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Tag: Ramayana

  • “Good storytelling transcends time and technology”: Akash Sagar Chopra

    “Good storytelling transcends time and technology”: Akash Sagar Chopra

    Mumbai: Sagar Pictures Entertainment is a market pioneer in the Mythological and Historical segment of the Indian programming industry. The company has delivered record-breaking Indian programming for over 20 years and has introduced trend-setting programming that has contributed to the growth and market share of leading Indian broadcasters. Sagar Pictures Entertainment is credited with producing record-breaking series and films that have accumulated over 143 billion minutes of watch time, representing 83 per cent of overall Hindi viewership across India, Southeast Asia, and the Middle East.

    For over a decade, Akash Sagar Chopra has played a pivotal role in the Indian Film and Broadcast Industry as an artist, filmmaker, showrunner, producer, and media executive. Delivering top-rated films and series, his transition into new-media programming utilizing media technologies focused on digital content production and distribution marked a significant change in Indian Media and Entertainment Landscape.

    Currently, he is leading an upcoming multimedia franchise. This franchise will feature films and series produced in collaboration with international visual effects and production partners, with a special focus on an adaptation of a popular Indian ‘Purana,’ created for IMAX 3D. As the current CEO and head of the Non-Fiction Wing of the Indian motion picture studio, media, and entertainment company Sagar Pictures Entertainment, his passion for documentary storytelling continues to drive the company’s vision for documentary originals and un-scripted content.

    Indian Television.com caught up with Chopra where he delved into the details of evolution of Sagar Pictures Entertainment, the storytelling landscape, regional cinema, literture, Ramayana and more…

    Edited excerpts

    On Sagar Pictures Entertainment adapting to the evolving landscape of the entertainment industry in India over the span of 70 years

    Sagar Pictures Entertainment is our new studio identity. The brand Sagar has seen quite a journey since the inception of the brand and banner back in 1954 by none other than my grandfather Ramanand Sagar, who wrote under the nom-de-plume ‘Sagar’. What many might not know is that this venture was officially born out of his love for storytelling after his stint at Gemini Studios. Fast forward to today, and I find myself at the helm of this legacy, alongside my father Moti Sagar, who established the brand ‘Sagar Pictures’ in 2008.

    Our journey has been nothing short of remarkable. From being primarily known for our cinematic endeavors, we’ve diversified into a dynamic media and entertainment company. Over the years, we have evolved, navigating the ever-changing landscape of the entertainment industry in India. We’ve now embraced new strategies, transitioning from traditional business-to-business models to a more direct-to-consumer approach, especially after the digital triumph of our National Award Winning feature film “1971”, helmed by Amrit Sagar.

    But amidst all the changes, one thing has remained constant: our commitment to storytelling. It’s in our DNA, rooted deeply in the literary heritage of Ramanand Sagar. We believe in the power of a good story, whether it’s told over three hours on the big screen or condensed into a 30-second reel on social media. It’s what connects us as humans.

    Good content in its root is evergreen, however, there is a generational switch in consumption and also its form. It’s inevitable and we are working towards creating content that is in pace with the shift. Even though the soul stays the same, the form has to be new, something we all resonate with. Our ambition is to take our texts and showcase them the same way we watched films from across the globe as we grew up, but without changing the soul. This material has to resonate in the heart.

    Hence, taking risks has always been part of our journey. My grandfather took a risk when he did the Ramayan on Doordarshan at the time. And with Sagar Pictures we’ve all pushed boundaries, producing over 25 TV shows in less than seven years, each one adding its own flavor to the rich tapestry of Indian entertainment while introducing so many trends in the motion picture sciences, being a first in the market. And while not every endeavor may have been a commercial success, we’ve never shied away from experimentation.

    At the heart of it all is the belief that good storytelling transcends time and technology. It’s a philosophy that has guided us through the years, even when the norms dictated otherwise. Take “1971”, for instance, a film that defied conventions with its lack of a heroine or item song. Today, it stands as a testament to our unwavering dedication to crafting narratives that resonate with audiences on a deeper level.

    So yes, our journey has been insightful, and it’s far from over. As we continue to navigate the ever-changing landscape of the entertainment industry, one thing remains clear: our passion for creating good cinematic experiences, and storytelling will always be at the forefront of everything we do.

