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.

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.

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.

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.