Film Production
Why 2000 episodes later Indian television still has families hooked
Balaji EVP Tanusri Dasgupta on legacy TV, loyalty and long form storytelling.
MUMBAI: At a time when attention spans are shrinking and screens are multiplying, Indian television continues to defy predictions of its decline. Long-form storytelling, once written off as a relic of appointment viewing, is still drawing families together night after night and nowhere is this more evident than in the rare milestone achieved by Kyunki Saas Bhi Kabhi Bahu Thi, which has completed 2,000 episodes over a remarkable 25-year run. The achievement is more than a number; it is a reminder of television’s enduring ability to mirror lives, anchor routines and create emotional continuity across generations.
Few executives have witnessed and shaped this evolution as closely as Balaji Telefilms EVP for digital and TV Tanusri Dasgupta. With over two decades at the studio, she has navigated shifting audience habits, platform fragmentation and the rise of digital viewing, while remaining rooted in the belief that strong storytelling remains television’s greatest currency. In this conversation, Dasgupta reflects on the legacy of long-running franchises, the changing economics of television, the role of marketing and digital distribution, and why, even in an OTT-first world, daily soaps continue to hold a uniquely powerful place in India’s entertainment ecosystem. More on this in this exclusive interview by Indian Television Dot Com.
On what 2,000 episodes of Kyunki Saas Bhi Kabhi Bahu Thi reveal about India’s love for long-form storytelling.
Television has been an integral part of the household for generations of families across India. Many viewers are emotionally bonded to the characters from long-running dramas or series than to characters from shorter-lived formats. As such, viewers have been following the journey of their favorite characters over a span of two decades, which is a testament to how a viewer’s life parallels a character’s existence. Not only does the country of India continue to support and value these storylines, but they also grow as society continues to change as the years pass. The ability for a viewer to have an emotional attachment to a television show and continue to support that show for so many years indicates how powerful emotionally based television is for audiences, particularly in India.
On how two decades at Balaji Telefilms reshaped your approach to building enduring TV IPs.
Balaji evolve and adapt with the ever-changing market. Television has changed time and again, riding the roller coaster of shifting trends, but what has never changed is the power of a good story. Audiences always find a connection with stories, something that resonates with them consistently works. We have tried to follow that pulse for the past two decades. In today’s time, audiences are far more involved through social media and other platforms, which gives us valuable insights. But eventually, it all comes down to the power of the story and the conviction of the creator.
On the creative and operational discipline needed to keep daily soaps relevant over hundreds of episodes.
The balance between nostalgic viewing compared to current viewing is also part of creating an environment for companies to operate within the guidelines of industry discipline; the need for continual creativity with each episode produced, while also incorporating the hook method in every episode and ensuring that each episode stays true to the characters. More importantly for creators, they must be agile in listening to their viewers’ real-time feedback on what is working and not in terms of plot points. The creative teams want to make their storylines simpler so the Gen Z audience will relate to them as real, so they are looking for more real and authentic content as well. At the same time, the creative teams have found a way to maintain the larger-than-life goals that are still the hallmark of the Balaji brand.
About how marketing legacy television shows has evolved in the age of social media and OTT.
The marketing timeline for television programming was previously based around a 9 p.m. time slot, but now focuses on creating trending topics on social media platforms like X and Instagram. Today, legacy television shows are treated as inter-generational brands, while OTT is viewed as the catch-up medium for busy urban consumers, and social media is the digital town square for dialogue on plot developments. The program is considered the star, while these digital channels are like planets orbiting around it.
On how broadcasters and advertisers now measure success for long-running television shows.
Television ratings continue to be the benchmark for linear broadcast television, but there has been a shift in how advertisers examine the episodic nature of television programming and monitor the consumer’s loyalty. In addition to the ratings, advertisers also view the stickiness of a program as a factor when deciding whether to invest in a new television program. Longstanding franchises have developed a level of trust that new programs do not necessarily experience at their inception. Advertisers gauge success through linear reach as well as digital impressions. When a brand integrates itself into a television program such as Kyunki Saas Bhi Kabhi Bahu Thi, it is not purchasing just an advertising space; it is purchasing the loyalty of the show, and by extension, it is gaining 25 years’ worth of audience loyalty and brand recall across three generations.
