ITV

Category: TV Shows

  • Japanese drama about child abuse finds new home in Greece

    Japanese drama about child abuse finds new home in Greece

    ATHENS: Greece has become the latest country to embrace one of Japan’s most emotionally charged television dramas. Mother, a series that tackles the harrowing subject of child abuse through the story of a teacher who kidnaps her student to save her from domestic violence, premiered on Alpha TV on September 25th.

    The Greek adaptation, titled Na me les mama (Call me mom), marks the 11th international remake of the Nippon TV original—making it the most globally adapted Asian scripted format on record. Filmiki, the Greek production company behind the series, worked closely with Nippon TV to maintain the show’s emotional core whilst adapting it for local audiences.

    “Mother is a story that has transcended cultures,” said Nippon TV scripted format sales and licensing executive Sally Yamamoto. The series has already conquered markets across Asia, Europe and the Middle East, with versions airing in South Korea, Turkey, Ukraine, Thailand, China, France, Spain, Saudi Arabia, Mongolia and the Philippines.

    The original Japanese drama follows a woman in her mid-thirties who lives an apathetic existence until she discovers one of her pupils is being abused at home. Unable to understand her own impulses, she kidnaps the child and attempts to raise her as her own daughter whilst on the run from authorities.

    Alpha TV programme director Christos Kompos described the series as “one of these stories that we feel really honoured to share with our audience.” The adaptation will stream simultaneously on Alpha TV’s HbbTV platform.

    The show’s unflinching examination of society’s tendency to ignore child abuse has struck a chord with international audiences, proving that some stories need no translation to resonate across cultural boundaries.

  • Warner Bros unleashes brain-busting bonanza at Mipcom

    Warner Bros unleashes brain-busting bonanza at Mipcom

    LOS ANGELES: Warner Bros International Television Production is gambling big on grey matter and guilty pleasures as it unveils its format arsenal for Mipcom 2025. The American studio’s international arm has assembled a motley crew of offerings—from cerebral challenges that torture contestants’ neurons to reality stars trading Instagram likes for insect bites.

    Leading the charge is The Final Circle, a French import from Satisfaction that subjects players to mental gymnastics across logic, memory, language and maths. The format tortures every synapse as contestants battle to prove their intellectual mettle under crushing pressure.

    At the opposite end of the sophistication spectrum sits Reality Kings on Safari, courtesy of WBITVP Netherlands. The concept dumps pampered male reality television veterans into the wilderness, forcing them to swap luxury lifestyles for basic survival skills—a premise guaranteed to deliver schadenfreude by the bucketload.

    Denmark’s contribution, World’s Wildest Race, dispatches celebrity duos on the ultimate road trip, blending high-octane competition with friendship drama. The format promises viewers both petrol-fueled thrills and interpersonal combustion.

    The unscripted stable includes Custom Cars, a high-octane dive into Britain’s modified motor scene for Quest, and two historical offerings from Wall to Wall: The Murder Club resurrects forgotten cold cases for BBC Two, whilst The Unheard Tapes uses authentic voices from pivotal historical moments for BBC One.

    Most intriguing is Finland’s Special Rescue, where adults with learning disabilities join volunteer fire units—proving heroism comes in unexpected packages.

    On the scripted front, Belgian drama Oh, Otto! leads the charge with its unflinching examination of love and loss. The award-winner joins psychological courtroom anthology The Twelve, now in its third Australian season, plus family dysfunction saga The Divine Monster and relationship drama Double Life.

    Global vice-president of format and finished sales André Renaud insists audiences crave “high-concept, high-stakes” entertainment. His mixed bag suggests Warner Bros believes viewers’ appetites are as diverse as they are voracious—spanning intellectual torture, celebrity suffering and historical resurrection.

    The strategy reflects television’s post-streaming reality: with infinite choice, formats must either assault the brain or assault the senses. Warner Bros appears confident it can do both.

  • Reality Ranis of the Jungle returns with wilder twists and fiercer challenges

    Reality Ranis of the Jungle returns with wilder twists and fiercer challenges

    MUMBAI: The jungle drums are beating louder. Warner Bros. Discovery has brought back its all-women adventure reality show ‘Reality Ranis of the Jungle’ for a high-octane second season, now set against the rugged backdrop of Goa’s coastline.

