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‘Some tried roast format well; I don’t know how the society will accept it’ : Anooj Kapoor
The comedy genre on Indian television has witnessed considerable growth over the last few years. While Sony Pictures Networks India’s comedy channel Sab TV has carved a niche for itself in the space, others like Reliance Broadcast Network Limited (RBNL) also saw the potential in it and launched Big Magic. What’s more, even Hindi general entertainment channels dish out their fair share of comedy week on week.
Sab TV, which has pioneered the daily comedy format in the industry, has given many iconic shows over the last 15 years.
From dramedies to stand-up comedy to roast comedy, shows are sprouting left, right and centre across channels. In a competitive scenario, it’s definitely no laughing matter to constantly innovate and dish out content that will tickle the funny bone. And Sab TV senior executive vice president & business head Anooj Kapoor probably has the toughest job of making sure that the channel’s shows are consistently making the audience laugh.
In conversation with Indiantelevision.com, Kapoor talks about the comedy genre and its growth.
Excerpts:
How was 2015 for the comedy genre – fiction & non-fiction – on Indian Television?
It’s interesting to see channels beyond Sab trying to emulate our model of daily comedy. It’s a tribute to Sab, which is a pioneer in daily comedy.
More and more channels are introducing comedy shows and we also have a comedy channel in Big Magic. Do you think that the comedy space is growing or is it just a strategic move?
There’s no doubt that the genre has grown and it is poised to grow more sooner or later. Sab has carved out a successful business model for itself since the last seven – eight years of how daily comedy can attract viewers and advertisers. Fortunately, some players in the market have also realised the same and it can only be good for the genre overall.
Stand-up comedy, family drama comedy or historical comedy, which do you think has more potential?
Only good content has the potential to make shows successful or unsuccessful. To give you a parallel of comedy in Hindi cinema, there are different kinds of comedy created by different people. The kind of comedy that Hrishikesh Mukherjee created is different from that by David Dhawan or Priyadarshan but at the same time they were all successful, which proves that whenever you create quality content in comedy or in any other genre, it will attract viewers.
Sab launched a first of its kind reality show called Comedy Superstar. What was the response and what’s the scope of a reality show like that?
The response was not very good but our intention to launch the show was good. We tried to create a platform for budding stand-up comedians but fortunately or unfortunately the audience are now used to some top level people from the field, who are veterans in the industry now. The audience is used to their peculiar style of humour and obviously new comers would not match up to their standard, so they didn’t do well. But as a format, we would certainly try it again as it gives the industry fresh talent.
In the fiction and non-fiction space, many international shows have been brought to India. Is there scope of bringing international comedy show formats to India?
In 2012, Sab TV launched the Indian adaptation of the American sitcom I Dream of Jeannie, which was called Jeannie Aur Juju. Between the 1990s to 2000, many successful sitcom were launched in the west, a lot of which have the scope of being brought to India.
Fortunately, at present, we don’t have a shortage of home grown content, which is also more cost effective. However, if a striking show in the comedy genre comes up and if we have a suitable budget, we are open to acquiring it.
When it comes to ratings, Tarak Mehta Ka Oolta Chasma is the only high rated show on Sab TV. However, the others have not really delivered remarkable ratings. What is holding them back?
All channels have a flagship show, whether it is Star Plus’ Diya Aur Baati Hum or Sony Entertainment Television.com’s CID. In fact, CID has been Sony’s flagship show for a very long time. So just because channels have a flagship show, it doesn’t mean that their other shows are not successful. On our channel, we had Lapataganj and F.I.R, which ran for 1500 episodes. Now we have shows like Chidya Ghar, which has done more 1000 episodes and Balveer that has completed 800 episodes and are still going strong. These are delivering a threshold for the channel and making it a profitable proposition for us.
When the channel has four strong running shows, which are doing so well in a difficult daily comedy format, then they are successful. Tarak Mehta Ka Oolta Chashma, which is based on the famous weekly Gujarati series Duniya Na Undha Chasma written by renowned writer Tarak Mehta, who is already a household name in Gujarat, enjoys other benefits that other shows on the channel do not have.
What growth are you expecting from comedy genre in the coming year?
It’s difficult to say how the comedy genre will grow. It will depend on what everyone in the market is doing to raise the bar. If they are able to grow themselves, then obviously the overall genre will expand but if not, then I don’t see a market growth.
