MxMIndia

Category: TV

  • Effective immediately, Ashish Golwalkar will manage content for both SET and SonyLIV as Head – Content, SET & Digital Business

    Sony Pictures announces key leadership changes

    By A Correspondent

     

    The digital business of Sony Pictures Networks (SPN) will be led by Danish Khan. Well, we know that already.

     

    Ashish Golwalkar

    But on Wednesday, it was announced that Ashish Golwalkar, who has led the content portfolio for SET, has been given additional responsibility of SonyLIV. Effective immediately, he will manage content for both SET and SonyLIV as Head – Content, SET & Digital Business.

     

     

     

    Aman Srivastava

    Meanwhile, Aman Srivastava will move to SonyLIV as Head – Marketing, Digital Business and Amogh Dusad as Head – Programming and New Initiatives, Digital Business will handle Strategic Planning, Operations, Viewership Management and Analytics for SonyLIV.

     

     

    Also, Amit Raisinghani has been elevated to Head – Business Planning and Communications, SET. In this new role, reporting to Danish Khan, Raisinghani will be responsible for Marketing, On Air Promotions and the Communications portfolio along with Programming Strategy, Insights and Operations.

     

     

  • The regular OTT audience universe in India is already bigger than the regular theatre-goers universe in India, writes Shailesh Kapoor

    The Big OTT Growth Story: Chapter 3

     

    This is the third in a series of columns on the OTT Growth Story in India.

    Links to previous chapters: Chapter 1, Chapter 2

    By Shailesh Kapoor

    76.5 Million. That’s the all-important number to look at from The Ormax OTT Audience Report: 2019. The recently-concluded research, designed to size and profile the OTT audience market in India, took up the task of first measuring the number of ‘regular’ OTT audience that exist in the country currently.

    The definition of ‘regular’ can be subjective. Based on our category experience and market feedback, we defined it as: Audience who watch online videos for at least two hours every week, and use at least one OTT platform/ app, apart from YouTube and social media, to watch videos.

    The study covered 15+ audiences, and hence, does not include kids. It emerged that 76.5 Million, or 7.65 Crore, is the size of this market in India currently. The next track in 2020 will establish the growth rate. The question is: How small or big is this number?

    Comparing to TV universe can make the number look very small at this early stage of the OTT category. But a more obvious comparison can be made to the theatrical universe. The Bollywood regular theatre-goers universe stands at 33.3 Million, or 3.33 Crore. Add the unduplicated components of regional universes, especially the bigger ones in Tamil and Telugu, and the overall regular theatre-goers universe in India touches the 6 Crore mark.

    Let that sink in. The regular OTT audience universe in India is already bigger than the regular theatre-goers universe in India. And the former is growing in top gear, while the latter has flattened out for almost a decade now. This gap will only get wider.

    Only 15% of the regular OTT universe belongs to the top 6 metros in India. There’s a healthy longtail, created because of falling data costs and the penetration of Jio into small towns and villages in the last 2-3 years. But there’s enough scope for growth across markets. Mumbai and Delhi, the top 2 cities, have about 3.0 Million regular OTT audience each, which is nowhere close to saturation, given the huge adult population of these big metros. The equivalent theatre universe size in these metros is 3.2 Million (Mumbai) and 2.8 Million (Delhi). Hence, the two biggest cities have similar OTT and theatrical universe sizes. It’s beyond the metros, where theatre penetration, content relevance and ticket pricing remain key issues, that theatre-going habit loses out to OTT, a scenario that would have seemed quite unlikely till three years ago.

    The recent trend of films going directly to OTT (read here) is another sign of how OTT has emerged as a robust option for entertainment, and the price factor, which would have earlier been a big discussion point (“Indians are not used to paying for ‘television’ content”) is slowly becoming a lesser factor, with most OTT platforms coming up with rationalized pricing packages for the Indian market.

    As an aside, Amazon Prime Video’s The Family Man has emerged as the big show of the year, scoring an Advocacy Rating of 80, just a point below Sacred Games S1, to become the second most-liked India OTT show ever. A few more such winners and the OTT universe will continue to flourish.

    125 Million by 2020?

     

     

  • Status quo of being the country’s longest-running crime show

    Gaur se suniye! Sansani ne complete kiye 15 years!!!

