MAM
TAM wk 39: Sab and Life OK highest gainers
MUMBAI: The TAM TV ratings for week 39 are out and it seems to tell the same story. There is no change in the top three positions even as the war continues.
Sab, a sister channel of Sony Entertainment Television, is the highest gainer this week with 331,772 GVTs (289,471) at number five, followed by Life OK, the next highest gainer with 334,306 GVTs (313,138) at number four spot.
Other GECs have witnessed a drop in their ratings. Star Plus manages to stay on top with 506,317 GVTs (534,590) while Colors maintains its number two position with 458,409 GVTs (479,892). Zee TV too saw a fall this week and holds its number three spot with 384,111 GVTs (413,707).
Sony slips to number six spot with 286,083 GVTs (327,089). Sahara One is at the bottom of the list with 26,838 GVTs (26,495).
Coming back to the GEC leader, Star Plus’ popular show Diya aur Baati Hum saw a drop in its ratings and rated 9,614 TVTs (9,819). Another prime time show, Yeh Rishta Kya Kehlata Hai scored 6,328 TVTs (6,587). Pyar Ka Dard Hai reported 7,191 TVTs (7,342). Saathiya witnessed a rise and registered 7,101 TVTs (6,456). New epic series Mahabharat witnessed a drop in its second week with 5,518 TVTs (6,356).
Second placed, Color’s much hyped reality show Bigg Boss seven witnessed a drop with 4,811 TVTs (5,080) this week. Long running fiction series Balika Vadhu saw a massive rise and rated 7,797 TVTs (6,551), Madhubala – Ek Ishq Ek Junoon scored 4,743 TVTs (4,990) and Uttaran reported 3,464 TVTs (4,140). Comedy Nights with Kapil reported 6,804 TVTs (7,244).
Zee TV’s fictional offering Qubool Hai saw a drop and scored 5,511 TVTs (6,340). Pavitra Rishta generated 4,421 TVTs (4,733). Sapne Suhane Ladakpan Ke notched up and scored 5,343 TVTs (5,035). The channel’s historical show Jodha Akbar maintains its stability and scored 8,027 TVTs (8,025). Drama series Do Dil Bandhe Ek Dori Se registered 4,675 TVTs (4,612). Its new dance reality DID – Dance ka Tashan took its tally to 4,088 TVTs (5,021) on a Saturday and 4,290 on a Sunday.
Fourth placed, Life OK’s top mythological series Mahadev scored 3,623 TVTs (3,588). Do Dil Ek Jaan stood at 1,725 TVTs (1,801), Savdhan India rated 2,563 TVTs (2,300), Shapath generated 3,729 TVTs (3,988). Ek Boond Ishq propped up this week taking its tally to 2,351 TVTs (2,029).
Fifth placed, Sab’s fiction show Taarak Mehta Ka Ooltah Chashmah continues to be the channel leader with 8,096 TVTs (7,276). Chidiya Ghar saw a marginal rise as it rated 3,176 TVTs (3,045). Lapataganj reported 2,015 TVTs (2,066). Baalveer registered 2,835 TVTs (2,605). Other fictional shows witnessed marginal rise and fall as well.
Sixth placed, Sony’s long running crime series CID witnessed a huge rise and recorded 5,505 TVTs (5,070), Crime Petrol registered 4,789 TVTs (6,415). The channel’s historical show Maharana Pratap generated 2,840 TVTs (3,266). KBC lost its score and only garnered 5,176 TVTs (6,134). Comedy Circus earned 3,505 TVTs (3,092). Other fiction shows either held on to their viewership or dipped marginally during the week.
In the movie channel genre, Zee Cinema reported 201,334 GVTs (187,397); Star Gold witnessed a slight rise to 183,757 GVTs (177,380) and Movies OK notched up taking its tally to 107,863 GVTs (96,047). On the other hand, &pictures garnered 67,942 GVTs (67,480) and Max scored 207,046 GVTs (210,021).
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.
