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Executive Dossier

“It would be great if one director saw every project to its logical conclusion”

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She has completed 370 episodes of Balaji’s late-night thriller Kaahin Kissii Roz, yet she considers herself a learner. She is breathtakingly beautiful and vivacious by every yardstick, yet she gives herself only 6/10 when asked to assess herself.

Her character ‘Shaina’ has become a household name, but when told that, she just shrugs her shoulders. Clearly, an extremely modest girl whose head is firmly on her shoulders.

Settling down, she looks up and starts, “Let’s take it from the beginning. Strange are the ways of life. You do your M.Sc, you end up as a journalist. You do your M Com, you end up running an electronics shop. Something like that happened with me.”

Excerpts from an interview with Vickey Lalwani.

 

What’s a Hotel Management and Mass Communication student doing in TV serials?
How did you know about my educational background? (smiles). I was coming to that, but I haven’t yet told you about it. You have done your homework, I must say.

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Thanks. But that isn’t what I asked….
(laughs) Well, I am a science graduate from Kolkata. I came down to Mumbai to do my hotel management. Soon I realised that I wasn’t cut out for it and left it midway. Then I joined a course in mass communication, but didn’t complete that either! (laughs) At this point of time, I started getting many modelling offers. Despite my best efforts, I could not resist the temptation.

 

Did your parents consent easily to the fact that you were entering the big, bad world of glamour?
Not really. My mom didn’t like it a lot. There was quite a bit of objection, in fact. Actually, she remains worried about me all the time even now when I am quite settled. I keep getting calls from her, every now and then. Her anxiety stems from the fact that I am a very, very fickle-minded person.

Like when I was in modeling, she used to feel I would leave modelling too, midway– like I did to my studies. Then, when I got into TV, she again thought that I won’t stick on. She feels I am still a kid. But I have grown into a responsible adult. I know how important it is for a woman to be financially independent in life. I am taking my acting career more than seriously.

 
“Today, talent in Bollywood has taken a backseat. Wearing minimum, talking brazen and PR has become the name of the game”
 

What was your mom’s objection, precisely?
I come from an educated family where people are settled in either a job or family business. Almost all my relatives knew hardly anything about this world. Entering the glam world was taboo for them.

 

Then how did you land up in Mumbai?
Actually, I came to Mumbai to do Hotel Management. I came with my best friend’s sister who was a freelancer in Kolkata. She had secured a job as a copywriter in an ad agency. I started living with her on a twin-sharing basis. At that point of time, life surely wasn’t a bed of roses. The cost of living kills, doesn’t it?

 
And now?
(laughs) Better… it surely doesn’t kill. Today, I have bought my apartment in the suburbs.
 

Is Mumbai better than Kolkata?
I have developed quite a few friends who are very supportive. So, things are good. Mumbai is quite a safe city for a woman to be in. I like the fact that Mumbaikars don’t look down upon women who stay alone. In most other cities, you won’t get accommodation if you are a female from the glamour world who wants to stay alone.

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Have you raised your voice ever in defence of a girl who is being sexually harassed?
Yes. I remember doing it against a guy in a shop. He was acting fresh with a 20-something. But do you know what I got in return? The girl’s family asked me to lower my voice, they said ‘it’s okay, let him go’! Sometimes I wonder why most of us are so cold. Surprisingly, we take the first opportunity to blame the law without realising that there are four fingers pointing at you!

 

Tell us about the modelling assignments you have done.
Pears, Rin, Ariel, Close-Up, Double Diamond, Asian Paints, Sonam Quartz, Britannia, Maggie, Bombay Dyeing.

 

Gearing up for films? Your looks and figure seem to fit the bill…
I have received some offers. But none of those have been interesting enough for me to sign on the dotted line. I don’t want do roles wherein I am required for two or three scenes. I am not ready to be projected as a mere showpiece. People will surely start saying ‘she played such a noteworthy character of Shaina, what is she doing in the backdrop?’ Today, talent in Bollywood has taken a backseat. Wearing minimum, talking brazen and PR has become the name of the game. I cannot expose my cleavage and midriff.