    On the key factors that contributed to the immense popularity of Ramayana during the pandemic, particularly in comparison to other forms of entertainment

    I believe that the immense popularity of Ramayana during the pandemic can be attributed to its cinematic approach in presenting an epic body of literature. When the original series was made in 1987, television was a relatively new medium, and all the creators who worked on the series, including Ramanand Sagar, his sons, and series directors Moti Sagar and Anand Sagar, were all from the world of film and cinema.

    Their technique and ethics for creating something were cinematic in thought, and had equal amounts of passion, which resulted in the integrity and authenticity that it takes for any cinematic endeavour to be accomplished for a series like Ramayana. Ramanand Sagar, being an author and writer first, did not leave any stone unturned in his research and writing. He researched through five different versions of the text and showcased his prowess as a writer when he played with moral conflicts in his dialogues between conflicting characters. It was probably this cinematic charm in the ethos of the making of the series, which the entire cast and crew worked very hard to create, that made it so successful.

    Additionally, I believe that the series stayed true to the original material, which is often an area where many adaptations fail. When I saw the series again during the rerun of the pandemic, I realized that it was the right blend of writing, casting, direction, editing, music, and all departments that came together, working with each other in harmony on-screen. Also most importantly there was a genuine feeling of Bhakti for the subject amidst all the creators of the series. That resulted in the conviction. They weren’t trying to play to the gallery.

    The entire unit worked together for the love of the project and to create something with good creative intention, which is why the series is timeless. I think this is true not just for Ramayana, but also for any show that works perfectly together to tell a good story.

    On influence of regional cinema, literature, and culture shaping the storytelling approach of your company over the years

    I would use the term ‘Pan-Indian’ qualitative cinema, a good story told well, something that transcends the language barrier. Initially, when classics like Ramanand Sagar’s Ramayana or the Mahabharata were aired on Doordarshan, they were meticulously crafted by studios with a focus on authenticity rather than ratings. These texts require a certain understanding to be able to do justice to. However, with the advent of our series ‘Jai Shri Krishna’ on Colors TV post-2008, we observed many others following a trend of inclination towards a soap opera format, rather than retaining original philosophy of the texts.

    We try to highlight the importance of understanding the gravity of these texts and their impact on audiences. While television may have limitations due to the rat-race for ratings, contemporary mediums like movies and OTT platforms offer greater flexibility for authentic adaptations closest to the source material. We believe in studying these texts in the true academic spirit to grasp their philosophical depths and poetic essence.

    It’s crucial not to simplify our ancient texts as mere comic book fodder. Instead, they offer intense, spiritual narratives with unparalleled metaphors and poetic essence.

    Looking today at the power of regional cinema, it instills confidence in us, that truly the audiences want to watch good quality content. This is something we have strived for since 2007, with our feature ‘1971’. Today we see films like Kantara, Bhramayuagm, and Manjumal Boys. They exemplify the power of qualitative content, made with integrity and a true creative spirit, and their success is evident. This is what we also always strived for as creators.

    I would call it Pan-Indian Cinema. This concept of good content going across the language barrier plays a significant role in shaping our storytelling approach, reminding us to uphold the basic principles of script writing and feature film editing. These films, irrespective of their language, resonate across the nation due to their adherence to storytelling fundamentals. Thus, our company values the rich tapestry of pan-Indian cinema, literature, and culture, which infuses our narratives with depth and authenticity.

    On the success of Indian storytelling contributing to the rising global attention towards India’s entertainment industry

    The global acclaim for Indian storytelling, definitely has put India’s entertainment industry on the map. I’ve seen firsthand how our journey has evolved over the years. When we were premiering our documentary film in Milan and in The Hague (Netherlands), I held a workshop on the Indian M&E landscape and the first thing I said was that “we are now so much more than just a song and dance film format. Our country has truly produced greats. In the contemporaries, look at some of the films by Chaitanya Tamhankar and Amit Dutta. Such amazing work which has truly gone global.” everyone at the workshop were quite taken aback at the real reach of Indian story telling done well.