Comedy as a genre is spreading its wing to others platform as well. Do you think it as a danger sign for television?
Not at all because it simultaneously existed in the west for decades and now it is available on multiple platforms. Everyone has survived and sustained in the market, so I don’t see it as a danger.
What do you think were the landmarks in the comedy space in 2015 – on-air and off-air?
Tarak Mehta Ka Oolta Chasma became the world’s longest running show and was named in the Guinness Book of World Record. That is a big landmark on-air. When it comes to off-air, we launched Chai Pe Chutkule where stand-up comedians travelled to various cities in India and Sab viewers were provided with free entertainment by top ten comedians over a cup of tea.
Colors is now trying the roast format with Comedy Nights Bachao. With the Indian Censor board’s hawk eye on “propah” content, what is the scope of brining the international roast format to India? We saw what happened earlier this year with the Ranveer Singh – Arjun Kapoor roast.
Some people have tried it successfully but I don’t know to what extend the format will be accepted by our society. We will have to wait and watch for its sustainability.
MUMBAI: 2025 will be remembered as the year India’s OTT industry stopped chasing scale for its own sake and began reckoning with how audiences actually consume content. Completion rates fell, patience wore thin and the limits of long-form excess became impossible to ignore. In this guest column, Pratap Jain, founder and CEO of ChanaJor, traces how micro-drama moved from the fringes to the centre of viewing behaviour, why short-form fiction emerged as a retention engine rather than a trend, and how platforms that respected time, habit and emotional payoff were the ones that truly grew up in 2025.
If there is one thing 2025 will be remembered for in the Indian OTT industry, it’s this: the industry finally stopped pretending.
Stopped pretending that bigger automatically meant better.
Stopped pretending that viewers had endless time.
Stopped pretending that scale without retention was success.
What began as a quiet reset in 2023 and a cautious correction in 2024 turned into a very visible shift in 2025. Business models matured. Content strategies tightened. And most importantly, platforms started aligning themselves with how Indians actually watch content, not how the industry wished they would.
At the centre of this shift was micro-drama—not as a trend, but as a behavioural inevitability.
When OTT finally understood the time problem
For years, long episodes were treated as a marker of seriousness. A 45–60 minute runtime was almost a badge of credibility. Shorter formats were pushed to the margins, labelled as “snack content” or “mobile-only.”
That belief quietly collapsed in 2025.
What platform data showed very clearly was not a drop in interest—but a drop in patience. Viewers weren’t rejecting stories. They were rejecting commitment.
Across platforms, the same patterns appeared:
* First-episode drop-offs on long-form shows kept increasing
* Completion rates continued to slide
* Viewers were sampling more titles but finishing fewer
At the same time, shows with episodes in the six to 10 minute range started showing the opposite behaviour: higher completion, higher repeat viewing, and stronger daily habit formation.
Micro-drama didn’t win because it was short. It won because it respected time.
Micro-Drama didn’t arrive loudly. It took over quietly.
There was no single moment when micro-drama “launched” in India. It crept in through dashboards and retention charts.
By mid-2025, it was clear that viewers were happy watching four, five, sometimes six short episodes in one sitting—even when they wouldn’t finish a single long episode. Romance, relationship drama, slice-of-life conflict, and grounded comedy worked especially well.
This wasn’t disposable content. It was compressed storytelling.
In shorter formats, there was no room for indulgence. Every episode had to move the story forward. Weak writing was punished faster. Strong writing was rewarded immediately.
Micro-drama raised the bar instead of lowering it.
Where ChanaJor naturally fit into this shift
ChanaJor didn’t pivot to micro-drama in 2025 because the market demanded it. In many ways, the platform was already built around the same viewing behaviour.
From the beginning, ChanaJor focused on short-to-mid-length fictional stories that felt close to everyday Indian life—hostels, rented flats, office romances, small-town relationships, young people figuring things out. Stories that didn’t need heavy context or cinematic scale to connect.
What worked in ChanaJor’s favour in 2025 was clarity:
* A clearly defined audience
* Tight episode lengths
* Storytelling that prioritised emotion and pace over spectacle
While several platforms rushed to copy global micro-drama formats, ChanaJor stayed rooted in familiar Indian settings and conflicts. That familiarity mattered. Viewers didn’t have to “enter” the world of the show—it already felt like theirs.
Why audiences started responding differently
One of the biggest misconceptions going into 2025 was that audiences wanted shorter content because their attention spans had reduced. That wasn’t entirely true.