Besides, I am petrified of too much action. Like there was this scene I did recently in KKR, where my ‘pallu’ catches fire. The director did not want to use a dummy. I do not know how many times my heart skipped a beat.

Importantly, I would be uncomfortable doing overtly romantic scenes. Like, I don’t think I could do Sangeeta Ghosh’s lovey-dovey scenes of Des Mein Nikala Hoga Chand. It peeves me that there are no more serials like Udaan on air. In fact, such serials in today’s times would be very timely. I cannot fathom why TV serial makers are either obsessed with showing females only as homemaker or homebreakers.

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Do you agree that TV-types are not digested as heroines, easily?
Look at Gracy Singh. Her first film Lagaan almost won an Oscar for India! Agreed that Aamir Khan stole the show in Lagaan, but could Gracy’s neat performance be discounted? Offers didn’t fall into her lap as expected, but hasn’t she had quite a few plum projects of late- like Honey Irani’s Armaan for one?

 
I am not a senior actor that I can do things my way. I have to toe the line
 

How do you keep yourself in the limelight? Do you party?
That’s my only drawback. Yes, today, you need to be seen around in the right places at the right time. Maybe I’ll have to change on that front. So far, I go for only some channel party or Ekta Kapoor’s birthday celebrations. You will never find me hanging out at Athena, Velocity, Fire N Ice. I am not a party animal. I would rather chat up with friends on phone, or curl up with a book.

What books do you read?
I love reading, but tell me, does our profession give me the time to even flip through a book? TV work can be so taxing at times, that you are virtually asleep, rather half-dead, during your return journey. A friend of mine has suggested a great book How to improve your Acting Performance. From next month, we’ll shoot only for 15 days for KKR, unlike the 26 days we have been devoting now. I plan to take up this book then.

I get a hunch that the serial is winding up.
Please don’t read between the lines. We have been given a year’s extension. Hopefully, we should be going on…. (smiles).

To retrace a bit…. How did you become a tele ‘bahu’ of Balaji Telefilms?
I was doing a few TV commercials. Then I got Milan directed by Lekh Tandon. Ekta saw me in Milan and called me for Karam. And then came Kaahin Kissii Roz, the ball had started rolling.

Before agreeing to do ‘KKR’, you had told Ekta that you don’t want to be portrayed as a bahu. Right?
Absolutely. I didn’t want to come across as a ‘bechari’. If you are nice, you can still be a confident go-getter without being timid and helpless. Ekta narrated the script to me and I loved it. The suspense portions, in particular, excite me no end. I just love suspense- be it in serials/ dramas/ films/ books.

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Having done a central role, will you play a second or a third bahu in a joint family?
Let’s face it. I do not have an author-backed role in KKR. But yet, the role has lots of substance. I am almost in every frame of the serial. If the second or the third bahu has that much weight, I am game. But let me remind you that I don’t want to play a ‘bechari’ whom the public sympathises with. I wouldn’t mind a negative character either.

I wouldn’t mind playing a girl who blindly apes the West- dons Western outfits, smokes at the drop of a hat. I am even game to playing the spoilt wife of a rich businessman. But remember, Western outfits does not mean those which will create a flutter. As I told you, I will not expose.

Would you explain your ‘modus operandi’?
I am a spontaneous actor. I read my lines but I don’t memorise them. I get the gist of the matter, mark the main points, and then say it in my own words. When it comes to emotional scenes, I often don’t use glycerine nowadays. Initially, I used to use it more. I have been playing Shaina for over 370 episodes now. Naturally, I have got into the skin of the character.

How important is the director to you?
Now don’t get me wrong. When I say that I have completely got into the skin of the character, that does not imply that I don’t need a director. I am purely a director’s actor. Without a director, I would be lost. I understand a director very quickly. Every director can extract the maximum out of me. Naturally, my best is a long way off. Goes without saying that my next will be better than Shaina.

