Indian television of the early 2000s was dominated by family dramas that became cultural touchstones, with ‘Kyunki Saas Bhi Kabhi Bahu Thi’ standing as a prime example. Yet, as viewers shifted to digital and OTT platforms, the relevance of these shows came into question.
Instead of just rerunning old episodes, Balaji Telefilms chose to rethink the entire approach, positioning legacy content as a living brand capable of adapting and thriving in today’s fragmented media ecosystem.
Tanusri Dasgupta, Executive Vice President – Digital and TV at Balaji Telefilms, sees ‘Kyunki Saas Bhi Kabhi Bahu Thi’ not merely as a soap opera but as an emotional asset with enduring power. She explained how while nostalgia plays a part, the revival is aimed squarely at a generation unfamiliar with the original series for whom ‘Kyunki…’ is a fresh discovery. She elaborated that this is less about recycling content and more about activating a universe of emotion that transcends platforms.
In an exclusive conversation with Marketing Mind, Dasgupta said, “There’s definitely nostalgia but for a whole generation, Kyunki Saas Bhi Kabhi Bahu Thi isn’t something they grew up watching. For them, it’s discovery, a way to connect emotionally with a storytelling tradition they missed. This nuanced approach challenges the simplistic notion of legacy shows being stuck in the past, reframing Kyunki Saas Bhi Kabhi Bahu Thi as a flexible IP with emotional resonance that can be tailored for a multi-screen, multi-format audience.”
Balaji Telefilms, in partnership with JioHotstar, is reviving the legendary show as a limited-episode series. The iconic show, which marked its 25th anniversary last month, is set to return with actor-politician Smriti Irani reprising her role as Tulsi Virani, a character that earned her nationwide recognition.
But, Ekta Kapoor, the creative force behind Balaji Telefilms, almost decided against reviving the show. Reflecting on the process, she shared that her initial reaction to the reboot idea was a clear no.
“The show gave voice to women in Indian homes. Between 2000 and 2005, for the first time, women began participating in family discussion, a shift deeply influenced by Indian television, especially ‘Kyunki…”, she wrote in an Instagram post titled: “Why Kyunki, Why Now?”
Also read: ‘Kyunki Saas Bhi Kabhi Bahu Thi’ Returns; ‘Ekta Kapoor’ Reveals What Sparked The Revival
From endless serials to purposeful storytelling
Balaji Telefilms’ shift away from the traditional endless soap format to finite, well-crafted narratives reflects broader industry changes. Dasgupta emphasised that finite storytelling is not about brevity but about intentional structure and creative focus.
The revival of Kyunki Saas Bhi Kabhi Bahu Thi was designed with clear arcs and planned emotional payoffs, allowing for deeper engagement without the fatigue of stretched plotlines.
She explained, “Finite doesn’t mean short. It means structured and purposeful. Whether it’s 30 episodes or 100, there’s an endpoint in mind. That allows writers to sharpen their storytelling and ensures that emotional beats hit with real impact.”
This clarity has commercial implications too, as the content is designed for both appointment viewing on TV and on-demand consumption on OTT platforms. Dasgupta noted that this cross-format versatility is crucial in today’s viewing environment where audience attention is spread across multiple screens.
Despite the dominance of digital, Dasgupta remains convinced that television, especially prime-time slots, continues to matter. She observed a shift in audience expectations rather than a decline in viewership.
“It’s not that people have stopped watching television, they have just lost patience with formulaic storytelling that underestimates them. Appointment viewing is still very much alive, but it has to be earned. You can’t just show up and expect audiences to stick around,” Dasgupta said.
For Balaji, this meant making Kyunki Saas Bhi Kabhi Bahu Thi sharper, crafting nuanced characters and layered conflicts that reflect modern realities while maintaining emotional familiarity. This, she said, is key to reconnecting with audiences who want more than surface-level drama.
Characters as emotional IP, not just roles
Balaji’s reimagining extends deeply into character development. Iconic figures like Tulsi and Komolika are no longer static archetypes but dynamic personas evolved for contemporary audiences.
Dasgupta underscored that bringing back a character is a serious creative choice that requires a fresh context reflecting today’s social fabric.
She reflected, “Tulsi isn’t just a mother-in-law anymore. She’s a woman balancing ambition, identity, and tradition. We preserved the core but shifted the context so these characters feel real and relevant.”
This approach turns characters into living intellectual properties that can transcend platforms appearing in episodes, short-form videos, or merchandise, creating an extended emotional ecosystem.
Regional storytelling as creative bedrock
Balaji’s regional content approach has also evolved. Earlier attempts to simply dub Hindi shows into regional languages proved insufficient. Dasgupta revealed how the company now treats regional storytelling as original creative work, driven by local writers and actors who bring authentic cultural nuance.
“You can’t fake authenticity. Regional teams are no longer adaptations but creative engines, crafting stories that resonate because they’re rooted in lived experience,” she explained.
That means local writers shaping story arcs from scratch, regional actors cast with specificity, and internal teams empowered to lead. “Our Tamil or Marathi teams aren’t extensions of Hindi. They’re creative engines of their own,” she said.
Balaji now treats regional content not as a side bet but as a starting point. “The goal is immersion. It should feel like it was made there, not translated there,” Dasgupta mentioned.
Beyond AI, storytelling still needs a soul
While much of the industry is rushing to integrate artificial intelligence (AI) into content creation, Balaji’s approach is both experimental and deliberate. The company has started testing how AI can be used in short-format content, but it remains clear-eyed about the boundaries between data and emotion.
“Yes, we are definitely experimenting with AI tools. We’ve launched a short-format app that includes AI-generated content. In fact, one of the shows is entirely made using AI, right from the characters to the scripting,” Dasgupta said.
But despite the innovation, she emphasised that storytelling still needs a soul. “At the end of the day, I’m still old-school. I believe storytelling needs a human heartbeat. AI can support the process, help with structure or testing, but it can’t replace instinct or emotion. That part still comes from us,” she said.
Balaji’s strategy is to let technology assist the process, not replace the creator, Dasgupta emphasised.
Building a cultural ecosystem, not just content
Ultimately, Balaji’s vision transcends producing individual shows. It’s about crafting an ecosystem where legacy IPs like Kyunki Saas Bhi Kabhi Bahu Thi, ‘Bade Achhe Lagte Hain’, and ‘Kasautii’ operate as modular brands, living across platforms and formats.
Dasgupta said that every department in the company aligns behind this goal of storytelling that maintains its emotional core no matter where it is consumed.
She summarised, “We’re not just reviving shows, we’re reviving belief systems and reshaping them for today’s world.”
