GECs
Digital is pushing other mediums towards accountability
NEW DELHI: In the post-Covid2019 world, measuring the efficacy of advertising spends will become even more critical for companies as they navigate their recovery given the significant pressure of their cash flows and liquidity positions. How can the various M&E segments respond to these enhanced requirements on attribution? How can measurement become timelier and more precise for brands? Addressing these questions at the 21st edition of FICCI Frames, industry members discussed the ‘Attribution at the forefront of the conversation.’
GroupM South Asia president growth and transformation Tushar Vyas asserted, “We always say that half of the advertising is wasted but we don’t know which half, it’s a problem which keeps resurfacing in a new avatar even in the digital area. One of the reasons is because of the complexities associated with this area. There are issues like brand safety, ad frauds and many markets don’t have a set of common measurement across the various channel of mediums, even tonnes of data are making it more complex."
This year’s FICCI report released in March stated that in 2019, advertising grew by Rs 4000 crore but Rs 3700 crore were spent on digital and new media while the growth in traditional media was only Rs 300 crore.
BARC CEO Sunil Lulla shared that the pandemic has shifted the consumption pattern of content across mediums. He said, “I don’t think ROI has always been less important perhaps but what we have today is better measurability than ten years ago. We are still not there where a market has a unified independent measure, like on TV there is an independent measure, on digital, there are many digital providers.”
“There used to be conversation on digital vs television but the consumer is shifting from one screen to another. In the pandemic, we have seen a steep rise in TV consumption in certain categories such as kids, news and movies. As there was no original content, people started watching repeated content and Doordarshan became the no.1 channel after 1986, and digital was moving in parallel. TV is equally important that’s why July has the same volume as in January. TV is good for building brands, it’s good for targetting an entire family and digital is good for sharp targetting,” he added.
Due to Covid2019 print and radio took a much bigger hit. “I believe when the economy opens up fully, we could see all these mediums working in a better partnership that can be a big outcome from this period,” Lulla opined.
The panellists echoed that due to Covid2019 there are higher chances of brands shifting their spends to the digital landscape.
Vyas said, “Advertisers are going to follow where the consumers are going. It’s all about building an entire connected environment where you’re linking the consumer to commerce. The focus is shifted more from output to outcome now. Earlier the conversation was about reach and frequency which is now moving to a different level. The conversation today is more about what it is going to do to my business or brand. That’s the change which digital is bringing, which is resulting in that kind of accountability from other mediums as well.”
Vyas stressed that it’s important to build a first-party data ecosystem and knowing the consumer in-depth from their perspective.
“As an industry, we need to work together on how we report and agree on the metrics. We need some common practices to build these measurements, and then agree to the standardisation of data, and as time goes by, AI and MI can supplement these data,” he said.
He also said that agencies will always require the TV medium. Said Vyas: “Parties can’t do without TV because it’s the entertainment and information medium of the household and digital is for the individual.”
GECs
Zee tops fiction charts across six languages with strong show lineup
Broadcaster secures nearly half of top 10 spots as fiction strategy pays off
MUMBAI: Fiction is proving to be Zee Entertainment Enterprises Ltd’s winning script. The broadcaster has emerged as the dominant force in television fiction, occupying an average of five spots in the top 10 charts across six major language markets.
Across Hindi (Pay), Marathi, Bangla, Odia, Kannada and Telugu general entertainment channels, the company commands a 48 per cent share of the top 10 fiction rankings, according to BARC data for weeks four to seven of 2026 among urban audiences aged 15 and above.
The strong showing reflects the company’s renewed focus on storytelling driven by cultural insight and local relevance. With family viewing still centred around prime time, Zee continues to attract more than 20 per cent viewership share across genres in this high engagement window, outperforming competitors.
Zee Entertainment Enterprises Ltd, chief content officer Raghavendra Hunsur, said the results underline the effectiveness of the company’s sharply defined multilingual content strategy.
“The achievement is a firm testament to our content strategy across languages, which is clearly resonating with viewers,” Hunsur said. “Fiction shows remain the heart of entertainment. We will continue building both fiction and non fiction offerings that are authentic, engaging and rooted in local storytelling.”
The company’s Hindi flagship channel Zee TV has placed four relatively new launches among the top 10 shows in the Hindi Pay GEC category. These include Tumm Se Tumm Tak, Ganga Mai Ki Betiyan, Vasudha and Lakshmi Nivas, all introduced within the past 18 months.
Regional markets are delivering equally strong performances. Zee Marathi has recorded a 470 basis point rise in market share to 34.7 per cent in January 2026 compared with January 2025. Four of its shows, Kamli, Taarini, Veen Doghatli Hi Tutena and Lakshmi Nivas, feature among the top 10 in the Marathi GEC genre.
In eastern India, Zee Bangla has reclaimed leadership in the Bangla GEC segment in week seven of 2026, driven by five shows in the top 10 including Parineeta, Taare Dhori Dhori Mone Kori, Jowar Bhata, Amader Dadamoni and Chirodini Tumi Je Amar. The top ranked show Parineeta draws inspiration from Gen Z insights, reflecting changing audience sensibilities.
Zee Sarthak continues its five year leadership streak in the Odia GEC space with shows such as Sathi Sata Janmara, Suna Jhia, Tu Khara Mu Chhai, Tuma Bina and Bhagya Rekha occupying the top positions.
In the south, Zee Kannada maintains its long standing dominance, leading the Kannada GEC market for seven consecutive years. Seven fiction titles including Karna, Lakshmi Nivasa, Annayya, Amruthadhaare, Naa Ninna Bidalaare, Adi Lakshmi Purana and Brahmagantu form the top 7 shows in the category.
Zee Telugu is also gaining ground, emerging as the biggest channel across genres in Hyderabad while strengthening its position in the Telugu GEC segment across Andhra Pradesh and Telangana. Shows such as Jagadhatri, Meghasandesam, Jayam and Chamanthi occupy four of the top 10 spots.
With its regional channels gaining traction, Zee says it will continue sharpening its content playbook, focusing on stories that reflect everyday lives while tapping into evolving viewer preferences across markets.
