Relevant well-timed content received its due credit over the last couple of years owing to the pandemic. The demand for spiritual and mytho content spiked during the early phase of the lockdown. Viewers were looking for content that was reassuring in the most uncertain period. This was followed by a surge in consumption of light-hearted and humorous content as it proved to be an escape route for an audience that was stuck indoors. Essentially, there is always a market for well-timed purposeful content irrespective of its genre. For instance, Pani Puri was one of the most searched recipes in India during April 2020 according to Google. Diversification of content with new formats, unexplored genres, etc. are crucial in ensuring viewer loyalty and love. The success for a Hindi GEC is no longer defined by how long a show airs on television today or who is the face of a show. Viewers have evolved and are upbeat and acceptable of content with fresh faces, stories and story-telling formats. As programming teams are faced with new age challenges, breaking away from stereotypical benchmarks is a need of the hour.

India's General Entertainment Channel's story moving on from soaps and dramas

<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.

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India's General Entertainment Channel's story moving on from soaps and dramas

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Trends that will shape the broadcast industry in 2022

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