What do you do if and when you find a particular scene very difficult?
I sit with the director. I request him to explain. Then I take my lines and retire into a corner. I ask for a rehearsal. I wish we could take our lines home. In TV serials, particularly in daily soaps, lines are written at the spur of the moment. That does make the task of the artiste sometimes very difficult.

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You said you are a director’s actor. How do you cope if and when the director changes midway?
These things are difficult in the initially stages. Now, Shaina is deeply embedded in me. So, a change of director does not affect much. In fact, the director has to do more homework and adjustments than the artistes. He has to go way back into the full history of the serial. But yes, it would be great if one director saw every project to its logical conclusion.

Do you get peeved when the channel demands a look that you are not comfortable with?
What’s the point? Can I afford to? I am not a senior actor that I can do things my way. I have to toe the line. I recall the difference of opinions in the early days of KKR when Ramola Sikand (Sudha Chandran) did not agree with the manner in which the channel wanted her to look. She stood by her conviction. She was adamant that she wanted those ‘bindis’ and jewellery. Look where she is today! Her ‘bindis’ and jewellery are a craze, sorry, a rage even in London. She has become a trendsetter! But for me to put down my foot, I still need a few years.

Have you put down your foot on something else at least in ‘KKR’?
Oh yeah! I take care not to say lines which I can’t digest. If you are not convinced of what you are saying, it invariably reflects on your face. Consequently, the output suffers. Like there was this scene I did recently where I was asked to pray, ‘Bachcha takleef mein ma ke paas jaata hai, meri maa mere paas nahin hain, main kahan jaun?’. The word ‘ma’ referred to my mother-in-law. I politely drove home my point as, “Sir, agreed that you want to emphasise that Ramola Sikand has turned over a new leaf, but how can I equate the woman who has committed 12 murders as my mother? How can I equate the woman who tried to kill me and my husband (Yash Tonk) as my mother?”. The lines were deleted.

Can I peep into your work kitty?
Kaahin Kissii Roz consumes about 2O-25 days of a month. I did about 20 episodes of Kutumb in the recent past, but that’s over now. I was supposed to do a serial for Vishesh Films co-starring Kiron Kher, but the channel which was supposed to carry it had some problem. Of late, I have met some people. Soon, I might sign something exciting.

Is this fickle-minded beauty giving herself a stipulated period on the tube before she settles down to make her life complete?
I believe in the age-old saying ‘A woman’s life is complete only after she becomes a good daughter, wife and mother’. But why will I quit after marriage? Didn’t I stress on a woman’s financial independence in the beginning? Please underline this: A woman who is not financially independent is incomplete; she commits a blunder if she does not pursue her goals- but surely not at the cost of her character and self-respect, mind you. I will always continue to act on television. I am here to stay. I love the TV world. It gives me an immense high.

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Amongst your costars whom do you look up to?
Sudha Chandran, who else! Who can rise like a Phoenix from the ashes from the terrible position she found herself at the age of 16 when we have stars in our eyes? Initially, I used to keep my distance from her, but today, she is like my elder sister. We share the same make-up room, we have the maximum scenes together. All this has brought us real close. That however does not imply that we intrude into each other’s private life.

Private life! Is there a man in your life?
Hmm… no.

You took a long time to say that?
Really? (laughs)

Executive Dossier

Game on, fame on as Good Game hunts India’s first global gaming star

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MUMBAI: Game faces on, pressure high India’s gaming ambitions are levelling up. Good Game, billed as the world’s first as-live global gaming reality show, has officially launched in India with a bold mission: to crown the country’s first Global Gaming Superstar.

Blending esports with mainstream entertainment, the show brings together competitive gaming, creativity and on-camera performance in a format that tests more than just joystick skills. Contestants will be judged on gameplay, screen presence and their ability to perform under pressure, reflecting how gaming has evolved from pastime to profession and pop culture currency.

Fronting the show are three high-profile ambassadors: actor and entrepreneur Samantha Ruth Prabhu, Indian cricket star Rishabh Pant, and gaming creator Ujjwal Chaurasia. The winner will take home Rs 1 crore ($100,000) among the largest prize pools for any Indian reality show along with the chance to represent India on a global stage.