    If I take the Ramayan 1987 by Ramanand Sagar as a venture, then especially its 2020 broadcast surely caught the attention of Wall Street and others, which simply showed the reach of the next billion. The large and diverse and probably young 18-35 consumer who is now hungry for good quality Indian content. Again – honest content made with honesty and heart. This resonated in a billion hearts. This is what made it global.

    Our focus has always been on delivering stories that resonate deeply with audiences, stories that are authentic and meaningful. Whether it’s through timeless classics like “1971” or innovative new projects, we strive to uphold the values of integrity and creativity.

    As we navigate through the dynamic entertainment industry, I believe in staying true to our values while also embracing change. With each project, we aim to celebrate the rich diversity of our real Indian  ethos, through cinema and storytelling, promising a future filled with captivating content that speaks to audiences across the globe.

    On anticipating India’s storytelling industry

    Looking ahead, I foresee India’s storytelling industry continuing to play a pivotal role in shaping the global entertainment landscape. As someone deeply involved in this industry, I believe that our rich cultural heritage and diverse narratives will increasingly captivate audiences worldwide. With advancements in technology and changing audience preferences, I anticipate a blend of traditional storytelling techniques with modern innovations, creating a dynamic and immersive viewing experience.

    At Sagar Pictures Entertainment, we are committed to pushing boundaries and exploring new frontiers in storytelling. Whether it’s through groundbreaking films or engaging series, our aim is to showcase the depth and complexity of Indian narratives while resonating with audiences on a global scale. By staying true to our roots and embracing innovation, I believe that India’s storytelling industry will continue to evolve, leaving a lasting impact on the global entertainment landscape for years to come.

  • Throwback2020: DD’s importance stood out this year

    Throwback2020: DD’s importance stood out this year

    NEW DELHI: 2020 was a challenging year for public broadcasting. But it was also the year when public broadcasting made its presence felt and reminded people of the reason it exists. That the mission was fulfilled at the peak of the pandemic, when everything was paralyzed, but Doordarshan and All India Radio (AIR) continued their services uninterruptedly.

    Unfortunately, we lost some colleagues to the pandemic. Our reporters tested positive for the coronavirus while they were out in the field. So in that sense, public broadcasting went through the test of times.

    One key area where public broadcasting came through was in delivering social messages and creating awareness about the pandemic. Doordarshan emerged as the top five social advertisers, which underscores the value of public messages put out by us. We also saw record viewership ratings in the early days of the lockdown.

    Then, the tele-classes on Doordarshan ensured that the academic year did not go waste for students from far-flung areas. India is blessed with the only free to air satellite platform DD FreeDish, reaching thirty-five million plus households. With thirty plus Doordarshan channels and fifty-one educational channels, we have eighty-six channels delivering tele-classes across different languages.

    This year reminded us why people tune into Doordarshan. It remains the only platform where the entire family can come together and watch iconic content, no matter which region they belong to. This will be our focus going forward- to create selective iconic content that is not only a part of the heritage of the country but will appeal to the entire population and becomes a benchmark for the decades to come. Content like Mahabharata, Ramayana, Shaktimaan, which have a recall value that spans decades.

    But it’s not just content, but also a question of production values. People, especially youth, have high expectations. The benchmark is, what they call ‘over the top (OTT) quality,’ coupled with the latest use of technologies, graphics, and visual effects. We will try to ensure that the projects we work on bring in those elements.

    At the same time, we need to acknowledge that public broadcasters operate on public funds. There are constraints. So it cannot invest in the same manner that a private sector media house could do.

    NewsOnAir application proved to be a dramatic game-changer this year on the radio front, just like DD FreeDish proved to be a game-changer on the television front. It ensured that traditional radio listening is no longer restricted to the terrestrial reach of the transmitters. Now, it does not matter where you are, you can listen to your favourite channel. It has changed radio listening habits for audiences across the world.

    It also brought all radio services of AIR under one umbrella. Unlike TV where everything is uplinked in the satellite so you can monitor what is going on, with radio, it used to be restricted to that particular radius of a few kilometres. But, now we can tune into any of the radio stations among the 200 livestreams. It has also brought a degree of transparency and accountability.

    We also saw Doordarshan regional channels discovering life beyond the satellite way of traditional broadcasting. From our TV rating standpoint, they may be struggling with the private channels, because there are hundreds of channels, so it’s a huge challenge for a public broadcaster to stand out. However, on the digital side, each of these channels has acquired a distinct place. Several of them crossed half a billion subscriber base on YouTube, because of teleclasses being available on demand.

