MAM
Star Plus regains its number one spot in Week 44: TAM Ratings
MUMBAI: The Badshah of Bollywood lifted Zee TV to the number one mark last week but it seems the magic that Chennai Express created for the channel lost its sheen very soon as it is back to its usual spot — number three — in the Week 44 of TAM ratings.
Star Plus is again leading the chart with 486,066 GVTs (492,849); while Colors at number two is the highest gainer with 463,778 GVTs (423,584). Zee TV, which is back to its usual slot, garnered 434,987 GVTs as compared to 505,442 GVTs last week. Sab is at number four with 337,099 GVTs (331,674) followed by Life OK with 323,897 GVTs (334,635). Sony maintains its sixth position with 299,964 GVTs (281,638). Sahara One continues to be at the bottom with 31,647 GVTs (36,323).
The number one channel this week, Star Plus witnessed few changes as the ratings of its show, Pyar Ka Dard Hai notched up this time. It generated 7,752 TVTs compared to 7,178 last week. Star’s popular show, Diya aur Baati Hum scored 10,155 TVTs (10,367), Yeh Rishta Kya Kehlata Hai registered 6,986 TVTs (7,347), Saathiya too witnessed a slight rise and registered 7,509 TVTs (7,474), while the epic series, Mahabharat witnessed a drop and rated 5,041 TVTs (5,530). Saraswati Chandra seems to be at a stable position with 5,111 TVTs (5,170).
There are few surprises for the second in the rank, Colors’ as well. Its longest running fiction series, Balika Vadhu saw a drop in its ratings and generated 7,080 TVTs (7,735), Madhubala – Ek Ishq Ek Junoon scored 4,441 TVTs (4,305). Uttaran fared well and took its tally to 4,299 TVTs (3,722). Even the popular, Comedy Nights with Kapil witnessed a huge rise with 6,631 TVTs (5,250). The much hyped adaptation of the international 24 starring Anil Kapoor witnessed a drop and registered 2,755 TVTs (3,050). And the celebrity reality show, Bigg Boss seems to be riding high with all the cat-fights and controversies going on in the house. The show’s ratings witnessed a decent raise. It registered 5,024 TVTs compared to 4,587 last week.
Zee TV that came down to its third spot after creating a furor last week too saw a major rise in its fictional offering Qubool Hai. The show scored 5,625 TVTs (4,998). Pavitra Rishta generated 4,235 TVTs (4,419). The ratings of Sapne Suhane Ladakpan Ke also improved with 5,152 TVTs (4,843). Period drama Jodha Akbar noted 8,101 TVTs (8,299), while drama series, Do Dil Bandhe Ek Dori Se registered 4,870 TVTs (4,412). The recently launched sitcom Bh se Bhade generated 2,139 TVTs (2,856). Zee TV’s popular dance reality show Dance India Dance – 4 doesn’t seem to be working wonders for the channel as its score dropped drastically to 3,854 TVTs (6,075) on Saturday, but it picked up again on Sunday with 6519 TVTs.
Fourth placed, Sab’s fiction show, Taarak Mehta Ka Ooltah Chashmah continues to lead among all its other shows with 7,637 TVTs (8,161). Chidiya Ghar saw a drop and generated 3,645 TVTs (3,852). Lapataganj generated 2,354 TVTs (2,217) and Baalveer registered 2,391 TVTs (2,904). The channel aired a special Diwali show Sab ki Diwali Mela on 1 November generating 4,064 TVTs. It was a roller-coaster ride for other fiction shows as well.
Life OK on number five continues to lead with its mythological series Mahadev. The show seems to be a favourite among the viewers as it scored 4,183 TVTs (3,759). Do Dil Ek Jaan generated at 1,526 TVTs (1,719), while crime-based Savdhan India rated 2,509 TVTs (2,577). Shapath generated 3,172 TVTs (3,699) and Ek Boond Ishq registered 2,620 TVTs (2,749). Reality series The Bachelorette India managed to stay stable with 2,073 TVTs (2,052).
Sony, which is at number six, witnessed a drop in ratings — 4,317 TVTs (5,009) — for its longest running crime series CID. Crime Patrol managed to register 3,818 TVTs (3,947). The channel’s historical show Maharana Pratap managed remained at a stable position with 2,771 TVTs (2,772), while quiz show KBC witnessed a drop and garnered just 2,436 TVTs (3,570). The channel premiered the biggest blockbuster of the year Yeh Jawani hai Deewani on 27 October and scored 6,995 TVTs. Other fiction shows either held on to their viewership or dipped marginally during the week.
