With the Broadcast Audience Research Council (BARC) suspending the publication of weekly television ratings following directions from the Ministry of Information and Broadcasting, the move has sparked widespread discussion across the television industry. For producer Rahul Kumar Tewary, whose body of work includes popular shows like Navya, Phulwa, Meri Sasu Maa, Porus and RadhaKrishn, and who currently produces Udne Ki Aasha and Jagadhatri, the development was unexpected, but not one that changes his approach to storytelling.
For me, ratings are only a guiding tool. They don’t change the entire narrative.
Sharing his first reaction, Tewary admits the timing caught him off guard, especially when both his shows are at crucial points in their narratives.
“It definitely came as a surprise, especially because both my shows are at very important stages. Like every producer, I look at ratings—not because they dictate my story, but because they offer a snapshot of what viewers are enjoying. They act as a guide and help us understand audience preferences. Of course, it was surprising, but it’s not something that’s in our control. These decisions are taken at a much higher level, and I’m sure the concerned authorities are doing what’s best for the broadcasting industry.”
The producer believes that even if ratings remain unavailable for a while, creative decisions should continue to be driven by the story rather than numbers.
“Even when ratings are available, I don’t believe they should completely determine storytelling. For me, ratings are only a guiding tool. They don’t change the entire narrative. In the absence of ratings, we’ll continue trusting our instincts and keep telling the story we believe is right for the show.”
Television is no longer purely appointment viewing because episodes are available on digital platforms even before their television telecast.
While he hopes the ratings eventually return, he would like to see the missing weeks reflected through consolidated data.
“I hope that whenever the ratings come back, they also include the weeks during which they weren’t published. That will give everyone a clearer picture before we evaluate how the shows have performed.”
Asked whether this pause could encourage makers to focus less on weekly fluctuations and more on long-term storytelling, Tewary says that has always been his philosophy.
“I’ve never planned a story keeping weekly ratings in mind. For me, it’s always about what feels right for the narrative and how the characters should evolve. I’ll continue trusting my instincts. Having said that, I understand that some shows may be affected differently because their strategies are closely linked to weekly numbers.”
Looking beyond the current situation, the producer feels the industry should rethink how television success is measured in an era where audiences consume content across multiple platforms.
“The viewing landscape has changed significantly. A large percentage of audiences now watch content digitally. Television is no longer purely appointment viewing because episodes are available on digital platforms even before their television telecast. Television ratings alone no longer reflect a show’s actual reach.”
He believes the future lies in a system that evaluates both television and digital viewership together.
“I’ve discussed this with broadcasters before as well. The ideal way forward is to create a system that combines television and digital consumption. If experts can develop a meaningful blend of both, it would present a much more accurate picture of a show’s performance and help creators make better decisions.”
As for how broadcasters and advertisers will assess performance until ratings resume, Tewary smiles, admitting there’s no easy answer.
“Honestly, I have no idea. I would be clueless on that front. I suppose everyone will rely on past performance until the actual ratings return.”