    I have a special mention for north-east Doordarshan because it saw dramatic growth in the news this year. The news was available in languages that were otherwise not available in Garo, Khasi, and Assamese. DD News Guwahati and DD News Shillong performed very well digitally as youth increasingly consumed content through the internet and smartphones.

    Apart from that, the most interesting thing has been the DD archives. In order to take full advantage of the nostalgia, we had started putting the archival content online, digitising it and making it available online. Old plays, old serials, old songs, all content will be made available. So it has driven renewed interest in regional languages.

    On the revenue side, the income was fairly steady, except for some disruptions, on the radio side. There were some hiccups for DD FreeDish too and some channels had to leave, but many new channels came on board, including three movie channels in the recent auction. Overall DD FreeDish remains on a steady path and a source of substantial revenue.

    On the advertising side, we definitely saw an uptick in commercial advertising because of the renewed interest in Mahabharata. But some of the biggest sporting events did not happen, so that was a disappointment. Hopefully, we will catch up in 2021.

    (Shashi Shekhar Vempati is the CEO of Prasar Bharati. This is an excerpt from a conversation he had with Srishti Choudhary)

  • Dangal’s mytho epic ‘Ramayana’ back on TV screens

    Dangal’s mytho epic ‘Ramayana’ back on TV screens

    MUMBAI: Hindi general entertainment channel Dangal has brought back its mythological epic Ramayana starring Gurmeet Choudhary and Debina Bonnerjee in lead roles. This epic tale of promises and ideologies is being telecast daily at 7.30 pm followed by its repeat telecast at 9.30 am. The mythological series went on air from 26 April 2020.

    A Dangal spokesperson said, “At Dangal, we are committed to keeping our discerning viewers entertained especially during unprecedented times like these. Over the years, our viewers have supported us and it is now upon public demand that we have brought back one of India’s most followed epics and revered shows of all times, Ramayana. By showcasing a culturally rooted show like Ramayana with traditional ideologies and strongly entrenched lessons, we are sure that viewers will stay engaged while staying safe indoors. Moreover, while Ramayana will invoke nostalgia among the older generations, it will be a new and beautiful experience for the younger audience.”

    Ramayana is one of the major Sanskrit epics of ancient India. It is an Indian television mythological series depicting the story of lord Rama based on the classic Indian literature which narrates his exile of 14 years along with Sita and Lakshman.

    Dangal is available in all leading cable networks and DTH platforms – DD Free Dish (CHN NO 27), Tata Sky(CHN NO 177), Airtel (CHN NO 133), Dish TV (CHN NO 119) and Videocon D2H (CHN NO 106).

  • DD National, Sun TV & Zee Biskope see viewership growth across genres

    DD National, Sun TV & Zee Biskope see viewership growth across genres

    BENGALURU: Week 13 of 2020 was a peak week in terms of television viewership which had climbed to an all-time high. Viewership fell in week 14 of 2020, but seems to have recovered a bit in week 15 of 2020 (Saturday, 11 April 2020 to Friday, 17 April 2020, week under review). Towards the mid-end of Week 12 of 2020 was when the Indian COVID-19 lockdown happened (25 March 2020), but events such as the Janta curfew happened at the start of week 12. Hence, week 12 can be considered the first week of the Indian COVID-19 lockdown. Television viewing habits and viewership have changed completely during the lockdown period in the country.

    Broadcast Audience Research Council of India (BARC) data for week 15 of 2020 reveals that only one of the nine channels that were present in BARC’s weekly list of Top 10 Channels Across Genres on All Platforms, on pay platform and free platform in weeks 13, 14 and 15 of 2020 have seen viewership growth in week on week (w-o-w) to week 15 as compared to the peak week. Pubcaster network Doordarshan’s (DD) flagship channel DD National saw viewership grow 21.4 per cent in week 14 of 2020 as compared to week 13 and saw it grow further in week 15 by 38.2 per cent vis-à-vis week 14 in BARC’s weekly across genres lists on all platforms. The most widely available terrestrial channel in the country saw viewership grow 68 per cent in week 15 as compared to week 13 in BARC’s weekly across genres lists on all platforms. The rerun of the mythology shows Ramayan and Mahabharat and a number of classics from the 80’s and 90’s of the previous century have helped two channels of DD grow viewership tremendously.

