In the annals of television has there ever been a show that has done quite as much as this one? Everyone knows of Kaun Banega Crorepati and how it propelled Star Plus from a perennial also ran to the Numero Uno position in the channel wars in a matter of months. Much has been written about the phenomenon that was KBC and reams of print have gone into dissecting the reasons behind its success.

But what went into KBC's selection as the vehicle on which the switchover of Star Plus into a 24-hour Hindi entertainment channel was to be carried through? It was on 3 July 2000 (a Monday naturally) that KBC launched on Star Plus. And it was on 3 July 2000 that Star Plus went Hindi.

Was it an inspired decision or was it just the luck of the draw that made KBC the ideal show at the ideal time? Both Star India CEO Peter Mukerjea and executive V-P and head of content & communication Sameer Nair have said that while they had great expectations from the show, KBC's take-off was above and beyond all expectations.

Just what went into it all? Keeping aside marketing and promotion which is a study in itself, on the programming front a heck of a lot of research and that winning something - "gut feel" - is what it was all about.

At last month's Ficci Frames 2002 held in Mumbai, Star Plus V-P programming Tarun Katial detailed the strategy that went into the metamorphosis of Star Plus from a English-show dominated channel to the top Hindi satellite channel in India. And there was far more to it than KBC. If KBC was the main course, then television's two top soaps today - Kyunki Saas Bhi Kabhi Bahu Thi (KSBKBT) and Kahaani Ghar Ghar Khi (KGGK) - both from the Balaji Telefilms stable, provided the icing on the cake.

This report has been culled from the presentation Katial made during the session - "Research in Television Programming".

Evaluating the competition

And research Star did. Lots of it before setting forth on its programming putsch. The prolonged research undertaken by the channel touched upon qualitative as well as quantitative aspects, including viewer psychographics, lifestyle, content, audience availability and time slot capability and potential. A key aspect of this research was evaluating the competitive scenario - specifically Zee TV and Sony Entertainment Television.

The period spanning 1997 (when Zee was the Top Gun channel) to 1999 (Sony had grabbed the lead by then) was studied for an understanding as to what had worked and why.


Zee TV 1997

1997

Narrowing down on the handful soaps that drew the most viewers, Star then rated them according to their narrative, backdrop, projected lifestyles and value systems and the undercurrent of emotion involved. While most of the other serials were identifiable, contemporary and aspirational to the average viewer, Star found that it was Amanat which had a relatable backdrop and an identifiable narrative, was socially correct and portrayed some cherished emotions.

Looking at Zee's experience in 1997, Star zeroed in on Golden Rule No. 1 - People watch programmes, not channels.


Sony Entertainment 1999

1999

By 1999, Sony had surged ahead on the back of a slew of new and refreshingly contemporary shows. Sony was hitting the right notes among the younger lot especially with Heena, Hum Sab Ek Hain, CID, Sparsh, Alpviram, Movers and Shakers and Thoda Hai…

Sony's content was packed with all facets of traditional entertainment, spruced up with comedy, music-talent, crime and the supernatural element.

What lesson did the Sony of 1999 offer? Golden Rule No. 2 - People will watch what they think they are going to SEE!

So was there anything new that Star Plus could offer in 2000? There certainly was. The need gaps did exist in the consumer's mind - waiting to be tapped...

What was the need gap? For a daily gameshow, was the considered opinion. The viewer wanted a show that stimulated intellect, made him feel competent, encouraged talent and provided entertainment. Star also believed that the show would need to have an ambiance one could relate to, with a dash of celebrity presence, the lure of easy money and the promise of a dream come true.


'KBC' not just a show, but a genre in itself

KBC - years of research backed it!

Bollywood titan Amitabh Bachchan provided the celebrity presence to beat all celebrity presences. And what better motivation than the chance to take home the top prize of Rs 10 million (one crore) and become a "Crorepati".

Thus was born KBC which went on to become not just a show, but a genre in itself. Says Katial: "It was an innovation that caused audiences to give up their traditional behaviour."


'KSBKBT' & 'KGGK' provide the perfect cover for KBC

But there was a need to create an impermeable line-up. How better than to play on existing inertia (old habits die hard), that causes the classic need of "the good old days," Katial says. So it was the good old great Indian soap that Star fell back on to create that line-up.

Amanat - the inspiration behind Kyunkii..

If it could draw any comfort from the thought that imitation, however clever, is the best form of flattery, Zee would commend itself for the success KSBKBT fetched Star Plus.

The once hugely popular Zee show Amanat defined the core character of the show that Star zoomed in on as its choice for prime time point guard. It was the turn of the half-hour daily soap KSBKBT to take its bow on the channel in the 10:30 pm slot. Katial terms it as Amanat x 4, a family soap where the key character is portrayed as sticking to traditional values. Needless to say, KSBKBT too hit bulls-eye.

Star now needed one more half-hour show to lock up the 9 - 11 pm band. This is where KGGK slotted into the 10 pm to 10:30 pm vacant spot. What was KGGK's USP? The show gave the viewer something familiar yet different (a 'mature family love story' is what Katial calls it).

With KBC, KSBKBT and KGGK, Star had a lock on the 9 to 11 pm prime time band. The rest as they say is history.

Research continues to be the channel's backbone, with the competition stirring itself out of its somnolence and coming up with some sizzling shows of their own. The research now works for both the channel (at a macro level) and the programme (micro level), Katial says.

This then is, what research does. What it does not do - as Katial emphasises - is provide that extra something that goes into the making of a hit show. This is where gut comes in. And that is why Ekta Kapoor - the creator of both KSBKBT and KGGK - is what she is.

"Numbers are only characters until they talk to you…", concludes Katial.

Kapoor's success lies in her having been able to figure out how to make these numbers talk.

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