    Premiered on 22 September at 9:30 pm on Discovery Channel and discovery plus, the show raises the stakes with tougher challenges, wilder tasks and double the drama. Host Varun Sood returns with his trademark energy, guiding 12 new contestants as they battle it out for the title of “Reality Rani of the Jungle”.

    This season’s line-up features Archana Gautam, Bhavya Singh, Hiiya Bajwa, Irina Rudakova, Ishu Kashyap, Jayshree Roy, Nishu Kashyap, Prachi Shevgaonkar, Sanskruti Salunke (Sasa), Samyukta Hegde, Sara Gurpal and Scarlett Rose. Adding a dose of unpredictability, Rakhi Sawant joins as a surprise guest, promising extra chaos and comedy.

    From swimming back to shore after being dropped into the ocean, to enduring gut-wrenching tasks like being buried underground or holding sheep eyeballs in their mouths, the Ranis face raw survival mixed with shocking twists. Along the way, friendships form, betrayals sting and grit is tested to its limits.

    “Reality-adventure has emerged as one of the most dynamic genres in entertainment,” said Warner Bros. Discovery, managing director – south Asia, Arjun Nohwar. “Season 2 blends bold spectacle with authentic storytelling, taking the format to a bigger scale.”

    Banijay Asia & Endemolshine India, group COO, Rishi Negi added, “This season is bolder, more unpredictable and packed with emotional depth, redefining adventure entertainment for Indian audiences.”

    Ahead of the premiere, Varun Sood and the contestants rolled up their sleeves for a beach clean-up at Juhu, reinforcing the show’s coastal survival theme, before bringing their energy to NM college fest Umang.

    As Discovery marks 40 years globally and 30 years in India, the show underscores its legacy of bold, pathbreaking storytelling.

    With higher stakes, rawer grit and wilder twists, ‘Reality Ranis of the Jungle – Season 2’ is set to prove that survival is not just about strength, but about spirit. 
     

  • Global television triumphs at Venice TV Awards 2025

    Global television triumphs at Venice TV Awards 2025

    VENICE:  Television’s finest have been crowned at the Venice TV Awards 2025, with productions from 32 countries proving that quality programming knows no boundaries. The ceremony, backed by the Association of Commercial Television and Video on Demand Services in Europe, the International Music + Media Centre, and the European Group of Television Advertising, celebrated another bumper year for the box.

    Britain emerged as a standout performer, claiming four categories including the coveted documentary prize for The Man Who Definitely Didn’t Steal Hollywood from Wonderhood Studios and the BBC. The corporation also triumphed in comedy with Ludwig, starring David Mitchell, whilst securing wins in performing arts and children’s programming.

    Japan flexed its creative muscles with three victories, including the television film award for Driving into the Storm and animation honours for Luka and the Flower of the Sun. The country’s technical prowess shone through in the cinematography category with Deep Ocean: Kingdom of the Coelacanth.

    Canada’s Empathy from Trio Orange took the series crown, whilst South Korea’s Couple Palace dominated light entertainment. France claimed both sport and technology categories, with Canal+’s Giroud and TF1’s innovative 8 May 1945 respectively.

    The awards spanned 18 categories, from traditional documentary and news coverage to cutting-edge cross-platform content and branded entertainment. America’s CBS News won recognition for its Red Sea reporting, whilst NBCUniversal’s Peacock platform scored with its Paris Olympics coverage.

    Smaller television markets also punched above their weight. Finland’s Queen of Fucking Everything earned the direction prize, whilst Germany’s film school production If I could fly claimed the new talent award.

    The ceremony underscored television’s resilience and creativity in an increasingly fragmented media landscape. As streaming platforms continue to reshape viewing habits, traditional broadcasters and digital natives alike demonstrated that compelling storytelling remains the industry’s beating heart.

    With productions ranging from hard-hitting documentaries to frothy entertainment, the winners reflected television’s remarkable breadth and ambition in 2025.

  • Nippon TV bets on female-driven crime and comedy for global conquest

    Nippon TV bets on female-driven crime and comedy for global conquest

    CANNES: Japan’s Nippon TV is rolling the dice on two female-fronted scripted formats as it muscles into the lucrative international content market ahead of Mipcom 2025.

    The broadcaster unveiled Murderous Encounter, a dark romantic thriller about journalists investigating serial killings, and The Reluctant Preacher, a sharp comedy following an unmotivated teacher’s transformation. Both feature strong female protagonists battling personal demons whilst tackling crime and injustice.