    Top 10 channels across genres on all platforms

    Nine channels have appeared in BARC’s weekly across genres lists on all platforms during all the three weeks under consideration here. The only exception was the Sun Network’s Tamil movies channel KTV, which exited in BARC’s weekly across genres lists on all platforms in week 14 of 2020, to be replaced by Viacom18’s Kids channel Nick.

    Sun TV Network’s flagship Tamil channel Sun TV saw viewership decline in week 14 by19.4 per cent as compared to week 13 of 2020, but then climb again strongly in week 15 by 48 per cent as compared to week 13.

    Two channels, each from DD, Sony Pictures Network India (SPN) and Zee Entertainment Enterprises Limited (Zeel) and one channel each from Enterr 10 Television, Star India, Sun Tv Network and Viacom18, were present in BARC’s weekly list of Top 10 Channels Across Genres on All Platforms in week 25 of 2020.  Five of the channels were Hindi GECs; there were two Hindi movie channels and there was one channel each from the kids, Tamil and Telugu genres present in the list in week 15 of 2020.

    Please refer to the chart below

    Top 10 Pay Channels Across Genres

    In BARC’s weekly lists of Top 10 Pay Channels Across Genres for weeks 13, 14 and 15 of 2020, DD National was the only channel that saw w-o-w growth in weeks 14 and 15 as compared to week 13 of 2020.

    Nine of the channels in BARC’s weekly list of Top 10 Pay Channels Across Genres have been the same in weeks 13, 14 and 15 of 2020 with a shuffling of ranks. The only change was when KTV exited the list in week 15 of 2020 to be replaced by its network’s sibling Telugu GEC Gemini TV. 

    Three channels each from the Hindi movies and Telugu genres, two channels from the Hindi GEC genre and one channel each from the kids and Tamil
    genre made up BARC’s weekly list of Top 10 Pay Channels Across Genres in week 15 of 2020. Two channels each from SPN, Star, Sun and Viacom 18 (one from Viacom18 and one from Eenadu TV group in which Viacom18’s majority owner Network18 has a stake) and one channel each from DD and Zee were present in BARC’s weekly list of Top 10 Pay Channels Across Genres.

    Please refer to the charts below:

    Top 10 Free-to-Air Channels Across Genres

    In the case of BARC’s weekly lists of Top 10 Free-to-Air Channels Across Genres, it was again DD National that maintained its w-o-w growth in weeks 14 and 15 as compared to week 13 of 2020. Further, Zeel’sBhohpuri cinema channel Zee Biskope also showed growth during week 15 vis-à-vis week 13, but it had seen a viewership drop in week 14 as compared to week 13 of 2020.

    Four Hindi GECs’, three channels from the Hindi Movies, two channels from the Bhojpuri genre and one channel from the Youth genre comprised BARC’s weekly list  of Top 10 Free-to-Air Channels Across Genres in week 15 of 2020. There were three channels each from Enterr 10 Television and Zeel and two channels each from B4U and DD networks in BARC’s weekly list of Top 10 Free-to-Air Channels Across Genres during the week under review. 

    Here also, nine of the channels were present during the three weeks under consideration in this paper, but again with some shuffling of ranks. The India Today group’s Hindi News channel AajTakexited the list in week 14 to be replaced by DD’s Hindi GEC DD Bharati.

    Please refer to the charts below:


     

  • Hindi GEC hits new all-time high with 4 bn impressions in week 14

    Hindi GEC hits new all-time high with 4 bn impressions in week 14

    MUMBAI: In week 14 of TV viewership, the Hindi GEC genre has witnessed an all-time viewership high since 2015. According to the BARC-Nielsen -TV+ smartphone consumption data, the genre has grabbed four million impressions in the HSM urban market. 

    Ramayan is said to be the biggest driver of viewership growth in the urban HSM market in week 14. There have been 73 per cent episodic duplications and 83 per cent weekly duplication for Ramayan which was the highest among all Hindi GEC shows. 

