MAM
Nach Baliye 5 opens with 4.1 TVR
MUMBAI: The fifth season of the celebrity dance reality show ‘Nach Baliye’ opened with a TVR of 4.1 on 29 December on the leading Hindi general entertainment channel (GEC) Star Plus.
As per TAM ratings (HSM, C&S, 4+), sourced from Hindi GECs, the dance show helped Star Plus add GRPs in the 52nd week of 2012 from a week earlier. Star Plus saw its GRPs increase by 14 to 245 GRPs in the last week of 2012, maintaining its top position in the Hindi GECs rankings.
The ratings for Star Plus’ leading fiction property ‘Saathiya Saath Nibhana’ fell to 4.3 TVR in week 52 from 5.1 TVR a week earlier. Its other fiction show ‘Yeh Rishta Kya Kehlata Hai’ saw its ratings remain unchanged at 4.6 TVR compared with a week earlier.
Occupying the second position among Hindi GECs is Colors having added 15 GRPs to register 238 GRPs in the week ended 29 December. Its fiction show on child marriage ‘Balika Vadhu’ is the most watched show with 5.1 TVR (4.8 TVR a week earlier). The grand finale of ‘Sur Kshetra’ on 29 December clocked 1.6 TVR. Sur Kshetra was being simulcast on Colors and Sahara.
Colors had also aired ‘People’s Choice Awards’ on 29 December which fetched 2.5 TVRs, contributing to around 12.5 GRPs to the channel‘s viewership. The awards show ran for two-and-a-half hours.
Zee TV and Sony Entertainment Television (Set) share the third position with 198 GRPs each. While Set added six GRPs backed by slight improvement in viewership of its fiction properties, Zee TV lost 28 GRPs.
The drop in viewership of Zee TV can be attributed to the fact that the channel had aired Mahasangram of two of its fiction shows ‘Sapne Suhane Ladakpan Ke’ and ‘Rab Se Sohna Isshq’ in week 51 that had garnered viewership for the channel.
With an addition of 13 GRPs, Sab becomes the No. 5 channel. The channel ended the last week with 156 GRPs. Its fiction shows ‘Baalveer’ and ‘Jeannie aur Juju’ have sustained with 1.3 TVRs while ‘Taarak Mehta Ka Ooltah Chasmah’ recorded 4.0 TVR and ‘Chidiyaghar’ attained 2.0 TVR.
Sab EVP and business head Anooj Kapoor said, “Our success is a reinforcement of Sab’s brand promise of providing family entertainment with a dash of humour and this positioning consistently reflects in each of the shows produced by the channel. We will continue to offer innovative and differentiated content to our viewers across HSM and strengthen our reach to newer audiences across markets.”
Next in the ranking is Life OK that saw a loss in viewership in week 52. The channel lost 43 GRPs at 110 GRPs.
Sahara One with 23 GRPs (last week 24 GRPs) lies at the bottom of the ladder.
In the digital homes, Colors continues to be the top ranked Hindi GEC in the digital market (HSM, digital 4+) for the sixth consecutive week. Colors leads with 242 GRPs in week 52 (220 GRPs a week earlier) in digital market with the overall leader (digital and analogue combined) Star Plus in second position with 225 GRPs (217 GRPs a week earlier).
Sony is at number three position with 210 GRPs in the digital market, unchanged from the earlier week, and Zee is at the fourth position with 177 GRPs, down from 198 GRPs a week earlier.
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.