    “We are confident that these stories can be successfully localised, captivating audiences in any market,” said Nippon TV head of international sales, content business and distribution Sayako Aoki.

    The Japanese giant is riding high on format success. Its drama Mother holds the record for most adaptations of an Asian series globally, with local versions spanning 11 countries from Turkey to Saudi Arabia. Nearly 90 per cent of Nippon TV’s content intellectual property is owned in-house, giving it hefty margins on international sales.

    Murderous Encounter follows two journalists whose professional rivalry turns romantic whilst investigating the Horus Eye Murders. As their relationship deepens, suspicion mounts that one might be the serial killer they’re hunting. The producers behind hits My Lover’s Secret and Your Turn to Kill are banking on their signature twist-heavy storytelling to hook global audiences.

    The Reluctant Preacher centres on a demotivated teacher assigned to a problem class who unexpectedly becomes a passionate educator delivering bold sermons. The comedy-drama ranked number one in its Japanese time slot among children and second among teenagers. Netflix has already snapped up global streaming rights.

    Both series have clocked over 2 million views on advertising-supported video platforms, signalling strong domestic appetite. The move underscores Japanese broadcasters’ growing confidence in exporting homegrown content as global streaming wars intensify demand for fresh formats.

    Nippon TV’s aggressive international push includes launching Gyokuro Studio for unscripted formats and establishing a Los Angeles business office targeting US and Latin American markets. The company owns streaming giant Hulu in Japan, giving it additional leverage in content distribution deals.

  • ideabaaz names Mudit Kumar as co-founder and COO

    ideabaaz names Mudit Kumar as co-founder and COO

    NEW DELHI: Ideabaaz, an Indian platform aimed at supporting startups, has appointed Mudit Kumar as its new co-founder and chief operating officer.  Kumar brings nearly two decades of experience in private banking and wealth management, having previously worked with prominent financial institutions such as the Aditya Birla Group, ICICI Securities Private Wealth, and, most recently, LGT Wealth India.

    During his career,  Kumar has advised ultra-high-net-worth individuals and family offices on wealth strategies and strategic investments. His experience extends to curating cross-border asset management solutions and integrating startup ideations into client portfolios. An active participant in India’s vibrant startup ecosystem, he has also invested in and mentored founders of early-stage ventures in sectors like climate tech, spacetech, healthtech, legal tech, and fintech.

    In his new role,  Kumar will help lead Ideabaaz’s mission to connect innovators from across “Bharat” (a term for a more inclusive, rural India) with capital, mentorship, and markets. The company aims to democratise access to these resources, particularly for founders from Tier 2 and Tier 3 cities who often struggle to get the exposure and support they need.

    “Ideabaaz is more than a platform—it’s a movement to bring ambitious ideas and capable founders into the spotlight,” said Kumar. “I’m excited to help shape its journey and create meaningful opportunities for startups across India, especially from emerging cities.”

    The appointment is expected to strengthen Ideabaaz’s focus on building a structured framework for innovators from smaller cities to thrive. The company was co-founded by Jeet Wagh and describes itself as “Bharat ka apna startup manch” (India’s own startup platform).

  • KBC’s season 17 draws in marquee sponsors, Sony LIV ramps up play-along push

    KBC’s season 17 draws in marquee sponsors, Sony LIV ramps up play-along push

    MUMBAI: Kaun Banega Crorepati (KBC) is back for its 17th season, and the big brands are queueing up once again. Sony Entertainment Television and Sony LIV have rolled out the latest edition of India’s most iconic quiz show, hosted as ever by Amitabh Bachchan, with a line-up of sponsors as weighty as the prize money.

    Maruti has signed on as lead automobile partner, sweetening the stakes by giving away new cars to every Crorepati on the hot seat and to the overall Play Along winner. Hindustan Petroleum Corp Ltd (HPCL) has returned to underline its mass-market connect, while UltraTech Cement and Pidilite’s Dr Fixit have doubled down on their aspirational pitches to smaller cities and family households.

    All told, 15 brands from categories spanning automobiles, cement, home-building products, condiments, clothing, payment gateways and mouth fresheners have joined forces with the show this season. Their faith underscores KBC’s ability to deliver reach, recall and resonance across India.