    By A Correspondent

     

    Sansani, the late evening crime news show presented by Shrivardhan Trivedi, has completes 15 years on ABP News. The show deals with exposing criminals, making viewers aware of the current crime scenario, and also providing solutions on how to deal and cope with the rising crime in the country. While other channels have had their crime shows, what has made Sansani an iconic show is Trivedi’s signature (and dramatic) style of presentation. Sample this:

    https://www.youtube.com/watch?v=oxfkHjIhTWA

     

    Speaking on the milestone, Avinash Pandey, CEO, ABP New Network said: “Amidst a wide variety of content in the market, having a long-standing show in the crime segment is a huge milestone for us. We believe in keeping our viewer aware and Sansani is one such show which sensitises mass about crime. Having maintained the consistency for 15 years, is a huge indicator of the unique calibre of the show. Sansani has amassed a great amount of love and support from its viewers, to whom we are forever grateful.”

     

     

  • Journalists must realise that if the fascist dream they are pushing becomes a reality, the first to lose jobs will be them, writes Ranjona Banerji

    Can one use the word ‘journalist’ for hagiographers?

     

    By Ranjona Banerji

     

    The doings in Maharashtra have frustrated not just the Bharatiya Janata Party but also journalists who have the BJP beat. These journalists have, after all, spent the last six or seven years building up images of Narendra Modi and lately Amit Shah as veritable supermen, unchallengeable in their enormous store of statecraft and ability.

    Even Superman had his kryptonite but let’s not get into comic lore for people who either actually believe the bogus stories of the Bal Narendra or have spent the last six years propagating those lies!

    Although there are maps doing the rounds of social media and I saw one in the Times of India yesterday, of how the BJP’s grasp on states has reduced since 2018, there is no need to rejoice that sections of the media have found any courage to stand up to the government. As long as the RSS’s Hindutva propaganda continues to be spread via television and social media – Hindi news channels are major culprits here – the idea that India is a constitutional democracy is getting closer to the shredder.

    It is a pity, laughable perhaps, that the journalists who work for these channels do not seem to realise that if the fascist dream they are pushing become a reality, the first lot to lose jobs will be them.

    Maharashtra though has shaken the Hindutva tree a bit. Those journalists who informed us that the BJP has working round the clock to save Devendra Fadnavis’s early morning surreptitious swearing in have not now explained how those efforts failed. There is conjecture that Narendra Modi and Amit Shah engineered these late-night events. But there is no confirmation, even from ever-chatty “sources” on how Batman and Robin failed. And we still don’t know the Ajit Pawar story.

    Instead, Rahul Kanwal, big cheese at India Today TV, took to Twitter to tell us that he was being abused alike by BJP and Congress trolls and had therefore his channel had done a good job in its abysmal coverage. Kanwal had also “informed” us that Amit Shah had incomparable state craft and that senior unnamed BJP politicians had told him that the “thinking” of Shah and Modi (sorry, it should be Modi and Shah, for now that is) is different from everyone else’s.

    Veteran journalist and author Tony Joseph countered Kanwal on Twitter, “That is a self-serving but baseless argument. The strongest criticisms have come from those who are fans of no party, but are outraged by the despicable lows to which most mainstream media has sunk, without spine or spunk to hold the govt of the day accountable to people.”

    So who are these journalists accountable to? In any newsrooms, beats are assigned to reporters and often with seniority, political correspondents become experts on any political party they are assigned to. They are therefore expected to have not just institutional knowledge, or invites to cosy single malt dinners, but the inside track and of understanding of the party’s internal wranglings. You will notice that almost all journalists on the BJP beat indulge mainly in hagiography. Not accountable to the reader or viewer then.

    Most of the media criticism of the Congress however, as an example, also comes from old Congress hands who have honed their skills on covering the Congress. These are the journalists who remind you that every transgression by the BJP has a parallel in the Congress’s past. They are the ones who therefore set the agenda for the new BJP lot: that you can easily spin myths in praise and deflect all criticism by looking into the past.

    To further the point, senior journalist Coomi Kapoor’s column in the Indian Express has spent five-and-a-half years NOT telling us about what happens inside the corridors of government and instead has focused on what happens in non-BJP party headquarters. The corridors of power have been shielded by shining the spotlight on the Opposition.

    The events in Maharashtra have shown that as far as journalism is concerned, this strategy has reached its limit. I am certain however that these BJP journalists will continue with the BJP agenda of bringing the Uddhav Thackeray-led government down. But how long can one use the word “journalists” for them?