Backed by a planned annual investment of up to Rs 100 crore, Good Game is also courting brand partners, promising a minimum reach of 500 million among India’s core youth audience. The creators position the show as a bridge between entertainment and interactive culture, offering long-format content, community engagement and commercial scale.

Auditions are now open to Indian citizens aged 18 and above, inviting amateur and professional gamers, creators and performers alike. Shortlisted candidates will be called for in-person auditions in Mumbai on 14 and 15 February, and in Delhi on 28 February and 1 March 2026.

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With big money, big names and even bigger ambition, Good Game signals a shift in how India views gaming not just as play, but as performance, profession and prime-time spectacle.

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SpotDraft hires new CMO and CFO to fuel global push for its AI contract platform

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INDIA: SpotDraft has strengthened its senior ranks as it gears up for faster global expansion, naming Alon Waks as chief marketing officer and Amit Sharma as chief financial officer. The appointments follow the firm’s $54 million Series B round earlier this year and mark a push to scale across the Americas, EMEA and India.

The AI-powered contract-lifecycle-management platform has posted 100 per cent year-on-year growth in customer acquisition, counting Apollo.io, IPSY, Mixpanel, Oyster and Panasonic among its global clients. The firm processes more than one million contracts annually, with volumes up 173 per cent and nearly 50,000 monthly active users.

Waks, a veteran of Kustomer, Bizzabo, CreatorIQ, LivePerson and ZoomInfo, will steer global marketing and category positioning as legal teams adopt AI-driven tools. Sharma, who has led finance across scaling tech firms since 2016, will guide financial strategy, investor relations and market expansion.

Both hires aim to sharpen SpotDraft’s bid for a larger slice of the fast-growing legal-tech market, expected to exceed $63 billion by 2032. Co-founder and chief executive Shashank Bijapur said the company is focused on scaling go-to-market operations in the Americas, deepening leadership in EMEA, and accelerating AI capabilities for general counsels and legal-operations leaders.

Clients report shorter deal cycles and better alignment between legal and business teams. “What used to take weeks now happens in days,” said Abnormal Security senior legal operations manager Susan Koenig. DeepL head of legal operations André Barrow, said SpotDraft has helped reframe legal “from a cost centre to a generator of revenue”.

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Executive Dossier

Outdoor Ads Get Smarter as LOC8 Shifts OOH from Visibility to Attention

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MUMBAI: Out-of-home ads were once the wallflowers of marketing seen by everyone, noticed by few. But in an age where attention has become the world’s most fought-over currency, even billboards are getting a brain upgrade. Enter LOC8, OSMO’s AI-powered attention engine, quietly reshaping the old OOH playbook by measuring not just who could have looked at an ad, but who actually did. The shift is subtle but seismic: impressions are out, impact is in and data, not gut instinct, is calling the shots.

In a landscape where marketers question every rupee spent outdoors, LOC8 is turning lampposts, flyovers and traffic islands into precision-mapped attention laboratories. By crunching dwell time, visibility zones, perceptual size and real-world obstructions, the platform is dragging OOH into a future where creativity meets computer vision and where the best ideas aren’t just eye-catching, but eye-measured. From automotive facelifts to FMCG novelty and real estate trust-building, the message is clear, outdoor has stopped shouting and started listening. Indian Television Dot Com explores more about it in an Interview interview with OSMO co-founder Nipun Arora.

On how OSMO is shifting outdoor advertising from a visibility-led medium to an attention-led one through LOC8. 

Traditional OOH has long been measured by visibility and impressions i.e how many people could see an ad. OSMO, through its proprietary AI platform LOC8, is shifting that narrative more towards likelihood of being noticed. Using computer vision and machine learning, LOC8 analyzes real-world video data to measure visibility zones, obstructions, dwell time and perceptual size; bringing precision to how attention is quantified outdoors. It moves the focus from mere impressions to quality of impressions, making OOH a data-verified, attention-led medium comparable to digital in accountability. 