    Sony LIV is once again pushing its “second-screen” play, with the return of KBC Play Along and the hugely popular Har Din Lakhpati feature. The format, which lets viewers answer questions live via the app, has turned KBC from a television property into a nationwide interactive event since debuting in 2018.

    Sony LIV, head of ad sales revenue Ranjana Mangla said KBC “has stood as a bedrock of consistency for advertisers—delivering unmatched reach, deep engagement, and a cultural resonance that few formats can claim.”

    HPCL’s CH srinivas hailed the programme’s “spirit of knowledge and the power of questions,” while UltraTech’s Ajay Dang called the Sony Liv tie-up “a once-in-a-lifetime opportunity” to cement aspirational journeys in tier 2 and 3 towns. Swati Jha of Pidilite added that both KBC and Dr Fixit “have been trusted companions in people’s lives” for more than two decades.

    With Sony LIV reporting over 100m app downloads and pushing an expanding roster of sports rights, films and originals, KBC remains its most bankable franchise—blending nostalgia, mass appeal and advertiser trust in equal measure.

  • Reliance Animation and dubbing platform Rian ink MoU to bridge language gaps in entertainment

    Reliance Animation and dubbing platform Rian ink MoU to bridge language gaps in entertainment

    MUMBAI: Reliance Animation, one of India’s leading animation studios, has struck a global alliance with Rian, an AI-human multilingual dubbing and localisation platform, in a deal that could reshape the way stories travel across borders.

    The partnership brings together Reliance’s strength in creating original, culturally rooted content and Rian’s cutting-edge language technology. The tie-up promises to take Indian characters—such as Reliance’s popular Little Singham—to overseas markets while bringing international titles into India with linguistic and cultural precision.

    ““This is more than a partnership, it’s a cultural gateway,” said Anand Shiralkar, founder and chief executive of Rian. “ With Reliance Animation’s storytelling legacy and Rian’s multilingual dubbing capabilities, Indian IPs can now reach audiences in every corner of the globe, while international creators can instantly connect with Reliance’s massive 6 million strong viewer base in India. Together, we’re making stories travel further, faster, and more authentically than ever before.”

    Tejonidhi Bhandare, chief executive of Reliance Animation, said the venture would expand the reach of its “world-class content with an Indian soul”. He added, “ This is a win for creators, a win for audiences, and a bold step for the industry. ”

    The firms frame the alliance as more than a business play. By marrying storytelling with technology, they hope to foster a freer, more authentic flow of content between India and the world, laying the foundations for the next decade of global entertainment exchange.

  • Applause Entertainment’s & Hansal Mehta’s Gandhi to world premiere at TIFF 2025

    Applause Entertainment’s & Hansal Mehta’s Gandhi to world premiere at TIFF 2025

    MUMBAI: In a landmark moment for Indian storytelling, Gandhi, the sweeping international series by Applause Entertainment and filmmaker Hansal Mehta, is set to make its world premiere at the 2025 Toronto International Film Festival (TIFF). Selected as part of TIFF’s prestigious primetime programme, it is the first Indian series ever to feature in the festival’s showcase of auteur-driven episodic storytelling.

    Starring Pratik Gandhi in the titular role, Gandhi is adapted from historian Ramachandra Guha’s definitive biographies and charts the early, lesser-known years of Mohandas Karamchand Gandhi. The first season, titled An Untold Story of Becoming (1888–1915), traces his formative years from a curious teen in colonial India to a struggling law student in London and a young barrister in South Africa—long before the Mahatma was born.

    Sameer Nair“To have Gandhi selected for TIFF’s Primetime showcase is both an honour and a moment of immense pride; not just for Applause, but for Indian storytelling. Taking you up close and personal to the young Mohan way before he became the man history knows, this series is the culmination of deep research, creative development, and unwavering belief in the human story we wanted to tell,” said Applause Entertainment managing director Sameer Nair.  “TIFF will be the first time our Gandhi will be seen by audiences. To begin that journey on a global platform of such import, is the perfect start and we can’t wait for the world to discover him.”

    For Hansal Mehta, the director and showrunner, TIFF holds special significance. “Gandhi has been the most creatively challenging and soul-stirring journey of my career. It’s not just a story from our past—it’s a meditation on conscience, a portrait of a man in constant conflict with himself and his times,” explained Mehta. ”TIFF has previously been home to some of my most precious pieces of work, and to have perhaps the most ambitious story of my career premiering there is doubly special—particularly in TIFF’s 50th year. To share this journey at a festival that has embraced me over the years is both humbling and surreal. I hope it opens the door for more Indian series to find their place on the world stage.”