     

    Ranjona Banerji is a senior journalist and commentator. She is also Consulting Editor, MxMIndia. Her views here are personal

     

     

  • The platform operates eight web portals in six different languages

    ABP News Network rejigs digital leadership

    By A Correspondent

     

    ABP News Network’s digital platform, ABP Live, has restructured its workforce. The platform operates eight web portals in six different languages.

     

    Vijay Jung Thapa will be Chief Digital Officer. Ramakrishnan Laxman will be Digital Media Head and Allen Sharma will be the new Head – Digital Revenues. In this role, he will be accountable for direct sales, digital revenues, programmatic monetisation and brand solution monetization. Also Tushar Banerjee has been appointed Head- Digital Content Strategy.

     

    Speaking on the development, Avinash Pandey, CEO – ABP News Network, said: “In an ever-growing digital era, it is crucial to evolve and keep up with the market pace. The main aim of this decision is to empower our workforce to revolutionize digital news through innovation. This digital push will also help us tap newer audiences and overall maximize the potential of our content. Through this step, we aim to elevate our intellectual property to create ground-breaking, viewer-driven content.”

     

     

  • Partners with Rouble Nagi Art Foundation to weave the longest sustainable linen to commemorate the launch of its new love story, Shubharambh

    Colors partners Rouble Nagi Art Foundation for new show

    By A Correspondent

     

    We don’t normally write about every new show being aired on our general entertainment channel. It’s either got to be a magnum opus-like production or has to have a significantly different story line or format or has to contribute in a major way to society. This new Colors ticks these boxes and we are looking forward to how it develops over the next few weeks. We’re referring to Shubharambh, the new fiction show from Colors which has collaborated with Rouble Nagi Art Foundation (RNAF) to weave the longest ecofriendly bed linen. Giving a platform to the artisans from across the country, the initiative imparts the importance of strong partnerships and how it can help in the betterment of our society.

     

    Speaking about this partnership, Nina Elavia Jaipuria, Head, Hindi Mass Entertainment and Kids TV network Viacom18 said: “As broadcasters, we believe in harnessing the power of stories to cultivate change. Shubharambh presents a unique interpretation of companionship and the strength that it beholds, and that inspired us to launch this unique partnership. ‘Ek aur Ek Gyarah’ aims to rejuvenate and empower not just the underprivileged but instill within millions the power of togetherness. By partnering with RNAF, we are taking a step further and helping the community through a craft-based livelihood programme that reaches more than 16 states. It has been an absolute delight to partner with an organisation that has transformed communities through art.”

     

    Added Manisha Sharma, Chief Content Officer, Hindi Mass Entertainment, Viacom18: “As individuals, we all have flaws. We silently condemn them and try to conceal it from the outside world. The journey of Raja and Rani is no different and they will face many hurdles in life as people undermine their talent and often criticise them. The storyline of the show will bring forth many harsh realities of life in the most endearing manner and is sure to strike a chord with the viewers.”

     

    Said Rouble Nagi, Founder, Rouble Nagi Art Foundation: “We are excited to partner with Colors for the launch of ‘Shubharambh’, a show that has a behaviour-change message around ‘strong partnerships’. This association will give thousand men and women in villagers and slums all over the country a chance to showcase their skillset and at the same time provide help to the ones in need. With this collaboration, we hope to reach out far and encourage thousands to uplift each other.”

     

     

  • The fifth edition of the Film Preservation & Restoration Workshop India (FPRWI) 2019 is being held December 8 to 15

    Viacom18 & Film Heritage Foundation hold annual workshop in Hyd

    By A Correspondent

     

    The fifth edition of the Film Preservation & Restoration Workshop India (FPRWI) 2019 was inaugurated at Hyderabad’s State Gallery of Art on Sunday. Supported by Viacom18, this initiative of Film Heritage Foundation (FHF) and International Federation of Film Archives (FIAF) in collaboration with Annapurna Studios is being held December 8 to 15.