    This week Ramayan grabbed 61,397 weekly impressions (000s) on DD National. The channel was leading on pay platform with 1,427,722 weekly impressions, and in the urban market it was leading with 1,099,834 weekly impressions (000s).

    22 per cent of kids are watching Ramayan with their grandparents/senior people at home. Co-viewing with 15+ years grew by 88 per cent. 

  • Prasar Bharati’s Ramayana gets into Twitter controversy

    Prasar Bharati’s Ramayana gets into Twitter controversy

    MUMBAI: Any news is good news is an adage many have followed and touted. But Prasar Bharati CEO Shashi Shekhar Vempati did not expect that Ramayana which is currently getting the country glued to Doordarshan’s channels and to the TV to be caught in the thick of controversy over the source for telecasting the series on the public broadcaster.

    It all started with tweet from independent journalist Neha Dixit, in which she said: “Apologies for the inane tweet. But Doordarshan, India’s national broadcaster, is streaming Ramayana from a Moser Baer DVD. Along with the watermark.” 

    As proof, she posted a screen capture of Arun Govil, who plays Ram in the show, prominently displaying the watermark. 

    That got Shashi Shekhar’s goat who promptly responded: “This does not seem to be from Doordarshan, please recheck your source.”

    To which,  Neha did not respond. 

    That started a war on twitter with hundreds of twitterati blasting Dixit and one of the publications she writes for – The Wire. Some twitterati also suggested that DD should sue her for her brand of journalism. 

    But both Shashi Shekhar and Neha chose to stay mum, even though many of his followers said that the screengrab has been taken from a YouTube channel – where the show is running – and is being passed of as that from DD.

  • Doordarshan brings back ‘Shaktimaan’

    Doordarshan brings back ‘Shaktimaan’

    MUMBAI: After Ramayana, Doordarshan is all set to re-telecast another popular TV series Shaktimaan to entertain the masses who remain indoors on account of the ongoing lock-down caused by the Covid-19 pandemic. According to reports, the one-hour-long series will be re-telecast every day from 1 pm on DD National beginning 1 April.

    The once-popular superman series, produced by Mukesh Khanna, who played the role of Shaktimaan, had entertained youngsters and old people alike. Khanna played the role of "Pandit Gangadhar Vidhyadhar Mayadhar Omkarnath Shastri", a newspaper photographer. Shaktimaan was portrayed as a human who achieved superhuman powers through meditation.

    The Hindi-language TV show was telecast on DD 1 from 13 September 1997 to 27 March 2005.

    Earlier, Prasar Bharati and the I&B ministry announced the re-telecasting of classics like Ramananda Sagar-directed Ramayana through the public broadcaster. When the epic TV serial was re-telecasted for the first time, people thronged the DD website to watch the streaming, causing it to crash due to the excessive traffic.

    Reports say that the public broadcaster is also planning to bring back Chanakya and Upanishad Ganga which will air on DD Bharti.

  • DD National to telecast 80’s show ‘Ramayana’ from tomorrow

    DD National to telecast 80’s show ‘Ramayana’ from tomorrow

    MUMBAI: Those who have been quarantined in their homes have one great reason to cheer! One of the most iconic TV serials of the 80s, Ramayana, is making a comeback from tomorrow. 

    DD National will re-telecast the serial from tomorrow (28 March). While one episode will be telecast between 9 am and 10 am, another episode will be aired between 9 pm and 10 pm, informed minister for information and broadcasting Prakash Javadekar.

    The minister said: "Happy to announce that on public demand, we are starting retelecast of 'Ramayana' from tomorrow, Saturday, March 28 in DD National."

    The series, aired on all Sundays between January 1987 and July 1988 in DD, has been etched in the nostalgic memories of Indians.

    Just yesterday, we reported that Prasar Bharati is looking at re-runs of some of its iconic shows from the 80s. The other show that is likely to be re-commissioned is Mahabharat.

  • Animated ‘Ramayana’ a global Diwali gift on web, mobile

    Animated ‘Ramayana’ a global Diwali gift on web, mobile

    NEW DELHI: Thirty episodes of the animated series Ramayana will be available around the world on the nexGTv web and mobile platforms during Diwali.

    This follows acquisition by nexGTv of the digital telecast rights from HT Media. With Diwali just around the corner, the content addition highlights nexGTv focus on delivering highly-relevant India-centric entertainment solutions to viewers around the world.