On how marketers can use LOC8’s dwell-time, visibility and perception insights to craft more effective, emotionally resonant OOH campaigns. 

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LOC8 helps brands understand how people truly experience outdoor media how long they look, from what distance, and under what conditions. By quantifying dwell time, visibility duration, and perceptual size; marketers can plan campaigns that align with real human viewing behavior. This empowers creative and strategy teams to design emotionally resonant storytelling where messaging, visual hierarchy and placement are optimized for how people actually notice and process OOH creatives. 

About what LOC8 has revealed through campaigns like Renault Triber and Namaste India on how categories such as auto, FMCG and real estate use attention metrics to drive outcomes. 

Each category uses attention data differently but all share one common goal: to convert outdoor visibility into measurable engagement. 

• Automotive | Renault Triber

For the new Renault Triber facelift, bold creative met data-led planning through LOC8. By analyzing on-ground video data, LOC8 measured real audience attention across placements factoring in visibility zones, obstructions, traffic speed and perceptual size. This enabled Renault to identify corridors that delivered maximum reach, saliency and engagement, optimizing media efficiency and ROI.  

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• FMCG | Namaste India

In OOH, innovation is the hook and assets are the bait. But bait often hides the hook. With Loc8’s attention metrics, we ensured the bait wasn’t a hurdle, rather it became the perfect stage for innovation to deliver its full impact! The insight proved that creative novelty, when validated by attention data, drives deeper engagement and measurable brand lift. 

• Real Estate

For luxury and real estate campaigns targeting HNI/UHNI audiences, attention patterns differ especially between front and rear passengers, who are often the core audience segment for premium sites. LOC8’s ability to distinguish rear vs. front visibility plays a critical role here. It helps identify sites that offer longer viewing windows and stronger perceptual dominance from the rear seat where decision-makers are most likely seated making it a key differentiator for premium and trust-led categories. Together, these insights prove that auto optimizes for impact, FMCG for recall, and real estate for trust visibility showing how attention metrics adapt to category goals while ensuring measurable outcomes.

On how attention analytics will shape the future of brand storytelling and media planning as OOH becomes more digitised and data-driven.  

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 As outdoor digitizes, attention analytics will inform not just where to advertise but how stories are told in public spaces. This evolution transforms OOH from a static broadcast channel into a dynamic attention ecosystem, where creativity is optimized through evidence-based insight.

On how LOC8’s data-led framework helps marketers quantify OOH impact and make outdoor a more accountable, ROI-driven medium. 

LOC8 bridges the gap between intuition and evidence. By quantifying metrics like visibility duration, attention opportunity index, and visual saliency rank, it allows brands to benchmark site performance and justify investment. This data-led approach brings transparency, comparability and ROI measurement to a medium historically driven by perception. 

On how OSMO ensures AI and computer vision enhance creativity rather than reduce it to numbers.

OSMO believes that technology should enhance creativity, not overshadow it. LOC8’s attention models reveal what naturally draws the human eye helping creative teams refine design cues, contrast, and visual hierarchy for greater impact. By merging art and science, LOC8 empowers creativity with intelligence. 

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About the creative best practices and design cues LOC8 has uncovered regarding what truly captures consumer attention outdoors. 

LOC8’s visual cognition analysis has surfaced clear patterns across campaigns:

• High contrast and minimal messaging outperform cluttered designs.

• Motion cues draw significantly longer dwell times.

• The first two seconds are critical, creatives must establish focus instantly.

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• Contextual alignment between the creative and its environment increases attention by over 30%.

These learnings offer a scientific foundation for creative effectiveness helping brands design OOH that’s visually magnetic and emotionally memorable. 

On how attention metrics will integrate into omnichannel planning where OOH, digital and social work together for unified brand impact. 

Attention can become the unifying KPI across OOH, digital and social to creates seamless storytelling continuity, where outdoor triggers digital engagement. The future of omnichannel planning lies in attention-led integration ensuring that campaigns don’t just reach audiences everywhere but truly capture and hold their focus.
 

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