Content Hub
“The biggest idea can come from somebody you are not looking at”: Ajit Thakur
MUMBAI: It is the only channel, which has never shied away from experimenting; from mythology to drama, from thriller to comedy, it has done it all. The soon-to-be three-year-old channel from the Star Network’s stable, Life OK, has always been riding high on success.
For ‘The Content Hub’, indiantelevision.com spoke to the channel’s EVP and GM Ajit Thakur to understand his views on how Indian content has shifted its paradigm and challenges that he faces while spotting new talents.
According to Thakur, more than the concepts the channel is always looking out for fresher talent. “We are looking at people from Bollywood and advertising to come to us with different concepts. Also, we want to explore more genres. Currently, with Pukaar we are not only exploring action genre but also have got on board film director Vipul A Shah. In the future, we would love to do a lot more of comedy, thrillers, spy stories and a mythology.”
He believes that with both television and Bollywood growing at a tremendous speed, the demand for the same writers has increased over the years, making the task different. “We can all either wait for those people to come on board or can develop our own talent. Therefore, we have hired a lot of new writers.”
For shows like Mahadev and Savdhaan India, the channel has in-house writers. According to him talent spotting and retaining that talent is a big challenge as well. “One might be available today but he/she will get busy after six months. Plus, one cannot depend on established talent. So, we have to develop our own talent,” says Thakur.
He goes on to say that though Indian content has the ability to travel abroad; it will take some time because currently, the industry is not investing enough on production to scale it up. “Production quality will take another five to seven years to enter international market. But the interesting concepts will take lesser amount of time,” he says while adding that our shows are currently travelling to the Middle East and South Asia because of Indian diaspora, but for a show to have the scale for it to be sub-titled and aired in America, it will take time.
Is Indian content shifting its paradigm? According to Thakur, it is but slower than one would like it to. “Our viewers are evolving fast but at the end of it our cultural context is important too. As a country we are very different, so it’s not that our viewers are not evolving but they are evolving within the paradigm of Indian society where families are important and cultural values are important.”
He adds, “I think we have to take pride in the kind of stories we tell, but we need to produce them at the scale, which the international markets can look up to.”
Thakur has two best practices when it comes to sparking off changes in the thought and creation process of content. One, it is very important to have the right insights on which one wants to work on. “One should know who your target is whether you are a TV channel, filmmaker or a digital platform. I think very often we are making a mistake of not looking at who we want to target at, carefully. Who is your core TG? Is it urban India or rural India? Is it men or women? Is it young families or joint families? It is an important factor which many a times we overlook.”
Second, once you are clear about the TG then instead of trying to do many things, one must focus on one thing they are good at. “If you are developing one genre, develop a number of dramas, be the best at it rather than trying to do everything. And once you know that this is the target group and this is the kind of audience you want to target, then go ahead and find multiple story tellers. Never think that the current best lot is the one that will take it to the next level. Probably the biggest idea will come from somebody you are not looking at,” concludes Thakur.
Mumbai: Exploring the shift from regional to national content, this synopsis delves into the trends and challenges. It navigates the transformation, analyzing industry dynamics, emerging trends, and the hurdles faced. From preserving regional variation to adapting to a broader audience, it examines the multifaceted journey of regional content evolving into a national narrative. In what ways do the emerging trends and challenges influence the dynamics of the entertainment industry during this transition? How can creators navigate these changes effectively? What strategic approaches can content creators adopt to strike a balance between maintaining regional identity and fostering a cohesive national narrative in their work? How can the transition from ‘regional’ to ‘national content’ impact cultural diversity within the entertainment industry, and what measures can be taken to ensure the preservation of regional variation?
In a rapidly evolving media landscape, seasoned industry professionals have offered valuable insights into the transformation of content consumption and production. The session was chaired by Ernst and Young partner Raghav Anand, MMTV chief executive officer P.R. Satheesh, Sony Marathi business head Ajay Bhalwankar, PTC Network chairman & MD Rabindra Narayan, Shemaroo Entertainment COO, Digital, Saurabh Srivastava esteemed voices in the field, have articulated their perspectives on the burgeoning shift towards globalised content.
Rabindra Narayan emphasised the dissolution of regional boundaries in content consumption, attributing it to the accessibility facilitated by global platforms and connectivity options. He predicts a future where language barriers will fade, citing the potential of technology to clone and adapt voices, thus enabling seamless localization across languages.
Saurabh highlighted the democratisation of content creation in the digital era, underscoring its empowerment and revenue potential, particularly in linguistically diverse markets like India. He emphasizes the value of culturally rooted storytelling in filling gaps in content supply, with technology enabling effective monetization, especially through OTT platforms.
Ajay Bhalwan sheds light on the evolving landscape of Hindi and regional language content, noting a significant shift where a substantial portion of content on Hindi film channels originates from regional languages. He accentuates the importance of language in enhancing authenticity and audience engagement, exemplified by the strong resonance of Marathi content in Maharashtra.
PR Satheesh underscored the paramount importance of content quality in driving viewership and transcending language barriers. Drawing parallels with the global popularity of Korean dramas, he advocates for leveraging technology, including AI and real-time translations, to enhance content creation and distribution.
These insightful perspectives collectively echoed the industry’s adaptation to a globalised content landscape, where technology catalyzes innovation and accessibility. As content continues to evolve, these experts offered valuable guidance on navigating the dynamic media landscape and maximizing the impact of storytelling in diverse markets worldwide.