What viewers actually wanted was meaningful payoff per minute.
On platforms like ChanaJor, episodes didn’t waste time setting the mood for ten minutes. Conflicts arrived early. Characters were recognisable within moments. Emotional hooks landed fast.
A typical consumption pattern looked like real life:
* One episode during a break
* Two more before sleeping
* A few the next day
This is how viewing habits are built—not through marketing spends, but through comfort and consistency.
Viewers came back not because every show was a blockbuster, but because they knew what kind of experience to expect.
2025 was also the year OTT faced business reality
The other big change in 2025 was on the business side. Subscriber growth slowed. Discounts stopped hiding churn. Customer acquisition costs rose.
Platforms were forced to ask harder questions:
* Are viewers finishing what they start?
* Are they returning without reminders?
* Is this content worth what we’re spending on it?
This is where micro-drama began outperforming expectations. A well-written short series could deliver sustained engagement without massive budgets. It didn’t peak for one weekend and disappear—it stayed alive through repeat viewing.
Platforms like ChanaJor benefited because they weren’t chasing inflated launch numbers. The focus was on consistency and retention, not noise.
Failures Became Visible Faster
2025 also exposed weaknesses brutally.
Several platforms assumed micro-drama was a shortcut—short episodes, quick shoots, instant traction. What they discovered was that bad writing fails faster in short formats than in long ones.
Viewers dropped off within minutes. Episodes were abandoned mid-way. Weak stories had nowhere to hide.
Micro-drama didn’t forgive laziness. It amplified it.
The platforms that survived were the ones that treated short storytelling with the same seriousness as long-form—sometimes more.
OTT Stopped Chasing Prestige and Started Chasing Habit
Perhaps the most important shift in 2025 wasn’t technical or creative—it was psychological.
OTT stopped trying to look like cinema. It stopped chasing validation through scale and awards alone. It began behaving like what it actually is in people’s lives: a daily companion.
Platforms like ChanaJor found their space here because that mindset was already baked in. The goal wasn’t to dominate a weekend launch. It was to quietly become part of someone’s everyday viewing routine.
That shift changed everything—from release strategies to how success was measured.
What 2025 Ultimately Taught the Industry
By the end of the year, three truths were impossible to ignore:
* Time is the most valuable thing a viewer gives you
* Retention matters more than reach
* Format must follow behaviour, not ego
Micro-drama didn’t take over because it was fashionable. It took over because it fit real life.
Looking Ahead
Micro-drama is not replacing long-form storytelling. It is redefining the baseline of engagement.
Longer shows will survive—but only when they earn their length. Short-form fiction will continue to evolve, becoming sharper, more emotionally confident, and better written.
Platforms like ChanaJor have shown that it’s possible to grow without shouting—by understanding the audience, respecting their time, and telling stories that feel real.
2025 wasn’t the year OTT became smaller. It was the year it became smarter.
Note: The views expressed in this article are solely the author’s and do not necessarily reflect our own.
MUMBAI: The lights went out on Indian advertising this Diwali. Piyush Pandey, the wordsmith who turned bus rides and roadside tea into unforgettable campaigns, died on Friday aged 70. Just four months earlier, at the Emvies awards in Mumbai, veterans had touched his feet for blessings while young hopefuls queued for selfies. He looked frail but smiled through every encounter. Humility was his signature; genius was his secret.
Pandey never claimed special talent. His gift was simpler and rarer: he kept his eyes open. The famous Fevicol advertisement—a Jaisalmer bus groaning under passengers clinging to every inch—came from a real sighting. The magic was slapping a Fevicol poster on the back of the bus. “Keep your eyes open, keep your ears to the ground and have a heart willing to accept,” he told newcomers at Ogilvy. It wasn’t a slogan. It was scripture.
He joined Ogilvy & Mather in 1982 at 27, after failing at cricket, tea tasting and construction. When Mani Iyer, who headed the agency, introduced him to me as creative director in the late 1980s, Pandey’s deep, soft voice belied a fierce passion for the craft. Like Roda Mehta, who ran media at Ogilvy, he was generous with his time, patiently explaining the thought behind many a campaign to me. Those campaigns moved hundreds of thousands of crores worth of products off shelves over their lifespans.
