Originally posted by: shruthiravi
@Saman the shows you mentioned EHMMBH, DABH and IPKKND were different, but they had the saas-bahu element in them. There were relations within the family. EHMMBH had beautiful relation of 2 sisters and bahu-saas everything was there. DABH though it was love story characterization of Bhabo and Meena ensured the TRP quotient, IPKKND I have not watched but even in it Khushi was the quintessential bahu. As you rightly said SC was salvaged the right way by bringing TRP ingredients by Sphere origins without actually completely butchering it. Saras and Kumud had some dignity left in the end. But shows like EHT, DYM, BD and all SP went too far in their experimentation. They took away the TRP aunty quotient. EHT was bought back as marriage was need of the story in EHT. But DYM, BD etc don't need such things from story perspective. And Indian audience is not yet ready for such things. Change should have been given slowly. Not suddenly the way SP did with nayi soch. Now this blunder has made them go back to all regressive soch once again
Oh, I completely agree that the shows I mentioned had a definite emphasis on family, otherwise they would not have worked. I remember hearing an interview of Gul Khan at the time who said they had to shift the story of IPK from office to house so they could get the numbers. But what I was trying to say was that they were also youth oriented shows, as evidenced by IPK and EHM's success on IF as well as in rankings. The point I am trying to make is that I think we use the wrong words to make the distinction between the two kinds of shows we are talking about, that is, those that appeal to the TRP audiences and those which appeal to the niche audiences.
We usually say saas-bahu vs. youth-oriented but the truth, as shown by the above shows is that youth-oriented shows can also click with the audience, as long as they are written very literally. I think it is more accurate to make the distinction between shows which are very literal and just tell you everything obviously and those in which you have to use your mind in order to understand the nuances of the show. See, youth-oriented love stories show the two leads being in love with all kinds of romance and cliches... audience doesn't really need to deal with complex motivations or emotions. It's the same with saas-bahu dramas, though the subject matter is a bit different.
On the other hand, the second group of shows you mentioned required that extra participation by the audience in understanding the characters. People like us obviously come to discuss because we like this process, but most viewers don't; they want to be told directly what is happening and what is going to happen. If a woman feels sad, she should cry, if a man feels angry, he should break something. if an elder feels disrespected they should shout. It's all explicit. These are the shows that really work for the masses, just as OTT films used to work in the 80s and 90s. EDIT: Ekta identifies this about the Indian audience which is her trump card. No matter what the concept, she knows the right way of telling the story that people will get hooked, and that is where the difference lies.
What is interesting is that SP used to be good at choosing shows that toed this line, where they could both claim nay such and satisfy the mainstream audience. I guess there must have been some new channel head or something who thought a little more ambitiously without taking reality into consideration when choosing shows.
Edited by Samanalyse - 9 years ago