Executive Dossier

“We plan to introduce innovative disruptive new age content in 2016:” Deepak Dhar

Published

10 years ago

November 1, 2015

Millennials in India have grown up watching reality television perhaps even before they could pick their favourite subjects or role models.

Shows such as Bigg Boss, Master Chef, The Voice and Emotional Attyachar amongst others need no introduction, nor does their production house Endemol Shine India, which is heralded by one of the brightest minds in India’s reality TV landscape – Deepak Dhar as managing director and CEO.

Dhar joined the production and content creating giant in 2005, after paving a successful career in media with companies like Star TV, MTV, Channel V, etc. Armed with his expertise in reality television, Dhar went on to lead Endemol with some of the most challenging and ambitious projects.

At the launch of Khatron Ke Khiladi’s seventh season, which is slated to go on air on Colors early next year, Dhar speaks to Indiantelevision.com’s Papri Das on the current landscape of reality TV, prospects of producing home grown format shows in India, the company’s relationship with broadcasters and more.

Excerpts:

What’s new in Khatron Ke Khiladi season 7 from the production perspective?

We have 60 different stunts lined up this season. It’s already a task to set up one and now we have 60 of them to put in place. Not to mention, the scale of each stunt will go up this season, matching international standards. The new locale (Argentina) has also allowed us to try different things and explore various possibilities in terms of the type of tasks. The schedule includes shooting in Argentina in Buenos Aires for 40 days. Our crew of about 160 people and contestants will celebrate their Diwali there.

Have you tried anything new when it comes to production technique?

We are shooting in Argentina, which is an evolved market from a technical standpoint and that works in our favour. We plan to use drones to shoot some scenes as well. They are not easily used in India as there are restrictions, but shooting in Argentina will enable us to do so. These are stunt friendly locations. We have a few things in mind but we plan to explore them once we reach the shoot location.

Do you notice any new trends in the landscape of reality TV shows in India?

I feel that reality TV has become a very staple diet for Indian viewers. It has also seen an evolution of sorts. At some point in time it used to be more focused on song and dance. People have now moved on from that and are looking for edgy content dealing with relationships, drama and danger. It is all about making it more real and how the people onscreen can relate to the people watching them.

That is why shows like Bigg Boss, Master Chef, Fear Factor etc are doing well as they feel more real, and connect the audience with a sort of warmth on screen. I wouldn’t call this a new trend but that’s just how things are shaping the landscape.

Are there any plans to introduce new international formats in the Indian market in the near future?

There are quite a few formats from the Endemol Shine system that we are bringing in. Shows like The Hunted, The Circus of the Celebrities and The Australian Spelling Bee. There are a lot of innovative disruptive new age content that we have to offer, that will hit the screens next year.

Are Indian production houses at a stage where a home grown format can be taken internationally?

Why not? Largely a lot of song and dance reality formats have been home grown here, for example Dance India Dance (DID). A lot of drama, stunt based shows and game shows do come in from across the globe because we want something tried and tested. We don’t want to invest in something that might have a chance of not working with our audience. I do feel that India has the potential to create a home grown format in the song and dance segment.

We also made something called Big Switch for Bindass a few years ago that involved switching people’s identities and their circumstances. We successfully ran that for two seasons and probably will come up with a third very soon.

As producers do you get enough freedom from the broadcasters?

As far as Endemol Shine India is concerned, our relationship with broadcasters is mutually beneficial. Colors for example has lapped up our formats for reality television quite well. They have taken Bigg Boss and Khatron Ke Khiladi to the next level, with a huge push on the marketing and celebrity side as well as by simply scaling up the content. They believe in airing disruptive content and we tend to have a lot of that.

Out of all the reality shows you have produced or been part of, which has been the most challenging?

They were all challenging and fun in their own right. But if I had to pick and choose, I found producing five seasons of The Great Indian Laughter Challenge a refreshing experience. It was a challenge because it was an unchartered territory for Indian reality TV. We couldn’t pre-calculate the parameters and variables involved that could go right or wrong for the show. It was all new for us. Comedy wasn’t mainstream those days. It was in the realm of smaller events. We picked it up and established an entire genre of reality shows from it.

With VOD platforms like Hotstar, Voot, HOOQ, ErosNow et al emerging as the new medium for content consumption, how is Endemol positioning itself in the programming ecosystem?

We are already creating and producing digital content formats for some of these OTT players. We have brought in formats from our international partners because those are evolved markets familiar with OTT and digital content. We are in talks with some of these players to see how we can start mounting them up.

Is India finally catching up to short format fiction shows?

The shortening of content is bound to happen due to fragmentation of mediums and due to the gradually reducing attention span of viewers. People are getting restless. They want to see the start and end of a scripted program and binge watching is becoming a concept as well. People now want to watch and complete a series maybe within one or two weekends or maybe over a month. With this viewing behaviour spreading across genres, producers must also shift and re-think in that direction, and go for more and more finite shows.

What does week 41 and 42 BARC data mean for you as a content provider?

It’s still too early to comment or even start shifting gears based on the data. Let the ecosystem stabilise and settle a bit. It is just about stabilising, so we must wait before forming any opinions based on it or our content strategy. The new numbers will throw us new trends as well, and we are keeping an eye on them for new possible show concepts.

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Executive Dossier

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

Published

1 month ago

January 27, 2026

indiantelevision.com Team

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.

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.

Digital

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

Published

3 months ago

December 3, 2025

indiantelevision.com Team

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”.

Executive Dossier

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

Published

3 months ago

November 28, 2025

indiantelevision.com Team

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.

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.

• 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.

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.

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.

• 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.