     

    Commenting on bringing the workshop to Hyderabad this year, Shivendra Singh Dungarpur, Founder & Director, Film Heritage Foundation, said: “Over the last four years, we’ve been the Pied Pipers of film heritage drawing over 200 conservators, librarians, film scholars, academics, cinematographers, editors, colourists and technicians into our fold, eager to learn to save remarkable film patrimonies from our part of the world and showcase the richness and diversity of a heritage that has been lying dormant and forgotten for decades. And this number will cross the 270 mark this year. We are now ready to consolidate and build the country’s first world-class Centre of the Moving Image, an institution devoted to the art of film and we hope that we can count on the support of the film industry, the government and the public to make our vision a reality.”

     

    Speaking on the association with this initiative, Sudhanshu Vats, Group CEO and MD, Viacom18, added:, “India is a country of storytellers and the oldest stories in the world originate from here. Over the years, our cinema has portrayed the culture and heritage of India. At Viacom18, we realise the importance of preserving these stories that form a part of the Indian culture for the benefit of our future generations. As India’s foremost storytellers, we connect deeply with this ethos and our support to Film Heritage Foundation is a conflux of this shared sentiment. The Film Preservation & Restoration Workshop is a step in that direction and we at Viacom18 are proud to be associated with this initiative.”

     

     

  • The four-week advertising campaign is running on 2000+ UFO Moviez network screens

    Colors goes to the big screens to market small screen show Choti Sarrdaarni

    By A Correspondent

     

    Colors has launched an in-cinema advertising campaign to promote its show ‘Choti Sarrdaarni’ exclusively on UFO Moviez network of cinema screens. The four-week cinema advertising campaign commenced on December 6 and is running on 2000+ UFO Moviez network screens.

     

    Commenting on the same, Siddharth Bhardwaj, CMO & Head of Enterprise Sales, UFO Moviez said: “To help engage effectively with target audience, the advertisers & marketers are increasingly leveraging cinema’s captive audience and immersive viewing experience. We are glad that the COLORS Team has conceptualized and customized a promo to connect with cinemagoers in a fun and engaging manner. With a network of over 3600 screens, UFO Moviez offers advertisers an unrivaled opportunity to communicate its brand story. We are very confident that the campaign will deliver the desired objective for COLORS and its shows”.

     

    Added Sapangeet Rajwant, Head, Marketing and Digital – Hindi Mass Entertainment, Viacom18: “Cinema has a strong influencing power in India, and so does television. We are using this dual power to create maximum impact and are proud to partner with UFO Moviez. This is a great way of engaging with audiences and to tell our story effectively. We continue to seek such opportunities and experiment with innovations.”

     

     

  • The network is also available to viewers in the MENA region, Canada and the UK

    Republic Media Network to be launched in US

    By A Correspondent

     

    Republic Media Network’s channels – Republic TV and  Republic Bharat will now be beamed to the United States through Dish and Sling TV, both online and TV platforms in the US.

     

    Said Priya Mukherjee, President – Distribution & International Revenue at Republic Media Network: “With strong programming and one of the widest news coverage from India, Republic TV and R Bharat have formed a special bond with viewers. Our US plans have been in the works for over a year and we don’t want to leave any stone unturned to deliver the best programming mix for our US viewers. With our compelling content, huge fondness and appreciation for the channel from the Indian diaspora internationally we will endeavour to build value through our partners for all the stakeholders.”

     

    For the US market, Republic will work with World View Media Network taking the association forward after the UK launch of R Bharat. Added Manish Vasisht, Director of World View Media Network Limited: “With the strong demand for Republic TV and R Bharat across the globe, we are excited about this association and look forward to creating one of the best user experience for English and Hindi news viewers based out of USA. We will use our international experience and expertise to grow the brand of Republic Media Network.”

     

    The network is also available to viewers in the MENA region, Canada and the UK.

     

     

  • The first in a series of six decade-ender lists by Shailesh Kapoor

    The Most-Defining Hindi TV Shows of the Decade

     

    By Shailesh Kapoor

     

    This is the first in a series of six decade-ender lists in this column. Read the prologue here.

     

    It’s been a decade where regional GECs have thrived, even as the Hindi GEC category has struggled to fight stagnation, especially in the second half. But this list is based on Hindi language TV shows only, and hence, does not cover regional shows. The list also does not cover shows that launched in the previous decade (2009 or earlier) and found their peak recognition in the previous decade itself, i.e., several Colors’ shows like Balika Vadhu, Naa Aana Iss Des Laado and Uttaran, as well as other top shows like Pavitra Rishta and Saath Nibhana Saathiya.

