MAM
Zee, Life OK biggest gainers in week 25 TAM ratings
MUMBAI: In week 25 TAM ratings, Zee TV was the highest gainer, as it added 16 GRPs, taking its score to 209. Life OK, this week is the second highest gainer as it notched up nine GRPs taking its score to 136 GRPs, according to the weekly ratings provided by a TV channel. Colors, the highest gainer for last week, saw a rise of seven GRPs, taking its total to 188 GRPs to secure its position at No 3, for the week.
Sony Entertainment Television followed at the fourth position with a tally of 149 GRPs. Sab lopped off two GRPs this week taking its tally to 138 GRPs. Star Plus shed 11 GRPs but has still managed to hold on to its No 1 spot with 243 GRPs.
Numero uno Star Plus‘ chart topper Diya Aur Baati Hum witnessed a fall when it rated 3.7 TVR (4.4 TVR last week). Unlike last week, other fiction series appear to be losing the connect with audiences. Yeh Rishta Kya Kehlata Hai decreased to 3.0 TVR (3.5 TVR last week), Pyaar ka Dard to 2.8 TVR (3.2 TVR last week) followed by Saraswati Chandra that remained stable at 1.8 TVR. New series Meri Bhabhi rated 1.9 TVR.
The good news is, Veera, aired on Star Plus, has witnessed a growth generating 3.0 this week (2.5 TVR last week). With several new reality shows on air, the channel‘s talent hunt-cum-reality show India‘s Dancing Superstar snipped off some viewers when it rated 1.8 TVR on Saturday and Sunday.
Zee TV‘s new reality show DID Super Moms leapt to 3.5 TVR (2.8 TVR) on Saturday and saw a fall on Sunday when it rated 2.7 TVR (3.2 TVR last week). Its fictional offering Qubool Hai notched up generating 3.4 TVR (2.8 TVR last week), Sapne Suhane Ladakpan Ke aired its maha-episode that rated 3.3 TVR on 17 June (Monday), Pavitra Rishta witnessed a marginal improvement as it registered 2.5 TVR (2.1 TVR last week) . The new reality peep show Connected Hum Tum witnessed stability with a 0.7 TVR. The 90s blockbuster movie Hum Aapke Hai Kaun generated a 1.1 TVR. New historical show Jodha Akbar generated 2.0 TVR.
Colors slipped to No. 3 as its popular celebrity dance reality show Jhalak Dikhhla Jaa generated a 2.1 TVR on Saturday (2.0 TVR) and 1.8 TVR on Sunday (1.9 TVR). Fiction shows on Colors seem to be dragging. Thus, Balika Vadhu witnessed a slight drop when it rated 2.5 TVR (2.6 TVR), Madhubala- Ek Ishq Ek Junoon, last week‘s channel leader, also shed ratings and closed at 2.4 TVR (2.5 TVR) and Uttaran rated 2.2 TVR (2.3 TVR). New comedy show Comedy Nights with Kapil generated 3.4 TVR on Saturday.
Fourth placed, Sony Entertainment Television‘s long running crime series CID witnessed a slight fall as it rated 2.1 TVR (2.3). Crime Petrol saw a 0.1 improvement generating 1.8 TVR (1.7 last week). On the other hand, Comedy Circus ke Ajoobe rated 1.3 TVR (1.1 TVR). Its new historical show Maharana Pratap saw an improvement of 0.1 TVR, generating 1.4 TVR (1.3 TVR). Other fiction shows either held on to their viewership or dipped marginally during the week. Sony‘s all new Indian Idol Junior (IIJ) remained stable with ratings of 1.8 TVR on Saturday and Sunday respectively.
Sab shed two GRPs from the past week, but still managed to hold fifth position. Its fiction show Taarak Mehta Ka Ooltah Chashmah continues to be the channel leader with 3.5 TVR (3.1 TVR). Lapataganj (in-laws) fell to 1.0 TVR (1.3 TVR). Other fictional shows witnessed a marginal rise and fall as well.
Life OK‘s top series Mahadev saw a growth to 1.9 TVR (1.6 TVR). The new fiction show Do Dil Ek Jaan managed to get 0.6 TVR (0.5 TVR). Hum Ne Li Hai… Shapath increased its score to 1.4 TVR (0.9 TVR). Savdhan India remained stable at 1.2 TVR.
Sahara has finally showed some improvement, being rated 20 GRPs (19 GRPs last week), but it still continues to be at the bottom.
In the movie channels genre: Zee Cinema saw a drop, reporting 100 GRPs (108 last week); Star Gold rose three points, reporting 109 GRPs (106 last week) and Movies OK was at 55 GRPs (51 last week). On the other hand, Max reported 122 GRPs (116 last week).
All in all, week 25 saw channels win some and lose some, as always.
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.
