Mrinalini Khanna
My generation has had the privilege of watching the real-time evolution of Hindi primetime entertainment. From Doordarshan, with its trademark Chitrahaar, Buniyaad and Ramayana to the cable TV era of The Bold and the Beautiful, ushering in the likes of KBC and K-serials, to today when I watched No Time to Die in my living room with no ads. Video streaming was my life blood during 2020, and I wasn’t the only one — streaming hit one billion subscriptions worldwide in 2020. But post-pandemic, can streaming compete with real life? How do we sustain viewer engagement?
Scouting for original content
Let’s break down the challenge of viewer engagement into two parts. The first part is the question of content, even as the quality of it is a subjective argument. Quantity is a balance between expectations and logistics—this is where licensing of original content is the knight in shining armour. It is about rethinking the concept of ownership and the whole dynamics between platform and producer.
Only once we allow for a more equal footing between platform and producer (and not just some producers but the majority) will we get more bang for our buck. Once we’re open to licensing more originals, producers won’t feel as if there’s a gun to their head on development timelines. On the second part — the knotty issue of loyalty — like all long-term relationships, we have to allow for some amount of leeway in the form of incentives, subscription pauses and credit scores. It’s the platform’s way of saying, “We see you”.
Programming as a buffet spread
In our relatively young cycle of evolution, we haven’t even touched the tip of the iceberg when it comes to originals in the country — that’s because when we think like a corporation, our appetite for risk is lower. It’s always an individual who is prepared to take a punt. Hence it circles back to producers to sift through and find hidden gems; not just in stories but also talent waiting to be discovered, on paper and behind the camera.
The challenge that’s ahead is about identifying a voice that rings true for contemporary India. When you cater to an audience that covers a multitude of generations and leanings — it’s important to celebrate that by seeing programming more as a buffet spread and not à la carte as per the platform brand.
One aspect of India which makes it so unique is language. The average Indian speaks three languages: Hindi, English and their mother tongue. Why doesn’t our content embrace that? That would imply there’s ample opportunity to embrace parts of the country that go beyond Delhi, Mumbai, Goa, Bhopal, Lucknow or Chandigarh. There’s an India out there waiting to be captured on celluloid and that can provide “mass” entertainment. We just need to be willing to find it and simultaneously embrace subtitles.
The author is VP, Originals, Lionsgate India
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