FICCI Frames 2026: Social media reshapes India’s reality TV business as producers focus on audience engagement

/ 3 min read

Deepak Dhar, Ekta Kapoor, Vipul Shah and Nikul Desai discuss changing viewing habits, profitability pressures and the potential for Indian unscripted formats to reach global audiences.

As content consumption expands across formats, the industry is likely to see scripted shows, reality television and microdramas coexist, catering to different audience preferences rather than necessarily competing for the same viewers.
As content consumption expands across formats, the industry is likely to see scripted shows, reality television and microdramas coexist, catering to different audience preferences rather than necessarily competing for the same viewers. | Credits: Shutterstock

India’s unscripted entertainment industry is adapting to changing audience preferences, the growing influence of social media and tighter budgets, with producers increasingly focusing on engaging formats, relatable storytelling and content that generates conversations beyond television screens.

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Speaking at a panel discussion at FICCI Frames 2026, Deepak Dhar, founder and group CEO of Banijay Asia and Endemol Shine India; Ekta Kapoor, founder of Balaji Telefilms; Vipul Shah, founding chairman and managing director of Optimystix Entertainment; and Nikul Desai, founder and producer of Eevaan Films and Story Weaver Collective, discussed the evolution of the reality television business and the potential for Indian formats to expand internationally.

Dhar said established reality shows such as Bigg Boss and Khatron Ke Khiladi require continuous reinvention to remain relevant. While retaining the core identity of legacy formats, producers must incorporate changing audience preferences and learn from adaptations across international markets.

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“The audiences have changed significantly. The way we are consuming content has changed significantly,” Dhar said, adding that the industry needs to rethink how it creates content.

He pointed to social media as a major driver of discovery, with audiences often encountering short clips and promotional videos before moving to full episodes. This makes the opening 10-15 minutes of a show particularly important in capturing viewers' attention. Live streaming has also created another layer of engagement, allowing audiences to follow contestants beyond the edited episodes.

Social media changes the reality TV playbook

Kapoor said unscripted entertainment offers a different creative experience from scripted television because producers cannot fully predict how participants will react to situations.

She cited Lock Upp, which she co-created, as an example of the format's appeal, highlighting the unpredictability and drama that emerge when contestants respond to situations in real time.

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Kapoor also noted that unscripted entertainment competes with the short-form content that audiences consume on social media. Shows must deliver moments that are engaging, surprising and compelling enough to encourage viewers to watch longer episodes.

Shah attributed the success of Laughter Chefs to its combination of cooking and comedy. Cooking provides a structured activity, while the contestants' interactions and relationships create opportunities for humour and unscripted moments. He also emphasised the importance of casting, saying that selecting contestants with strong comic timing and an ability to enjoy the process is critical to the success of comedy-based reality shows.

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Budgets, partnerships and profitability

Despite the importance of production scale and celebrity participation, Dhar said a large budget is not the only determinant of success, particularly as the industry faces increasing pressure to improve profitability. He cited shows such as The 50 and Rise and Fall as examples of the industry's efforts to explore different formats and talent combinations.

Dhar said the focus must remain on finding the right combination of format, talent and production elements rather than relying exclusively on expensive celebrity appearances.

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The panellists also highlighted the importance of partnerships between production houses, broadcasters and streaming platforms. Desai said a shared commitment to a show's concept helps creators pursue their vision and navigate the risks involved in launching new formats.

Can Indian formats travel globally?

The discussion also turned to the potential for Indian reality formats to find international audiences.

Dhar said locally relevant content could travel globally as streaming platforms bring audiences across markets closer together. Kapoor expressed hope that Lock Upp could eventually have an international version.

The panellists agreed that there is no single formula for global success. Relatable storytelling, distinctive formats and strong audience engagement will remain important as Indian producers look beyond domestic markets.

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As content consumption expands across formats, the industry is likely to see scripted shows, reality television and microdramas coexist, catering to different audience preferences rather than necessarily competing for the same viewers. 

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