In an exclusive interaction, Purohit reflected on the industry’s long-standing reliance on TRPs and its impact on creative decisions. “Initially, channels may become cautious because TRPs have always been their compass. Without that weekly data, there’s naturally a sense of uncertainty. But this could also become a reset for television,” she observed.
She emphasised the need for greater freedom in content creation. “If writers and creators are given the freedom to tell stories with conviction instead of constantly worrying about weekly numbers, we could see stronger content. The real opportunity lies in trusting stories instead of simply chasing ratings.”
Purohit acknowledged that TRP-driven compromises have affected nearly every professional in the industry. “Every actor has experienced it. A storyline you truly believe in suddenly changes because the ratings dipped for a week. I don’t think TRPs themselves were the problem — the bigger issue was the fear attached to them. We became too dependent on weekly performance instead of allowing stories time to grow,” she explained.
The actress stressed the importance of building emotional connections with audiences. “Television can only move beyond that mindset if we start trusting the audience more. TRPs measured eyeballs, not hearts,” she remarked poignantly.
Purohit highlighted how the weekly rating cycle often created undue stress across production teams. “The system wasn’t unfair because television is both business and entertainment. If a show doesn’t find viewers, it obviously becomes difficult to sustain it. But the weekly cycle was extremely stressful. One weak week could trigger panic, resulting in abrupt story changes, leaps or even cast replacements,” she said.
She noted that actors frequently bear the public brunt of such decisions despite multiple contributing factors. “Stories need time to build emotional investment, and audiences need time to connect with characters.”
With weekly TRPs currently unavailable, Purohit hopes broadcasters will embrace experimentation. “Some channels may become more cautious initially, but I hope many see this as a chance to back original storytelling. Without a weekly report card hanging over every episode, creators can take calculated risks. That’s how memorable shows are made. Risk creates classics, while excessive caution often creates clutter,” she added.
When asked about potential improvements to the television measurement system, Purohit advocated for a more nuanced approach focused on audience engagement. “I’d like the system to measure depth, not just reach. We know how many people watched, but we don’t know how deeply they connected with the content. Engagement, repeat viewing, audience feedback from different regions and a much broader sample size would make the system fairer,” she proposed.
She further emphasised India’s vast diversity. “India is incredibly diverse, and every viewer’s voice deserves to count. That’s when the ratings will truly serve actors, producers, broadcasters and audiences alike.”
Purohit’s candid views come at a critical juncture for Indian television, where stakeholders are reassessing traditional metrics amid evolving viewer habits and digital consumption patterns. Her call for a balanced, engagement-focused rating system resonates with broader industry conversations about sustainable content creation and audience-centric programming.
As Do Duniya Ek Dil continues to unfold, Purohit’s perspective offers valuable insight into the challenges and opportunities facing television professionals today. Her emphasis on storytelling with conviction and deeper audience connection could guide future discussions on reforming how success is measured in Indian entertainment.