In the movie channel genre, Zee Cinema reported 210,728 GVTs (195,223); Star Gold witnessed a fall and registered 175,245 GVTs (190,414) and Movies OK scored 120,183 GVTs (124,887). On the other hand, &pictures garnered 57,589 GVTs (67,725), Zee Anmol registered 50,827 GVTs (52,731) and Max scored 182,588 GVTs (198,492).
While there has been some major shake-up in the last two weeks, let’s see what’s in store for the channels in the coming weeks.
Digital
Content India 2026 opens with a copro pitch, a spice evangelist and a £10,000 prize for Indian storytelling
Dish TV and C21Media’s three-day summit puts seven ambitious projects before an international jury, and two walk away with serious development money
MUMBAI: India’s content industry gathered in Mumbai this March for Content India 2026, a three-day summit organised by Dish TV in partnership with C21Media, and it wasted no time making a statement. The event opened with a Copro Pitch that put seven scripted and unscripted television concepts before an international panel of judges, and by the end of it, two projects had walked away with £10,000 each in marketing prize money from C21Media to support development and international promotion.
The jury, comprising Frank Spotnitz, Fiona Campbell, Rashmi Bajpai, Bal Samra and Rachel Glaister, evaluated a shortlist that ranged from a dark Mumbai comedy-drama about mental health (Dirty Minds, created by Sundar Aaron) to a Delhi coming-of-age mystery (Djinn Patrol, by Neha Sharma and Kilian Irwin), a techno-thriller about a teenage gaming prodigy (Kanpur X Satori, by Suchita Bhatia), an investigative crime drama blending mythology and modern thriller (The Age of Kali, by Shivani Bhatija), a documentary on India’s spice heritage (The Masala Quest, hosted by Sarina Kamini), a documentary on competitive gaming (Respawn: India’s Esports Revolution, by George Mangala Thomas and Sangram Mawari), and a reality-horror competition merging gaming and immersive fear (Scary Goose, by Samar Iqbal).
The session was hosted by Mayank Shekhar.
The two winners were Djinn Patrol, backed by Miura Kite, formerly of Participant Media and known for Chinatown and Keep Sweet: Pray & Obey, with Jaya Entertainment, producers of Real Kashmir Football Club, also attached; and The Masala Quest, created and hosted by Sarina Kamini, an Indian-Australian cook, author and self-described “spice evangelist.”
The summit also unveiled the Content India Trends Report, whose findings made for bracing reading. Daoud Jackson, senior analyst at OMDIA, set the tone: “By 2030, online video in India will nearly double the revenue of traditional TV, becoming the main driver of growth.” He noted that in 2025, India produced a quarter of all YouTube videos globally, overtaking the United States, while Indians collectively spend 117 years daily on YouTube and 72 years on Instagram. Traditional subscription TV is declining as free TV and connected TV gain ground, forcing broadcasters to innovate. “AI-generated content is just 2 per cent of engagement,” Jackson added, “highlighting the dominance of high-quality human content. The key for Indian media companies is scaling while monetising effectively from day one.”
Hannah Walsh, principal analyst at Ampere Analysis, added hard numbers to the picture. India produced over 24,000 titles in January 2026 alone, with 19,000 available internationally. The country now accounts for 12 per cent of Asia-Pacific content spend, up from 8 per cent in 2021, outpacing both Japan and China. Key exporters include JioStar, Zee Entertainment, Sony India, Amazon and Netflix, delivering over 7,500 Indian-produced titles abroad each year. The top importing markets are Saudi Arabia, the UAE, Egypt, the United States and the Philippines. Scripted content dominates globally at 88 per cent, with crime dramas and children’s and family titles performing particularly strongly.
Manoj Dobhal, chief executive and executive director of Dish TV India, framed the summit’s ambition squarely. “Stories don’t need translation. They need a platform, discovery, and reach, local or global,” he said. “India produces more movies than any country, our streaming platforms compete globally, and our tech and creators win international awards. Yet fragmentation slows growth. Producers, platforms, and tech move in different lanes. We need shared spaces, collaboration, and an ecosystem where ideas, technology, and people meet. That is why we built Content India.”
The data, the pitches and the prize money all pointed to the same conclusion: India is not waiting for the world to discover its stories. It is building the infrastructure to sell them.