    The platform also recently tied up with several reputed content developers and media firms such as Culture Machine and Inavit Digital Pvt. Ltd. in order to add more diversity to its content library, already including 150+ Live TV channels, movies, shows and videos.

    nexGTv COO Abhesh Verma said, “With the festival fast approaching, our acquisition of the global digital rights to Ramayana could not have been timed better. We are confident that our viewers will be delighted with the latest addition, as they get a chance to relive the quintessential triumph of good over evil on-the-go through nexGTv.”

    Made available for seamless viewing across multiple devices and platforms, nexGTv viewers can watch 30 episodes of Ramayana as a part of its free content catalogue. The series can be accessed be either through www.nexgtv.com or through the nexGTv mobile app, available on both Android and iOS.

    With over 25 million downloads, nexGTv is the flagship, multi award-winning application from DigiVive. Offering unlimited and compelling entertainment across multiple devices (mobile, tablets or laptops/PCs), nexGTv offers its users an unrivalled suite of 150+ Live TV channels aside from a huge content library comprising movies, TV shows & videos for every mood. The app has won numerous awards including ‘The Best Digital Experience’ at the prestigious World Communication Awards 2014, in London, and is ranked amongst the Top Entertainment applications in app stores.

    DigiVive focuses on creating offerings in line with trends, with best-in-class content. Its partners include leading telecom operators and OEMs.

    nexGTv launched nexGTv Kids to curate and deliver the most entertaining and educative content meant especially for the kids aged between two and to 10 years. The platform’s exclusive news app, nexGTv News, has been launched as the go-to destination for mobile-based video news content aimed at revolutionizing the way news is currently consumed in the country through enhanced accessibility. Through its partnership with One Network Entertainment Pvt. Ltd (ONE), nexGTv has also launched the Comedy One, a first-of-its-kind comedy app having premium original comedy content ranging from stand-up, gags and spoofs to sketches and web-series. iFaith, nexGTv’s exclusive devotional app, will enable anytime, anywhere access to devotional content for nexGTv users. nexGTv has also launched nexGTv Yoga, which enables access to a host of videos on meditation, breathing techniques and yoga postures anytime, anywhere. The nexGTv Movies n Music app has been launched specifically for movie and music buffs around the world, and boasts of a library comprising nearly 2500 movies including titles such as Singham Returns, Holiday, Ragini MMS 2, Buddha In A Traffic jam, Dirty Politics and many more. The company has rolled out My nexGTv, a wrapper/aggregator tool that allows users to manage, install and access multiple nexGTv apps such as nexGTV Kids, nexGTV Yoga, nexGTV News and nexGTV Comedy One etc through one consolidated platform.

    nexGTv has partnered with leading channels such as B4U, 9X Jalwa, Tashan, B4U Music, M Tunes and 9XM Music to showcase high-quality entertainment solutions on its platform. Meanwhile, its partnership with India’s leading digital media firm, Culture Machine, will enable access to various digital channels like Being Indian, Put Chutney, Blush, Epified, What’s Trending India, Whack, Old Delhi Films, Rascalas, Vendhar TV etc to its viewers. Moving towards international web series content, the platform has acquired the digital telecast rights to UK-based Daehan Drama’s popular comedy web series, At the Counter, as well as its French-Chinese web series, Ex-Model, in order to diversify its offerings with high-quality international content.

    SPOTLight, India’s first mobile talent discovery platform, has been introduced by nexGTv with ace director Imtiaz Ali as the creative judge, as a medium to enable both amateurs and professional video enthusiasts to not only showcase their talent pan-India, but also earn off it. nexGTv also unveiled an original 14-part mobi-series in association with Priyanka Chopra and Fluence, ‘It’s My City’, in order to provide relatable and engaging video entertainment content to the country’s new-age digital viewership. In her inimitable style, Priyanka Chopra appears in and as herself, assuming the mantle of an official landlady, unofficial guardian and protective friend to the young protagonists.

  • Animated ‘Ramayana’ a global Diwali gift on web, mobile

    Animated ‘Ramayana’ a global Diwali gift on web, mobile

    NEW DELHI: Thirty episodes of the animated series Ramayana will be available around the world on the nexGTv web and mobile platforms during Diwali.