    Hansal MehtaThe Gandhi premiere will see key cast and crew in attendance, including Sameer Nair, Hansal Mehta, Pratik Gandhi, Tom Felton, Kabir Bedi and Siddharth Khaitan. The series boasts a powerhouse creative team with music by A.R. Rahman and writing by Vaibhav Vishal, Karan Vyas, Felix von Stumm, Hema Gopinathan, Sehaj Kaur Maini and Yashna Malhotra. Script development was supported by Siddhartha Basu and Ramachandra Guha, with casting by Mukesh Chhabra (India) and Shakyra Dowling (International).

    TIFF’s primetime section has previously hosted series by the likes of Alfonso Cuarón, Shawn Levy and Steven Knight. With Gandhi entering this rarefied space, Indian long-form storytelling may have finally arrived on the world stage.

  • The return of Tulsi: Why Kyunki Saas Bhi Kabhi Bahu Thi will still hook India 25 years later

    The return of Tulsi: Why Kyunki Saas Bhi Kabhi Bahu Thi will still hook India 25 years later

    MUMBAI: It’s been 25 years since Tulsi Virani first walked into our living rooms, but the magic of Kyunki Saas Bhi Kabhi Bahu Thi hasn’t dimmed a bit. Ekta Kapoor and Balaji Telefilms’ magnum opus remains as endearing today as it was when it first aired — a reminder of the power of family ties in an increasingly fragmented modern India.

    A Family Portrait in an Age of Isolation

    For those of us who grew up in bustling joint families, watching the Viranis feels like coming home. Their laughter, their rituals, even their quarrels — all echo a world that’s slowly slipping away. Today, nuclear households dominate India’s urban landscape. Parents are often left in old-age homes, siblings are scattered across cities and time zones, and “quality time” has been replaced with curated Instagram reels. Yet, as the Viranis gather under the palatial roof of Shantiniketan, the series offers a bittersweet reminder of what we’ve lost — and why we still yearn for it.

    Old Tropes, New Resonance

    Yes, the show is steeped in traditional tropes: Mihir as the patriarch, Tulsi shouldering the emotional and domestic burdens. But there’s nuance beneath the surface. Mihir is not a dictator but a partner — one who values Tulsi’s opinions, especially on their daughter Pari’s life choices. Their partnership reflects a subtle but important evolution in how couple dynamics are portrayed: mutual respect in a traditional framework.
    MIHIR & TULSI
    A Gripping Opening

    The revival wastes no time. From the very first episode, where preparations are underway for the Virani elders’ 38th wedding anniversary, viewers are swept back into the grand world of Shantiniketan. The writing is crisp, the camerawork fluid, the lighting lush, and the casting absolutely on point. Balaji’s signature flair for scale and detail is intact.

    The Sacrifices of Tulsi

    In the first two episodes, Tulsi remains the selfless heart of the household. She attends her anniversary party without a care for glamour, even giving away her saree to a relative. Midway through the celebration, she dashes to rescue her son Angad after a car accident, promising him she won’t tell Mihir. She returns to the festivities as though nothing happened, her own emotional turmoil buried under duty. These sacrifices define Tulsi — the glue of the Virani family.

    Cracks Beneath the Perfect Surface

    Of course, no Virani gathering is without its shadows. A jealous sister-in-law simmers in resentment, praying for Tulsi’s downfall. And in the third episode, a sensitive issue surfaces: Tulsi, older and heavier, worries about her fading youth next to Mihir’s enduring vitality. His tender reassurance — that she is the pillar on which Shantiniketan stands — transforms the moment into one of the show’s most moving exchanges.

    A Timeless Winner

    With just three episodes, it’s clear that Star Plus, Ekta Kapoor, and Balaji Telefilms have another winner on their hands. More than a television drama, Kyunki Saas Bhi Kabhi Bahu Thi is a cultural touchstone — a reminder that while lifestyles may change, our hunger for love, loyalty, and family never will.

    As the Viranis sit down together under the glowing chandeliers of Shantiniketan, one thing is certain: some sagas don’t just entertain us — they become part of who we are.