SonyLIV was launched in India way back in 2013 with a focus on sports content. Over time, however, the streaming platform grew its customer base for its entertainment content with the success of shows like Scam 1992 – The Harshad Mehta Story, Gullak, Tabbar, and Maharani, to name a few. Now, following the release of its first Telugu show Brinda, starring Trisha in her streaming debut, the service is catering itself to a “pan-India audience”. At least, this is how Saugata Mukherjee, the Content Head at Sony LIV, puts it. CE spoke to Saugata about the streaming platform’s journey so far, how it decides what projects to invest in, and what to expect from it in the near future.
Would it be accurate to say that SonyLIV targets those who seek Indian original content?
Yes, if you look at our entertainment content, most of it is in Indian languages. We do not do too many English shows or films. Our content slate is diverse, with shows in Hindi, Marathi, Tamil, Telugu, and Malayalam. We are also working on a Bengali show, which will hopefully be out by the second or third quarter of next year.
How do you decide what project to invest in? What are some of your exciting projects coming up?
SonyLIV is positioned as a brand for a slightly cerebral audience, something that reflects in the type of shows available on the platform, whether it be Scam, Maharani, Rocket Boys, or Gullak. This explains why we are investing in such shows in other languages. Ultimately, long-form storytelling is a writer’s medium, and developing a show is like making three or four feature films. We have finally launched our first show in Telugu, Brinda. We are really happy to see the response for it in not just the Telugu market but also in Malayalam, Kannada, Tamil, and even Hindi. We continue to work with multiple filmmakers, showrunners, and writers in developing stories instead of signing deals with some of them.
To answer the second part of your question, our upcoming content slate includes shows such as Jai Mahendran, Blindfold, and Eyes in Malayalam. In Telugu, we have a big political show called Mayasabha, directed by Deva Katta. In Tamil, we have just wrapped up a show called Madras Mystery, starring Nazriya in her streaming debut and directed by AL Vijay. In Marathi, there is a show called Manwat Murders with Ashutosh Gowariker in the lead.
What constitutes a cerebral show? What are the criteria for it?
Our content team consists of senior executives who have been associated with cinema in one way or another, whether as writers, assistant directors, or directors, or in some other capacity such as working in a studio. We have separate teams in each centre, and they play a part in deciding what type of content aligns with our content strategy. And we buy these shows and films before they are released.
But does it always work? For instance, a film such as Chaaver is arguably cerebral and well made but did not do well…
Unfortunately, that is the nature of the beast. Some films and shows do not work in our business, no matter how good they are. But the idea is to start out on a positive note and put money into the stories we believe in. And we are proud of most of the content we have on our platform, and Chaaver is a good example. We have also invested in commercial films with well-known stars, such as Turbo or Varshangalkku Shesham recently. Frankly, for us, the most important factor in deciding whether to invest in a project is not its commercial value but rather the quality of the story.
Does that mean you never take a gamble on any potential project?
I would not call it a ‘gamble’, but we do take calculated risks on occasion. Take a film such as Por Thozhil, for instance. It is a small film, and we bought it before its release. But it became such a big success. Who would have thought? Likewise with Bramayugam. I know it has Mammootty in it, but it is also a monochrome film. When we bought it, we did not anticipate that it would have such great reception from across the country. Financially speaking, we do not spend insane amounts of money on a particular project.
What metrics do you consider to determine whether a show or film is successful?
We look at two to three metrics. One is the subscriber count, and the other important factor is the engagement level. Not every film or show is for everyone. But if the cohort it is meant for watches a lot of it, it is a sign of its success. In a global context, very few shows have a 100 per cent completion rate. Arguably, any show with a 30 to 40 per cent completion rate globally has done well.
What are the challenges and opportunities in the evolving streaming space in India?
It is important to be cost-conscious as the market becomes more mature and the number of competitors continues to grow. For SonyLIV, I think it is a great time to develop stories not just in Hindi but elsewhere too. I do not think many streaming services invest in as many shows as possible in other languages. I think that there is latent demand in the market for non-Hindi content, with potential for great growth. I expect rapid growth in the Malayalam, Tamil, Telugu, and Bengali markets over the next few years.