Animation
Pogo launches indigenous slapstick comedy Andy Pirki
MUMBAI: Pogo is all set to roll out a new show – Andy Pirki – a slang word in the Tulu language (a language spoken on India’s southwest coast) which means ‘mad cap’. It is a silent slapstick comedy series launching from 3 December 2017, created by Mangaluru based AUM animation studios. The series will be telecasted every Sunday at 9.30 am.
The studio came up with the idea for the show in 2009, but as a small studio, it lacked experience and budget. By 2013, the studio was producing an episode every two months. The story’s main characters include Andy, a pink dinosaur and Pirki a caveman who develop an inimitable bond because of their unique circumstances.
Turner executive director and network head-kids South Asia Krishna Desai said that the channel decided to create a silent slapstick comedy was to ensure it has a universal appeal without language barriers or political or demographic distinctions. He added, “Since there are no dialogues, the original show is emphasised. Every show has 50 per cent visual and 50 per cent audio content; here we can deliver great audio experiences as well.”
Andy Pirki will have 80 episodes and Pogo has planned production for 2-3 years. It is using only open source software like Blender and Krita.
Desai said that when it comes to watching television, kids prefer light-hearted content. “Six or seven years ago there were many genres like drama and history. They were quite popular then, but now we have funny and light-hearted content that is becoming popular.”
The production house and the network co-own the intellectual property rights (IP). It was the production house AUM animation that approached the network first a year and a half ago, showing up the rough drawings of the characters and then impressed by them, the deal got finalised.
AUM Animation Studios MD Shreekaanth Dass said, “The initial idea to produce Andy Pirki came to us in the inception year of AUM Animation Studios in 2009. Andy Pirki has already won multiple industry awards for best animation in India and international markets.”
Talking about the viability of the show, especially when the audience is shifting to over the top (OTT) platforms, Desai said that it is a growing trend, but as of now, it is urban-centric which can change in the long run. “In the short term, we don’t see television viewership getting affected by OTT. In long-term, anything can happen. If OTT is growing, we make sure our franchise is available digitally and it is available on linear TV as well.”
As far as the quality of Indian content versus foreign ones is concerned, Desai says that kids don’t understand this concept and enjoy things they like.
Awards won by Andy Pirki
FICCI FRAMES ‘BAF’ award 2015, 2016 and 2017 – Category: Best animated episode (National)
FICCI FRAMES ‘BAF’ award 2015 and 2017 – Category: Best animated episode (International)
DIGICON6 India awards 2015 – Category: NextGen India
MUMBAI: History is getting a fresh rewrite this time with code, creativity and a longer arc in mind. Lens Vault Studios has announced its first original production, Bal Tanhaji, marking the official entry of the newly launched, tech-driven studio into India’s evolving entertainment landscape.
Arriving six years after the box-office success of Tanhaji: The Unsung Warrior, the new project expands the universe rather than revisiting familiar ground. Bal Tanhaji explores uncharted narrative territory, signalling a clear shift from one-off cinematic spectacles to long-format, world-building storytelling designed for digital-first audiences.
At the heart of this ambition is Prismix Studios, the in-house generative AI and technology arm powering the creative engine behind the show. The studio’s approach blends storytelling with next-generation tools, aiming to reimagine how Indian IPs are created, scaled and sustained beyond theatrical releases.
For Lens Vault Studios chairman Ajay Devgn the new venture represents a deliberate step beyond traditional cinema. The focus is firmly on building long-form intellectual properties across fiction and non-fiction, tailored to changing viewing habits and platform-led consumption. He said the studio intends to explore formats that remain largely untapped, while drawing on the team’s experience with large-scale cinematic storytelling.
Lens Vault Studios founder and CEO Danish Devgn echoed that sentiment, describing Bal Tanhaji as the studio’s first generative-AI-led IP and the starting point of a broader vision. The aim, he noted, is to carry forward the legacy of the Tanhaji universe while connecting with younger audiences through a blend of powerful narratives and emerging technologies.
With Bal Tanhaji, Lens Vault Studios is planting its flag early not just launching a show, but signalling a larger play for cinematic universes that live, grow and evolve across platforms. If this debut is any indication, the future of Indian storytelling may be as much about imagination as it is about innovation.
