Gursharan Singh wrote over two hundred drama scripts. Many of these were original plays, others were based on short stories, novels and even poems from contemporary writings. In 2010-11, writer and artistic director, Kewal Dhaliwal, published seven volumes of Gursharan Singh’s collected plays and released them in Chandigarh in the presence of Gursharan Singh. We discovered a few more scripts after the publication of these seven volumes. These will be brought out in another volume in the coming year. The seven volumes are being added with much gratitude to Kewal Dhaliwal, who is also a member of the Trust.
Japanese entertainment is more than just a product; it’s an invitation into a world where imagination has no ceiling, but respect for the past remains the floor.
The way Japanese people watch content is changing dramatically. The share of real-time broadcast viewing is declining (85.8% reach in 2025), while time-shifted (47.1%) and internet-based viewing (41.4%) have grown significantly. Services like and NHK Plus are seeing rapid adoption, and free ad-supported streaming TV (FAST) channels are becoming increasingly popular. Notably, over 40% of content consumed on platforms like Netflix and Amazon Prime Video in Japan is still produced by traditional broadcasters. This shift is also affecting advertising revenue, with internet ad spend officially surpassing television ad spend, forcing networks to innovate their strategies. jav sub indo enaknya bisa ngentot kakak perempuan
While live-action dramas have historically struggled to gain a significant international foothold, Japan's true global superpower lies in its synergistic trio: manga (comics), anime (animation), and gaming. Serial entrepreneur Tetsu Fujimura calls this a "triple whammy" of IP resources, noting that the country's vast library of stories is a "treasure chest" with a remarkable future as a source for global content. This potential is being realized at an astonishing scale. The Association of Japanese Animations (AJA) reported that the anime industry's market size reached a record ¥3.84 trillion (approx. $24.5 billion) in 2025, more than doubling in size over the past decade. Japanese entertainment is more than just a product;
Japanese entertainment is more than just a product; it’s an invitation into a world where imagination has no ceiling, but respect for the past remains the floor.
The way Japanese people watch content is changing dramatically. The share of real-time broadcast viewing is declining (85.8% reach in 2025), while time-shifted (47.1%) and internet-based viewing (41.4%) have grown significantly. Services like and NHK Plus are seeing rapid adoption, and free ad-supported streaming TV (FAST) channels are becoming increasingly popular. Notably, over 40% of content consumed on platforms like Netflix and Amazon Prime Video in Japan is still produced by traditional broadcasters. This shift is also affecting advertising revenue, with internet ad spend officially surpassing television ad spend, forcing networks to innovate their strategies.
While live-action dramas have historically struggled to gain a significant international foothold, Japan's true global superpower lies in its synergistic trio: manga (comics), anime (animation), and gaming. Serial entrepreneur Tetsu Fujimura calls this a "triple whammy" of IP resources, noting that the country's vast library of stories is a "treasure chest" with a remarkable future as a source for global content. This potential is being realized at an astonishing scale. The Association of Japanese Animations (AJA) reported that the anime industry's market size reached a record ¥3.84 trillion (approx. $24.5 billion) in 2025, more than doubling in size over the past decade.