GECs
‘Mahabharat,’ ‘Devon Ke Dev Mahadev’ &’Naagin’ successful in China, audience longing for more
MUMBAI: Life is stranger than fiction. Dreams sometimes are more real than reality. Political tiffs between India and China notwithstanding, it’s business as usual and more for the media and entertainment industry. The Indian mythological television dramas like ‘Mahabharat’, ‘Nagin’ and ‘Devon Ke Dev Mahadev’ are turning out to be highly successful with the Chinese audience.
The Chinese audience is however no stranger to imported content in terms of dramas, especially from countries including the US, South Korea, Japan and the UK. Indian stories are new to them, but they are gaining popularity.
Yang Buhui, who works in the gaming industry, said that Indian mythology was fascinating. Its philosophy and worldview, which were exotic and had been a wonderful new world to him, PTI quoted the state-run Global Times as reporting. Yang has also been running a volunteer group that provides Chinese subtitles for Indian tele-series.
She started the group because of her most favourite Indian TV series ‘Devon Ke Dev Mahadev’ (DKDM), which premiered in 2011 and ran a total of 820 episodes. It narrates the stories of Lord Shiva, who is also known as Mahadev.
Yang said she loved the drama because it’s a key to the world of Indian mythology. Besides, the actors were not only gorgeous, but their acting skills were good.
Qing Qing, who works in education industry, said she loved the actors so much that she would watch the “raw” episodes – that is, in Hindi language, and not translated or subbed in Chinese yet.
There was not much translation work done earlier for Indian dramas, and Qing said she had to wait for a long time for the Chinese subtitles. Qing has also enjoyed several Japanese and South Korean dramas in the past, as well as comics and anime, but now she mostly enjoyed Indian dramas the.
Everybody knew that both India and China are among the greatest ancient civilizations. However, compared to what they know about the countries from the West or other Asian countries such as Japan, what many Chinese know about India is still limited to the simple introductions in textbooks, Qing said and hoped that there would be a huge import of Indian films and dramas in the future.
MUMBAI: Lights, camera… connection because this time, the game isn’t just about winning, it’s about who’s with you. Sony Pictures Networks India is gearing up to launch a new reality game show, Tum Ho Naa, expanding its unscripted slate with a format that promises both emotion and engagement.
The show will premiere soon on Sony Entertainment Television and stream on Sony LIV, with Rajeev Khandelwal stepping in as host. Known for his measured screen presence and selective choices, Khandelwal’s return to television adds a layer of familiarity and credibility to the upcoming format.
While specific details of the gameplay remain under wraps, the positioning suggests a reality format that leans as much on emotional resonance as it does on competition, an increasingly popular blend in Indian television, where audiences are gravitating towards content that offers both stakes and storytelling.
Khandelwal, reflecting on his return, noted that his choices have often been guided by instinct rather than convention, describing Tum Ho Naa as a project that feels “close to the heart”. His association also signals Sony’s continued focus on anchoring new formats with recognisable faces who bring both relatability and depth.
The launch comes at a time when broadcasters are doubling down on original non-fiction formats to drive appointment viewing, even as digital platforms expand parallel reach. By placing the show across both linear television and OTT, Sony appears to be aiming for a dual-audience strategy capturing traditional viewers while engaging digital-first consumers.
As the countdown to premiere begins, Tum Ho Naa positions itself not just as another game show, but as a reminder that sometimes, the biggest prize on screen isn’t the jackpot, it’s the journey shared along the way.