His method was observation turned into emotion. The Dum Laga Ke Haisha Fevicol spot was originally made for a smaller brand called Fevitite. The Parekhs, who owned Pidilite, told him the ad was too good to waste. Reshoot it for Fevicol, they urged. He did. That single decision spawned a series of award-winning campaigns and turned Fevicol into the category itself.
His philosophy was disarmingly simple: love life. “Whether you are sipping tea from a roadside vendor or in a five-star hotel, whether you are travelling by second class or in a Mercedes-Benz,” he would say. Great ideas came from loving all of it—the chaos, the mundane, the sublime. “Be open to accepting ideas from the world. Be open to sharing ideas with the world. Learn to talk but most importantly also learn to listen.”
Pandey despised lazy advertising. Technology for its own sake was pointless; celebrities without ideas were useless. “Many TVCs are pathetic these days when they use celebrities. They are made very lazily,” he once said. For him, the idea came first. Technology could enhance it; fame could amplify it. But without a core truth, it was just expensive noise.
He believed consumers, not suits or pony-tailed creatives, made advertising great. “It’s when he or she accepts the product and emotionally bonds with it, the product becomes a brand,” he said. His advice to brand managers was blunt: stop being salesmen. Build brands, not just products.
I lost touch with him for decades as I went about building the indiantelevision.com group and all its ancillary services. Journalism and writing as I used to practice when I was younger was relegated to the background. It was during the pandemic that I reached out to him and requested him to spare some time for an online interview. To my surprise, he remembered me and he readily agreed. It was an interesting conversation about how Ogilvy was serving clients during the pandemic and how its creative edge was being maintained. We had agreed we would speak for 30 minutes, but the conversation went on for an hour. It was peppered with Pandey-isms. But that was the last time we spoke at length to each other, though we said hello to each other at advertising industry get-togethers which I rarely attended. Sadly, for me.
The man who taught India to watch, listen and love has gone silent. But his voice echoes still—in every vernacular tagline, every slice-of-life commercial, every campaign that dares to see India as it truly is. Pandey didn’t just sell products. He gave an entire nation permission to speak in its own accent, to find poetry in the everyday, to believe that the roadside and the boardroom could meet and make magic.
The lights dimmed this Diwali, but the spark he lit—built on observation, fuelled by empathy, sustained by love—will burn for generations. That’s not advertising. That’s immortality.
MUMBAI: Once, they blazed across the Indian media landscape with the swagger of pioneers. Entrepreneur-led behemoths like Subhash Chandra’s Zee Entertainment, Kalanithi Maran’s Sun TV, Prannoy Roy’s NDTV, and Raghav Bahl’s Network18 weren’t just market leaders — they were institutions, holding their own even as foreign giants circled hungrily.
Today, those stars are fading. Some have already fallen.
Network18 and TV18 are now firmly in the grip of Reliance Industries and Disney Star. NDTV, long a bastion of editorial independence, is under the control of the Adani Group. Its founders — Roy and Radhika — have exited stage left, their names now relics of an era that once prized journalistic idealism.
Zee, once the crown jewel of Indian broadcasting, is barely hanging on. The Chandra family — once majority owners — now clutch a meagre four-odd per cent stake. It’s a dramatic fall from grace fuelled by Subhash Chandra’s ill-advised adventures into infrastructure. To bankroll these forays, he pledged Zee shares, opening the gates to lenders who came calling. The result: a sharp dilution of promoter ownership and a credibility crisis. The failed merger with Sony’s Indian arm, Culver Max Entertainment, only added insult to injury — scuppered reportedly due to concerns about Zee’s financial hygiene. A company once viewed as squeaky clean had its reputation muddied.
Sun TV, the fourth of the old guard, is also showing cracks. Helmed with iron discipline by Kalanithi Maran, it long stood as a symbol of stability. But the facade is now under strain. A family feud has burst into public view, with brother Dayanidhi Maran accusing Kala of wresting control of Sun TV through backdoor share acquisitions. Legal notices have flown, regulatory filings issued, and the company insists all was above board. Still, some reputational damage has been done — and the gossip mills are churning.
The result is a media map being redrawn in real time. Where once these founders shaped the narrative, today they’re either sidelined, embattled, or ousted. And as corporate titans and conglomerates take over, the question is whether passion-led media can survive in an era of balance sheets, bottom lines, and boardroom power plays.
India’s media isn’t short on ambition. But nostalgia alone won’t stop the sun from setting on yesterday’s giants.
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