Instead of investing Rs 8–10 lakh per episode for an original fiction show, Sony has opted for a cost-effective route: syndicating an already-produced show, repackaging it under a new title
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Sony Entertainment Television (SET) recently launched a new daily soap Radhika Dil Se on March 10, 2025. However, a closer look reveals that the show isn't entirely new. It is a rebranded version of Mann AtiSundar, a show that originally premiered on Dangal TV on July 24, 2023, and is still running on the network.
Amid efforts to revive its fortunes in the general entertainment category (GEC), Sony is pulling out all the stops—from partnering with OTT giants like Netflix to showcase select content, to reviving beloved classics. The network is clearly pulling every lever it can to strengthen its primetime lineup and regain viewership momentum.
Industry insiders believe that for Sony, this move is less about simply filling programming hours and more about strategically tapping into a specific market segment — the mass-market audience familiar with rural-flavored dramas — without bearing the heavy costs typically associated with new content production.
Instead of investing ?8–10 lakh per episode for an original fiction show, Sony has opted for a far more cost-effective route: syndicating an already-produced, proven show, repackaging it under a new title, and testing its appeal to an urban, pay-TV audience, experts said, adding that in doing so, Sony aims to diversify its fiction offerings while minimizing financial risk.
According to a senior broadcast expert, “Sony’s approach is to rebrand and market an existing show under a new name (Radhika Dil Se) making it a quick and economical way to generate incremental ad revenue.”
"The programming cost is virtually nil," the expert noted, adding, "You just rename it, market it differently, and put it on air. If the show manages to generate even moderate additional ad revenue, it's a win for the broadcaster."
Such a move isn’t part of a larger trend across TV or OTT platforms but is a tactic employed occasionally — usually when a broadcaster needs fresh content quickly without making heavy upfront investments.
Experts said that it’s distinct from the reruns of evergreen classics like Mughal-e-Azam or Sholay, which can draw audiences repeatedly because of their timeless appeal. In this case, the repurposed content targets a specific market with relatively low expectations but decent upside potential.
Shares another industry expert, “I believe this strategic move is inspired by the success of other major broadcasters, such as Star, Zee, and Colors, who have effectively leveraged content repurposing and syndication across different markets.
“By adopting a similar approach, Sony aims to capitalize on the proven appeal of existing content, driving cost efficiency through effective utilization of its content library. This strategy enables them to maximize returns on investment, while also catering to the evolving preferences of our audience. I think it will help them to drive the desired rating nos in a cost effective way with a successful content which they already have in their library. Based on the ratings, i think they will charge rates suitable for that time band.”
How Dangal benefits
For Dangal TV, the arrangement is equally strategic. According to industry experts, there are typically three types of deal structures for such content repurposing: Outright Sale – Dangal sells full rights to Sony for a one-time lumpsum payment; Limited Telecast Rights – Sony buys rights to air the show a certain number of times for a fixed fee; and Ad Revenue Sharing – Sony and Dangal agree to share the advertising revenues generated from the telecasts.
While the exact terms of the Sony-Dangal deal remain confidential, experts speculate that Dangal likely opted for an upfront sale or limited telecast deal rather than a shared revenue model.
"Dangal usually prefers fixed arrangements to lock in guaranteed revenue," said a senior industry insider.
In any scenario, Dangal benefits by monetizing existing content without any new production costs, turning a successful Free Dish (FTA) property into a fresh revenue stream from the pay-TV space.
Sony’s experiment: Tapping rural flavour for urban audiences
An even more intriguing layer to Sony’s decision lies in its evolving audience strategy. Mann AtiSundar had a strong rural resonance, with about 95% of Dangal’s viewership coming from Free Dish and only 5% from Pay TV platforms like cable and DTH.
Dangal has traditionally catered to mass-market rural audiences, while Sony has remained an urban, pay-TV-centric brand with very little reach among non-urban demographics.
According to a broadcast expert, “For Sony, fiction programming has long been a pain point. Apart from hits like Kaun Banega Crorepati (KBC) and Indian Idol in non-fiction, its scripted content has struggled to consistently deliver ratings. High costs — ?8–10 lakh per episode for original fiction — combined with the risk of failure have made new fiction launches a risky business for Sony,”
“Instead, with Radhika Dil Se, Sony is experimenting by bringing a proven rural drama — one that resonated deeply with Free Dish viewers — into its urban, pay-TV portfolio at a fraction of the cost. They are attempting to see if this flavour of storytelling can resonate with their audience. At around one-fourth of the typical production cost, it’s a low-risk, high-upside strategy,” the expert said.
They believe that unlike Colors or Star Plus, which have a more blended audience of urban and non-urban viewers and wouldn't typically syndicate ongoing shows from smaller networks, Sony has less to lose — and much to gain if the experiment works.
Radhika Dil Se represents an interesting case study of how traditional broadcasters are adapting strategies amid a fragmented viewership landscape. By syndicating and repackaging an existing hit at minimal cost, Sony is testing whether rural storytelling tropes can capture an urban, pay-TV audience — or at least generate sufficient advertising revenue to justify the experiment.
For Dangal, it’s an easy revenue boost without risking its primary Free Dish audience base. For Sony, it’s a rare chance to fill a fiction gap without burning a hole in its programming budget. And for the TV industry at large, it’s a reminder that in an era of content overload, repurposing, repositioning, and recalibrating strategies may sometimes trump traditional programming playbooks.
According to the ratings data captured by e4m for weeks 13, 14 and 15, the TVR for ‘Radhika Dil Se’ remained low and fluctuated between 0.13 and 0.16. While there’s no strict standard for a successful TVR, experts suggest that ratings above 2.0 or 3.0 indicate popularity, depending on the market and time slot. An average TVR ranges between 1.0 and 2.0 (or 3.0), while anything below 1.0 signals a smaller audience.
Whether Radhika Dil Se finds success on Sony or remains a one-off experiment will be closely watched by industry insiders in the coming months.
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