About whether established TV franchises are more attractive to marketers than new launches today.
Absolutely. In an era of content clutter, a franchise is a safe harbor. A new launch is a gamble; an established show is a habit. Marketers love predictability because it guarantees a baseline of eyeballs. However, the challenge for us is to keep that predictability from becoming predictable. As a brand, Balaji treats every new season or major leap in a franchise as a re-launch to ensure the brand remains fresh and the marketer’s ROI stays high.
On how digital distribution has extended the life cycle and monetisation of television content.
Television content is immortal because of technology. Previously, television episodes would only air once and then only be remembered; but now, television content has become part of the digital libraries, allowing consumers to binge-watch over 2000 episodes at their convenience. With the advent of this type of monetisation, content produced years ago continues to generate revenue through video-on-demand and subscription video-on-demand after being first aired. This shift has changed the way Balaji thinks about television shows, transforming them from perishable items into long-term assets.
About what television continues to offer that OTT platforms cannot fully replace.
OTT is about instant gratification and solitary bingeing, but television is about communal anticipation. TV builds a slow-burn connection. There is a unique magic in an entire country waiting for a specific wedding or a revelation at a specific hour. TV provides a sense of routine and a shared cultural experience that the watch-anywhere, anytime nature of digital-first formats sometimes dilutes. TV is the comfort food of entertainment.
On how platform strategy influences content creation and marketing across networks today.
At Balaji, we work with multiple networks on content strategy, with Ekta Kapoor continuing to lead the creative vision. While the creator’s conviction always comes first, the research and data shared by networks play an important role in shaping some of our decisions. Insights gathered through audience interactions, market visits, and performance data help us understand what is connecting with viewers and what may need fine-tuning.
Most networks follow a similar approach when it comes to research and data. This gives us a clearer sense of audience preferences and helps us judge which aspects of the story are working. Each network also brings its own perspective and strategy, which supports our overall content direction, along with feedback from ratings and performance.
On whether long-form television can still thrive, or if milestones like 2,000 episodes will become rare.
Although there may be fewer traditional forms of linear long-form storytelling, the craving for long-form storytelling is not going away. As long as families come together and humans look for emotional stories in their daily lives, long-form content will continue to be successful.
Film Production
Priyanka Kaur Dhillon joins SVF Entertainment as lead for music distribution
A seasoned content dealmaker with 16 years in digital and satellite media joins the Bengali entertainment powerhouse as it pushes into the pan-India music market
Mumbai: Priyanka Kaur Dhillon has made her move. The content acquisitions and commercials veteran, most recently commercial manager at Sony Pictures Networks India, has joined SVF Entertainment as lead for music distribution, stepping into one of the more interesting briefs in regional entertainment right now.
SVF is no ordinary regional label. Over 30 years it has built a formidable legacy in Bengali cinema and music, driven by culturally resonant storytelling and a catalogue that consistently punches above its weight. Its recent success with Chiraiya underlines the point. But the Kolkata-based powerhouse now has its sights firmly set beyond Bengal, most visibly through Legacy, a rap reality series produced in collaboration with hip-hop label Kalamkaar that signals a deliberate push into the pan-India music ecosystem.
Dhillon brings precisely the kind of muscle SVF needs for that expansion. At Sony Pictures Networks India, she led film acquisition and commercials and handled music licensing across the entire satellite network. Before that, she spent nearly 15 years at Hungama, rising to assistant general manager and leading strategic content licensing for the platform’s digital entertainment business, with a particular focus on international markets. Her label relationships span the full roster: Sony Music, Universal Music, Warner Music, Believe International, Tunecore, The Orchard and a clutch of smaller aggregators. She has negotiated and closed deals with Hollywood studios, Bollywood production houses and regional content players alike, building pricing models and deal structures off data analysis rather than instinct.
Announcing the appointment, Dhillon said she was “thrilled to begin this journey with an iconic Bengali music label and content powerhouse,” adding that SVF’s “constant drive to push boundaries” was what drew her to the role.
SVF has spent three decades proving that regional does not mean limited. With a sharp commercial operator now steering its music distribution, its bid to go national just got a good deal more serious.
