Smriti Irani’s return taps into nostalgia, but reveals Indian TV’s fear of fresh storytelling.

By Sushrut Tewari

To say Kyunki Saas bhi Kabhi Bahu is a TV show would be an understatement. The Ekta Kapoor-produced soap opera staple was an emotion of many families from the early to late 2000s. Along with CID and Aahat, KSBKBT dominated the cable television era, almost becoming like a ritual for millions of Indians. Its simple story that revolved around the lives of housewives in a traditional Indian household pulled the heartstrings of many stay-at-home moms.

The show’s lead Shri Smriti Irani has taken a backseat from politics to return to the series. But, despite the universal celebration of her return on the small screen, her decision has signalled an unseen crisis in the media landscape—the growing reliance on nostalgia to chase TRPs, often at the expense of fresh storytelling and innovation.

This problem isn’t exclusive to Indian soap operas. There is a crisis of creativity in the entertainment industry at a global level. From Hollywood’s relentless revival of 80s and 90s franchises like Jurassic Park and Ghostbusters to the wave of live-action remakes of beloved Japanese anime such as Cowboy Bebop and One Piece, studios seem increasingly focused on nostalgia over originality. In many ways, this decade might just be remembered as the most creatively bankrupt one so far.

But how did we get here? Why does nostalgia hold so much sway? And more importantly—how do we move forward?

Nostalgia is powerful.

Nostalgia sells because it provides emotional comfort—especially in turbulent times like post-pandemic recovery or socio-political unrest. Familiar stories reduce anxiety by invoking predictability and safety: as clinical psychologist Lauren Freymuth explains, “Our central nervous system prefers familiarity… because it helps us feel safe”

Nostalgia=Eyeballs=Better marketing

Shows that represent our childhood will always have a special place. They offer a safe space in today’s tumultuous times. Whether they’re rebooted properly or not, just the idea that the show is live again will generate enough eyeballs that the producers can save a fortune on expensive advertisements.

Shows like the reboot of KSBKBT need a lot less effort to generate mass appeal as its already time tested by the audience. A new show will require a significantly strong social traction to even break the market.

This way, Nostalgia acts as the safest bets for producers. Something they can always make money from. But strong bets like these come as significant creative cost. Talented writers that can create new shows end up getting boxed to create the same episodes in the old framework.

Can it be fixed?

OTT platforms in India are still growing—and they’re where some of the most exciting storytelling is happening. Shows like Paatal Lok, Mirzapur, Panchayat, Half CA, and Scam 1992 have proven that audiences are hungry for originality, nuance, and experimentation. These platforms offer writers and creators the freedom to explore themes beyond the conventional family drama. But unless traditional TV producers are willing to take similar creative risks, television will continue recycling its past—while innovation thrives elsewhere.

Nostalgia may offer a temporary boost in viewership, but it can’t sustain a storytelling culture. For Indian television to evolve, it must stop looking backward and start investing in the future.

The post Kyunki Bahu Hi Saas Banti Hai… Again. appeared first on India Communication Forum.