Mumbai: The English GEC genre accounted for less than one per cent of TV viewership and ad volumes in 2020, according to Broadcast Audience Research Council (BARC) India. TV broadcasters hoped that the genre might grow subscription revenues post the implementation of the new tariff order (NTO). However, the pandemic struck before the TV viewership stabilised. With OTT platforms luring away their core audience with original content, some channels are now looking at massy shows to attract new audiences.

In 2020, popular English movie channels HBO and WB, GECs AXN and AXN HD, and infotainment FYI TV18 were shuttered. The viewership and advertiser support for the English GECs dwindled as global content pipelines were disrupted, stalling fresh programming. Most English GECs acquire pre-produced content which includes international sitcoms, reality TV, and even movies that are packaged for TV viewers in India.  

“English general entertainment category has been impacted severely post NTO implementation which has resulted in multiple channels within the genre going off-air. All these factors, along with the regulatory changes, have been a double whammy for the English GEC in India, severely challenging its growth potential,” said Ormax Media, partner, Keerat Grewal.

The content cost for English GECs was lower than other language GECs, as they did not have any original programming. However, that turned out to be an Achilles heel post-pandemic. When the production of English content resumed, much of it was distributed via OTT platforms that reached a global audience. These platforms paid a premium to acquire English content and thus producers were able to recoup their investment.

“Competition for English GECs is mounting with the growing demand for OTT that makes premium English content more accessible to viewers in India. Consequently, English GECs have to dig deeper down the funnel to attract and interest viewers,” said Merren, chief operating officer, Monalisa Saxena.

Experts also highlight that the audience for English GECs is primarily metro skewed, and that overlaps with the paid SVOD audience. Metro audiences are migrating to video on-demand platforms, following the lure of original content. Many of these audiences are unlikely to return to TV screens once they’ve formed a habit of on-demand content.

Since subscription revenues were being claimed by OTTs, TV broadcasters looked at growing the advertising revenues for English GECs.

Zee Café has launched massy show formats like “Chef vs. Fridge” and “Dance With Me” to grow viewership and advertising revenues. While these properties were launched on Zee Café they were also aired on other network channels to make it more attractive to advertisers.

“English audience growth is linked to curation and creation of content that explores interest areas of the audience. Dance and cooking-based content are interest areas that Zee Cafe has explored. Across these formats, Zee Cafe has been able to drive sampling across more than 35 million audiences across the network,” said Zee Entertainment Enterprises Ltd, business head – premium channels, Karthik Mahadev.

The strategy worked as the broadcaster was able to rope sponsors for both the shows. Brands like Haier, Lifebouy, Parle Platina Hide & Seek, Prestige, Catch Salt & Spices, The Gift Studio partnered with “Chef vs. Fridge” while Cetaphil Bright Healthy Radiance Range, Lifebuoy, L’Oreal Paris Total Repair 5, Jeevansaathi, Prestige and Yamaha Fascino 125Fi Hybrid partnered with “Dance With Me”.

It is a win for the brands, Mahadev noted, “On English GEC SD, between 8 p.m to 9 p.m Sunday time band, 83 per cent viewership contribution comes from reality genre followed by sitcom at 8 per cent (BARC, Period Wk 1'21- Wk32'21 – Jan 2021 to YTD).”

While these shows aired on an English GEC and were made for a premium audience, the hosts converse with the audience in Hindi or Hinglish increasing their mass appeal. This has also contributed to the popularity and reach of these shows.

“In the longer run, regional markets undoubtedly will be the driver for growth for English entertainment. There is a whole set of audience moving from regional to English content as they become more comfortable with English as a professional, conversational language” remarked Mahadev.