We have moved beyond TV ratings: Asit Kumarr Modi of TMKOC on BARC blackout

With more than 4,800 episodes and an 18-year run, Taarak Mehta Ka Ooltah Chashmah (TMKOC) has evolved from a television sitcom into a widely recognised entertainment property with an expanding presence across digital platforms, gaming, animation and merchandising.

However, the growing popularity of the intellectual property (IP) has also brought challenges, including piracy, counterfeit merchandise and the unauthorised use of its characters in AI-generated content. Asit Kumarr Modi, producer, director and actor, and founder of Neela Film Productions, believes that protecting the value of an established IP is as important as exploring new monetisation opportunities.

In a conversation with e4m, Modi discusses the economics of building an entertainment IP, the changing dynamics of television and digital viewership, licensing opportunities, brand partnerships and why audience measurement needs to evolve beyond conventional television ratings.

Edited excerpts:

Taarak Mehta Ka Ooltah Chashmah has become one of India's most recognisable entertainment properties. However, we understand that around 60 cases of IP infringement are filed every month. How do you view the scale of the problem, and what kind of revenue loss does it entail?

First of all, Taarak Mehta Ka Ooltah Chashmah is one of India's biggest entertainment IPs. The show reaches audiences everywhere—on television, social media, YouTube, pay TV, free TV and OTT platforms such as SonyLIV. We have a library of more than 4,800 episodes, and the show is now in its 18th year. It continues to be successful, by God's grace.

Piracy is particularly extensive overseas, where even large satellite companies sometimes find it difficult to track those responsible. In India, we work with an agency to identify and block infringing material. We also have to block around 10,000 AI-generated videos. Some people create vulgar content using our show and its characters, which is unacceptable to us.

We send legal notices as well. The characters, including Jethalal, Babita, Daya and Champak Chacha, along with the show's name, are protected. We also have a John Doe order from the Delhi High Court to prevent misuse. Violations can lead to criminal proceedings.

Can you quantify the financial impact of this infringement on the production house?

The losses would run into crores. There is also damage to goodwill. If people create vulgar memes or misuse the characters, it affects the brand's reputation. The loss could be in lakhs and crores.

There is a need for stronger rules and regulations to tackle piracy, particularly on social media platforms where control and enforcement remain challenging.

However, there is another side to this. When genuine fans create good memes or videos out of their love for the show, we appreciate it. We have a community of fans who enjoy the show. The problem arises when people monetise such content without permission. If someone wants to commercially use our characters or content, they should seek legal permission and explain their intentions. If they do not, we may have to issue a legal notice.

Short-form content and microdrama platforms are gaining traction in India. Would you consider licensing TMKOC or developing original content for these platforms?

We are open to exploring these opportunities, but we need to assess each platform and the kind of microdramas it offers. TMKOC is a family-entertainment comedy show. We believe entertainment should not be vulgar, so we would like to work with platforms that share our family-friendly philosophy.

We are also planning microdrama content with our in-house team. Microdramas require a different approach to storytelling. Much of the content currently available is adapted from Chinese, Korean or Western formats. We need to develop original Indian microdramas.

I am open to exploring comedy microdramas based on TMKOC or creating a new IP with a suitable partner. We could also consider developing our own app.

The show's popularity has attracted several brand partnerships and integrations. How important have these associations become to its business model?

That is right. We have integrated products from brands such as Asian Paints, L'Oréal and Lakshmipati Sarees.

Advertising has changed significantly. Advertisers are concerned that viewers may skip conventional commercial breaks, browse on their phones or move to social media apps. However, with TMKOC, viewers have historically spent a long time watching the programme, and they also watch the advertisements.

Integrating a brand into the storyline can offer advertisers an additional benefit because audiences may not pay as much attention during conventional commercial breaks. That is becoming an important trend.

We also integrate brands separately across digital platforms. We have around 40 million YouTube subscribers, approximately 12 million on Facebook and roughly 5 million on Instagram. Advertisers continue to look at television, but they are also seeking strong digital properties.

TMKOC started as a television property, but audience behaviour is changing rapidly. Do you believe television viewing is declining, and how do you see the medium's future?

I do not entirely agree that people have stopped watching television. India is a huge country, with small towns, villages and cities, and television still has a presence. Appointment viewing has reduced, but people can watch programmes later on smart TVs, YouTube or apps. If viewers miss the show on Sony SAB, they can watch it on SonyLIV or YouTube.

Television viewing has certainly declined, but people still want good content. There should be more variety in programming. People enjoy watching a show with their families when it appeals to them and makes them feel connected.

I also believe that the inability to produce enough good content is one of the reasons people are moving away from television. Social media apps, microdramas and the constant flow of news are competing for people's attention. We have to compete with all these platforms.

Competition is healthy because it pushes you to grow. If there is no competition, you do not evolve. The challenge is to understand how to maintain the value of your brand in an increasingly competitive environment.

With the TV ratings blackout and even a possible shutdown of BARC on the cards, how does a production house understand whether its show is performing well? 

Ratings are important. You need a benchmark and a basis on which to make decisions. Ratings help you understand performance and guide decision-making.

However, today, we also learn whether a show is working through social media conversations, YouTube viewership and OTT performance. You can look at views, likes and comments on social media and YouTube, as well as coverage in the press and print media. These signals help you understand whether audiences are connecting with your show.

We have moved beyond ratings. The media landscape has evolved towards views and clicks across multiple platforms. Ratings continue to be important, but there is a need for wider measurement of platforms. In a country as large as India, the authenticity and reach of ratings also matter.

AI-generated content is creating new challenges for entertainment companies, particularly when it comes to copyright infringement and unauthorised use of established characters. Do you believe India needs stronger IP protection laws?

There should absolutely be stricter laws. There are many loopholes, and people often look for those loopholes before they look at the rules. Brand protection is important.

We have taken several steps to protect our IP. We have the John Doe order, trademarks for our characters, copyright protection and rights over the show's title. Using our footage without permission can lead to criminal proceedings.

Sending legal notices and fighting cases is not ideal. The law should be strong enough to deter people from misusing a brand created by someone else. The government has provided for serious punishment in some piracy cases, including imprisonment. However, the digital environment has changed, and new rules and regulations are needed because new forms of infringement keep emerging.

AI can be a good thing if it is used properly. But, like everything else, it has two sides. We need to ensure that it is not misused.

Will you revisit the existing agreement with Sony in view of the changing content and distribution landscape?

We revisit the agreement because many things have changed since it was first signed. We review it gradually and work together so that both sides benefit. We should benefit as well because this is a large brand.

We produce 26 episodes every month, and comedy is not easy. It is difficult to make people laugh when people are under so much stress and the news is often sad. The entire team enjoys the work. Every year, we review the agreement and work together on matters where the rights are defined.

FAST channels and connected TV are emerging as important distribution avenues. Would you consider making TMKOC available on FAST platforms?

You should not put a brand everywhere without considering what that does to its value. A premium brand can lose some of its meaning if it is available everywhere.

We do not know exactly what will happen in the future. Streaming may become so fast that viewers can watch anything from anywhere in the world. Ultimately, the viewer will be king, and audiences will forget a show if it does not deliver good content.

Content should be made with care and enjoyment. That is what will sustain a brand in the long run.