Plot thickens: Why production houses are thinking differently

With on-demand viewing altering entertainment consumption patterns and viewers moving away from traditional scheduled broadcasts, production houses, and writers and directors of TV content are now looking for ways to reinvent their creative processes for an increasingly selective audience.

Additionally, the rise of Connected TV and OTT platforms is eating into GEC viewership , thus resulting in diminished advertiser interest, shared industry watchers.

exchange4media reached out to TV content creators and production houses to gain insights into innovation in content creation, and the challenges of rising costs and declining ratings .

Production heads were unanimous that the industry is at a critical juncture with innovation and adaptation essential for survival in the competitive entertainment landscape.

Change the plot?

According to Siddharth Kumar Tewary, Founder and Chief Creative, Swastik Productions, it is now crucial to focus on compelling storytelling without second-guessing what viewers want.

“There are certain challenges arising from the technological shift that allows viewers to watch their favourite content as per their schedule, rather than being tied to a specific broadcast time. This change in consumption habits is evident, and we recognise its impact.

“From a content perspective, it’s essential to focus on compelling stories that resonate with audiences. It’s about having confidence in the narratives you create. With a strong belief in the stories we tell, now is the time to innovate and embrace new risks in our storytelling approach,” Tewary said.

Tewary has produced mythological shows like ‘Mahabharata’, which aired from 2013 to 2014. Currently, his series ‘Shrimad Ramayan’ is being telecast on Sony SAB. Launched in January this year, ‘Shrimad Ramayan’ was initially aired on Sony Entertainment Television (SET) but was later shifted to Sony SAB.

Concern over numbers

According to the latest data available with e4m, the show’s ratings for weeks 33 to 38 fluctuated between 0.4 and 0.5.

“I'm definitely unhappy with the current rating numbers. However, it's important to note that these figures only represent TV viewership for a specific time slot. Many viewers are also watching on the Sony LIV app, YouTube, and other platforms, so the ratings don’t provide a complete picture of total viewership,” Tewary noted.

Another content expert said measurement was also a challenge in the evolving landscape of the broadcast industry.

The discussion around ratings has been continuing for long now with many content creators/production houses seeking clearer digital viewership data.

“To understand a show’s success, we should consider the broader perspective of how many people are engaging with it across all platforms. While the ratings are disappointing, I believe there are viewers watching through various channels. This shift in consumption is happening, and we’re all adjusting to it. There's still some ambiguity about where and how many people are watching, but I remain hopeful about reaching a larger audience,” Tewary added.

New audience

Sharing his opinion, Vikram Malhotra, Founder & CEO, Abundantia Entertainment, said viewers today are looking for stories that are not only relatable but also provoke thought and reflection, all while entertaining.

“There’s also a growing demand for progressive, insightful stories that resonate on a local and global scale. At Abundantia Entertainment, we cater to these preferences by developing uniquely Indian stories with universal appeal, as seen in films like ‘Shakuntala Devi’ and ‘Sherni’,” he said.

Sharing his view on staying relevant and fighting the content stagnation issue, he said that the focus was on creating diverse content to cater across genres.

“The shift towards streaming platforms has given rise to binge-watching with viewers increasingly interested in gripping, character-driven narratives and complex plots. We are staying relevant by creating a diverse slate of content across genres — with series like ‘Breathe’, ‘Hush Hush’ and women-led films like ‘Jalsa’, ‘Chhorii’ and ‘Sukhee’ — to ensure we meet the diversifying tastes of the consumer,” Malhotra said.

He further said that audiences are seeking content that’s not only engaging but also cognizant of real-life issues.

Malhotra has produced films like ‘Toilet – Ek Prem Katha’, which highlights the importance of sanitation, and ‘Sarfira’, which delves into the spirit of chasing your passion.

“These stories have resonated strongly with the audience because they address societal issues in a compelling yet entertaining manner,” he said.

Apart from the shift to digital and content stagnation, some other challenges include rising content costs, stagnant earnings and creative fatigue, highlighted filmmaker Kulish Kant Yadav, who spoke of the growing reliance of studios on algorithms to dictate storytelling, leading to homogenization of content.

“This data-driven approach stifles originality and creativity, contrasting sharply with the previous model where filmmakers brought unique stories and visions to producers,” he said.

Yadav also highlighted that the financial landscape for filmmakers has changed dramatically, with those with higher initial salaries now questioning why they should accept lower pay.

As OTT platforms face a drop in subscriber growth, the market is now seeing scarce funding opportunities, creating a challenging environment where everyone's expectations and financial obligations have risen.

Yadav pointed out that television viewership has decreased significantly, with audiences now preferring short, engaging content from various sources like social media. This shift poses a hurdle for traditional storytelling, as viewers seek entertainment in more flexible and immediate formats, making it crucial for content creators to adapt to changing viewer habits.