    Honorable mentions must be made for three shows that just missed making it to this list of 10: Star Plus’ Yeh Hai Mohabbatein and Mahabharat, and Life OK’s Devon Ke Dev Mahadev.

     

    10. Kumkum Bhagya (Zee TV)

    The Balaji love story launched in 2014, and has been a top-rated show since then, though its consumer perceptions peaked in the 2015-17 period and have thereon been mixed. The show is arguably one of the best renditions of the tried-and-tested Balaji love story template of star-crossed lovers who have little in common except their undying love for each other. Kumkum Bhagya has managed to keep Zee TV in the running for a top position in the category through the last five years, and also given the channel a quasi spin-off in the very successful Kundali Bhagya (2017).

     

    9. Bigg Boss (Colors)

    Bigg Boss has managed to last through the decade, battling the odd weak season among quite a few strong one. Salman Khan took over as the host of the show at the start of this decade, in Season 4, and the parallel rise in his stardom over this period has benefited Bigg Boss too. The show has now become the standard reference for all task-based reality shows, including many on Colors’ network channel MTV. While Bigg Boss’ ratings may be modest at times, the social media buzz and online consumption (Voot) it garners speaks about its cult status today.

     

    8. Bade Achhe Lagte Hain (Sony)

    Balaji’s 2011 launch single-handedly turned around Sony’s fiction fortunes. From being a channel that was known and watched only for crime and reality content, Sony suddenly had a 3+ rating show in its kitty, literally in a matter of weeks. This is how good and effective Bade Achhe Lagte Hain was. The Ram Kapoor-Sakshi Tanwar casting lent unmistakable punch to the show, reminding us how good acting can be a gamechanger in itself. The show’s peak following was short-lived, to less than two years. But in that short time, it was arguably the most special thing on Indian television.

     

    7. Naagin (Colors)

    If you are counting Balaji shows in this list, this is the third, and the last one too. Naagin’s huge success in a weekend slot surprised many. Weekends were traditionally known for non-fiction content, and a supernatural drama wouldn’t get too many bets as a top-show contender. But Naagin became that, not just for the weekends but across the entire week. The show’s fourth season launches this December. The second and third seasons have not been able to build on the first season’s magic, but the franchise has even firepower to keep it going. There’s enough and more to write about this show, and this 2016 article written in this column may be a relevant read for those interested in more.

     

    6. Crime Patrol (Sony) & Savdhaan India (Life OK/ Star Bharat)

    The crime reconstruction genre has thrived through these ten years, and it would have been unfair to pick the show that pioneered it over the one that has taken the baton ahead, or vice versa. Hence, Crime Patrol, which had an amazing run in the 2012-14 period, and Savdhaan India, which gave its channel a lifeline in the most-troubled times, share this spot. The two shows actually have very different presentation styles, but between them together, they have created a genre that carries such immense viewer appeal that even fatigue with the overdose of such content has not managed to dampen it beyond a point.

     

    5. Diya Aur Baati Hum (Star Plus)

    Shashi-Sumeet Productions’ show on a woman’s journey to become a cop, with her husband by her side all along, ruled the ratings charts and the audience’s hearts alike for almost four years in the first half the decade. Diya Aur Baati Hum is a rare show that actually led to visible social change, triggering off interest among young girls to join the police force, and enabling their parents’ acceptance of this idea. Sandhya’s journey has been a source of inspiration for many women in small-town India in particular. Even as the Hindi GEC category continues to be attacked for its negative and regressive portrayal of today’s India, this show continues to remind us of the progressive social change television has the power of bringing about.

     

    4. Yeh Rishta Kya Kehlata Hai (Star Plus)

    Rajan Shahi’s show launched in early 2009, and was an instant hit for its resonating portrayal of the life of an Indian woman through the various positive emotions and challenges she has to face, especially in a post-marriage scenario. Almost 11 years later, the show continues to thrive, staying true to its core idea of being a positive and uplifting portrayal of the great Indian family culture. The lead Akshara has been now replaced by her daughter Naira, but unlike many other fiction shows that lose the plot over time, Yeh Rishta… shows how a long-running show is still possible in today’s age if you have a strong idea at the heart of it.