    This follows acquisition by nexGTv of the digital telecast rights from HT Media. With Diwali just around the corner, the content addition highlights nexGTv focus on delivering highly-relevant India-centric entertainment solutions to viewers around the world.

    The platform also recently tied up with several reputed content developers and media firms such as Culture Machine and Inavit Digital Pvt. Ltd. in order to add more diversity to its content library, already including 150+ Live TV channels, movies, shows and videos.

    nexGTv COO Abhesh Verma said, “With the festival fast approaching, our acquisition of the global digital rights to Ramayana could not have been timed better. We are confident that our viewers will be delighted with the latest addition, as they get a chance to relive the quintessential triumph of good over evil on-the-go through nexGTv.”

    Made available for seamless viewing across multiple devices and platforms, nexGTv viewers can watch 30 episodes of Ramayana as a part of its free content catalogue. The series can be accessed be either through www.nexgtv.com or through the nexGTv mobile app, available on both Android and iOS.

    With over 25 million downloads, nexGTv is the flagship, multi award-winning application from DigiVive. Offering unlimited and compelling entertainment across multiple devices (mobile, tablets or laptops/PCs), nexGTv offers its users an unrivalled suite of 150+ Live TV channels aside from a huge content library comprising movies, TV shows & videos for every mood. The app has won numerous awards including ‘The Best Digital Experience’ at the prestigious World Communication Awards 2014, in London, and is ranked amongst the Top Entertainment applications in app stores.

    DigiVive focuses on creating offerings in line with trends, with best-in-class content. Its partners include leading telecom operators and OEMs.

    nexGTv launched nexGTv Kids to curate and deliver the most entertaining and educative content meant especially for the kids aged between two and to 10 years. The platform’s exclusive news app, nexGTv News, has been launched as the go-to destination for mobile-based video news content aimed at revolutionizing the way news is currently consumed in the country through enhanced accessibility. Through its partnership with One Network Entertainment Pvt. Ltd (ONE), nexGTv has also launched the Comedy One, a first-of-its-kind comedy app having premium original comedy content ranging from stand-up, gags and spoofs to sketches and web-series. iFaith, nexGTv’s exclusive devotional app, will enable anytime, anywhere access to devotional content for nexGTv users. nexGTv has also launched nexGTv Yoga, which enables access to a host of videos on meditation, breathing techniques and yoga postures anytime, anywhere. The nexGTv Movies n Music app has been launched specifically for movie and music buffs around the world, and boasts of a library comprising nearly 2500 movies including titles such as Singham Returns, Holiday, Ragini MMS 2, Buddha In A Traffic jam, Dirty Politics and many more. The company has rolled out My nexGTv, a wrapper/aggregator tool that allows users to manage, install and access multiple nexGTv apps such as nexGTV Kids, nexGTV Yoga, nexGTV News and nexGTV Comedy One etc through one consolidated platform.

    nexGTv has partnered with leading channels such as B4U, 9X Jalwa, Tashan, B4U Music, M Tunes and 9XM Music to showcase high-quality entertainment solutions on its platform. Meanwhile, its partnership with India’s leading digital media firm, Culture Machine, will enable access to various digital channels like Being Indian, Put Chutney, Blush, Epified, What’s Trending India, Whack, Old Delhi Films, Rascalas, Vendhar TV etc to its viewers. Moving towards international web series content, the platform has acquired the digital telecast rights to UK-based Daehan Drama’s popular comedy web series, At the Counter, as well as its French-Chinese web series, Ex-Model, in order to diversify its offerings with high-quality international content.

    SPOTLight, India’s first mobile talent discovery platform, has been introduced by nexGTv with ace director Imtiaz Ali as the creative judge, as a medium to enable both amateurs and professional video enthusiasts to not only showcase their talent pan-India, but also earn off it. nexGTv also unveiled an original 14-part mobi-series in association with Priyanka Chopra and Fluence, ‘It’s My City’, in order to provide relatable and engaging video entertainment content to the country’s new-age digital viewership. In her inimitable style, Priyanka Chopra appears in and as herself, assuming the mantle of an official landlady, unofficial guardian and protective friend to the young protagonists.