It is true when they say that viewers are the ones responsible for making or breaking a show. And one thing is for sure, they love Siddharth Kumar Tewary’s magnum opus Porus. Right from the lavish sets, to the perfect casting and larger than life performances, the audience seems to have lapped it up. The show has been witnessing high ratings in comparison to other big shows on Sony Entertainment Television.
According to the Broadcast Audience Research Council (BARC) data, the ratings (U+R) of the show are significantly higher than the ratings of the channel’s prime time daily soaps such as Rishta Likhenge Hum Naya and Vighnaharta Ganesh. While Porus airs at 8.30 pm, Vighnaharta Ganesh precedes it at 8 pm. Rishta Likhenge Hum Naya is shown at 9 pm on weekdays.
Porus’ launch week bagged it 3.6 million impressions in week 48 of 2017’s BARC data. The second week saw a drop of 0.6 million impressions. After 10 weeks of being on air, the latest ratings of week 5 for 2018 show Porus at a consistent 3.3 million impressions.
On the other hand, the week 48 of Vighnaharta Ganesh garnered 3.4 million impressions and Rishta Likhenge Hum Naya got 1.9 million impressions. There was no impact of Porus on Vighnaharta Ganesh’s ratings that was apparent in week 49, whereas Rishta Likhenge Hum Naya lost 0.1 million impressions from week 48.
Swastik Productions' founder Siddharth Kumar Tewary says, "Porus has been consistent in its ratings since its launch and this was our plan - to be consistent in the beginning and then grow slowly. We held on to our ratings from the beginning to now. The first episode was one hour long and now we are showing 22 minutes content.”
He says that comparing the current 3.3 million figure with the initial 3.6 million shows that the show has actually grown. “We have made Porus with a huge amount of conviction. People have really appreciated us for keeping the promise of giving them a unique concept and storytelling,” he adds.
Producer Rahul Kumar Tewary is ecstatic as his show is being telecast in Sri Lanka as well. Made under the banner of One Life Studios, the magnum opus has been winning hearts all over and has now started its run in Sri Lanka too. He says, “Porus has been a challenging show but everyone involved with it can surely say that it has been worth their while. Right from the actors, to the crew, technicians, creatives, everyone has not left any stone unturned to make the show the best that we have ever seen on the small screen. We have put in a lot of effort into perfecting every minor detail and I am glad that people have reciprocated with their love.”
The show has successfully travelled to Sri Lanka with a new name Digvijaya. The buyer for the 260-episode series is Maharaja Television (MTV) and the show has been dubbed in Sinhala. Earlier, Porus was acquired by Workpoint Entertainment of Thailand for exclusive TV and non-exclusive digital rights.
Laksh, who is playing the title role of Porus says, “The response has been phenomenal and I am overwhelmed with that. For Porus, I have got the maximum positive feedback amongst all my shows. Recently, I have won an award for best actor also. I have been getting messages from all over the world for my performance. Producer Siddharth Kumar Tewary always creates something magnificent.”
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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