     

    3. Kaun Banega Crorepati (Sony)

    Sony brought back the iconic show in 2010, after a three-year gap since the previous season on Star Plus. I often wonder if KBC would have ever come back on air if Sony did not need a disruptive gamble to revive its dwindling GEC fortunes in 2010! But on air it was, and for eight seasons over the decade, all but one of which have been hugely successful. Every season brings with it something new, and yet, the idea of the family sitting together and watching KBC has remained intact. As has the show’s impeccable host, who exemplifies excellence in television hosting.

     

    2. Taarak Mehta Ka Ooltah Chashmah (Sab)

    The Asit Modi-produced show started off as a light family entertainer in 2008, and was initially dismissed as a “regional” success, given the heavy skew in its ratings from the Gujarat market. But over the decade, the show has managed to break this geographical barrier inch by inch, through its wholesome, family-inclusive and clean comedy. The show’s lead character Jethalal is also the most popular Hindi GEC character of the decade (Ormax Characters India Loves). Many comedy shows over the decade have attempted to recreate Taarak Mehta…’s success. But nothing has come even close. And that tells us how special this one has been.

     

    1. Comedy Night With Kapil (Colors) & The Kapil Sharma Show (Sony)

    If there was a title of the Person of the Year for the media & entertainment industry for this decade, Kapil Sharma would get my vote for it. By virtue of being a top comedian on Sony’s Comedy Circus, Sharma got his opportunity to get a show of his own, and that’s when his came into his own. Starry tantrums, co-star issues, channel issues and many other such controversies have come in the way, but Sharma has managed to stay afloat, and is back with renewed energy over the last year or so. May he have another decade, and more, of ruling the small screen. Because when it comes to comedy for the masses, he’s running a solo race.

     

     

  • The channel will offer a line-up of 150+ films showcasing blockbusters and leading actors of sandalwood

    Tata Sky ties with with Viacom18 to launch Kannada cinema channel

    By A Correspondent

     

    Launch of Tata Sky Kannada Cinema by Chief Communication Office, Anurag Kumar along with Senior VP, Sales, CV Konda Reddy

    Tata Sky has partnered with Colors Kannada to launch Tata Sky Kannada Cinema, which will offer a line-up of 150+ films showcasing blockbusters and leading actors of Sandalwood.

     

    Commenting on the launch, Anurag Kumar, Chief Communications Officer, Tata Sky said: “Kannada film industry has seen a continued growth in viewership owing to high quality movie releases in recent years. With the launch of Tata Sky Kannada Cinema in partnership with Colors Kannada, we aim to deliver the best curated content to Sandalwood lovers across the country, enabling a great regional cinema experience.”

     

    Added Parameshwar Gundkal, Business Head- Kannada Entertainment Cluster, Viacom18: “With a contribution of 13% of the total Kannada television viewership, movies is an important genre in entertainment in Karnataka. We are witnessing a sharp growth in regional film consumption across screens. With this partnership, we aim at giving viewers more of what they want via a well curated line-up of uninterrupted blockbuster movies across genres, that will keep the Kannada movie buffs glued to their television screens.”

     

     

  • The all-women version will air from December 23 onwards, Monday to Friday at 8 pm

    Colors Tamil to air all-women KBC

    By A Correspondent

     

    Colors Tamil will air a Tamil all-women Kaun Banega Crorepati titled ‘Kodeeswari’ . To be hosted by Tamil film and TV actor and producer Radikaa Sarathkumar,  ‘Kodeeswari’ will premiere on December 23r at 8 pm on Colors Tamil and Voot.

     

    Said Ravish Kumar – Head, Regional Entertainment Cluster, Viacom18: “The Tamil market is an incubator for path breaking content, be it in films, art, print or television. Colors Tamil has, since its inception, pushed the boundary in terms of innovative content – through the stories we tell and through the way we tell them, How apt a homage to the culture and ethos of this market that one of the world’s most successful format shows ‘Who Wants To Be A Millionaire’ will go in for a global first with an all-women version on Coors Tamil.”

     

    Added Anup Chandrasekharan, Business Head – Colors Tamil: “It gives us great pleasure to put together this experiential stage that will empower women who are smart, aware and knowledgeable. We have had an overwhelming participation from the Tamil speaking women across the nation whose life stories are heroic in their own unique way. While the format of the game remains unchanged, our endeavour is to encourage strong willed women to challenge stereotypes and emerge victorious. We are happy to have onboarded the indomitable superstar Radikaa Sarathkumar in this journey who will multitask as a host, a friend and a guide.”