Viewers’ Choice

New shows are conceptually tested before production,each track is tested and the teams keep a strict eye on what emotions on an existing shows resonate with viewers or get rejected. Target research audience depends on the show. For example,Star and Zee consider women from demographic sections B,C,D and E — essentially small towns and villages — as their core audience for soaps. Sony looks at Tier I and II cities,whereas Bhatt says that Colors doesn’t like to subscribe to categories. Male audiences are taken seriously only for reality and crime shows. “India is perhaps the only country in the world where women control the TV remote to this extent,” explains Shailesh Kapoor,CEO,Ormax Media,a research agency employed by several channels.

Before launching Phir Subah Hogi,Zee’s team made a considerable effort to visit Raee dancers in Madhya Pradesh’s Sagar village. “It was an effort to understand the realities of these dances and whether the content will find takers,” explains a Zee official,who travelled extensively across Hindi-speaking states for this. Focus group screenings,debates,dipsticks and discussions are common methods employed.

Research doesn’t always predict success. Rajani cites the example of Chhajje Chhajje Ka Pyar,which went off air within five months of its launch. “On paper,people liked the concept,but the execution didn’t work — we gave them a love story when they were expecting a family drama,” she explains. Love stories,says Rajani,are more popular among 15-34 age group and NRIs.

Bhatt says that taking a show off air isn’t always the way out. If the track or character hasn’t established a connect,tweaking the story could help. A recent trend is the audience’s preference for happier stories and real characters. “Audiences want hope; they want to see characters fight problems and overcome hurdles,as in case of Afsar Bitiya (Zee) or Balika Vadhu,” Kapoor says. “Kyunkii Saas Bhi Kabhi Bahu Thi won’t work today because the audience want incidents and people they can relate to,” adds Bhatt insightfully pointing out to how viewers too are in transition.

India’s TV viewing habits

Women in Tier II and III cities treat television as more than a medium of entertainment. It is an educational tool that they have an emotional attachment to.

Audience attention span is low now and they prefer if a show ends in two to three years.

City audience does not like their lead actresses in ghunghats.

Male protagonists are not preferred. The only exceptions of strong male characters are Ram Kapoor in Bade Ache Lagte Hain and Manav Deshmukh in Pavitra Rishta.

Acceptance of grey characters has increased,especially in shows where the heroine is too plain and the grey character provides drama. Rashi in Saath Nibhana Saathiya is an example.