India’s Sony Yay! Launches ‘CID Squad’ as Part of Strategic ‘HUB’ Expansion: ‘Animation for All’ (EXCLUSIVE)

Indian kids channel Sony Yay! is set to introduce “CID Squad,” a first-of-its-kind animated investigative thriller that reimagines India’s iconic “CID” franchise for a new generation.

The project represents a strategic push to broaden animation’s appeal beyond traditional kids’ programming in what the channel describes as a “world-class animated experience with cutting-edge technology.”

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Ambesh Tiwari, business head of Sony kids and animation, explains the insight driving the new production: “We figured out that the age group between 15 to 35 is possibly one of the first generations who’ve come out with a tolerance and acceptance of animated content far higher. This is the first Cartoon Network generation to now fully be parents.”

According to Tiwari, this demographic shift created an opportunity to tell stories with characters created in India. “What if the same [“CID”] characters of Pradyuman, Daya, Freddie, Abhijit, with their own qualities, were youngsters based in today’s world?” he asks, outlining the concept. While the original “CID” focused on murder cases and biological crimes, “CID Squad” tackles contemporary issues including self-driving cars, artificial intelligence and cyber security.

The animated series features Inspector Pradyuman as a 25 to 30-year-old leading a team of younger detectives. Unlike its predecessor, which followed senior officers solving traditional crimes, this reimagined team consists of teenagers with distinct specializations. Abhijit, a 16-year-old with exceptional deduction skills and a sharp memory, uses his observational talents to help build cases. Daya, slightly older than Abhijit, serves as the team’s muscle but is reimagined as “a gutsy coder” in the digital age. “In the real version, he’s a physically strong guy, but in our version, he’s a young bloke who breaks the firewalls,” Tiwari says.

The team is rounded out by Fredricks, the youngest member who provides comic relief while maintaining a positive team spirit, and Constable Sushil, a seasoned officer with an extensive network of informants. Dr. Salunkhe, a mechanical genius who owns a scrap shop, creates ingenious gadgets from discarded materials to support the team’s investigations.

“The characters have a lot of affinity, even today with younger folks,” Tiwari notes, pointing to the original “CID’s” recent successful comeback on Sony TV and streaming platforms like Netflix. He emphasizes that the new iteration stands on its own merit: “If you don’t really know ACP Pradyuman, you will pick up Inspector Pradyuman and see the way he leads the squad.”

With 13 episodes of 22-30 minutes each in its initial run, “CID Squad” is being positioned as a global property. “The intent is to create a global property which will be syndicated across the world, with India being a sizable market,” Tiwari says. The series will be available in the Hindi, Tamil, Telugu, Malayalam and Bangla languages to cater to diverse demographics across India.

Sony Yay! has partnered with Toonz Media Group, one of India’s leading animation studios, for production. The show’s post-production is handled by Ireland’s Telegael, with international music composers Gigi Meroni and Saveiro Rapezzi creating the soundtrack.

Sony Yay!’s strategic roadmap is guided by their “HUB strategy,” ensuring the brand becomes a one-stop destination for animation. The H stands for Home to the biggest toons, U for Unlimited avenues, and B for Breaking boundaries. This approach has positioned Sony Yay! as one of the leaders in Indian kids’ entertainment by embracing the philosophy of “animation for all.”

The 2025 strategic focus areas follow this framework: continuously growing the content library with iconic characters and global titles; expanding touchpoints beyond TV through collaborations, merchandise and digital ecosystems; and driving India’s animation revolution with a strong focus on homegrown IPs and anime expansion.

Beyond “CID Squad,” Sony Yay! is bringing the Japanese anime series “Obocchama-kun” to Indian audiences through a Japan-India collaboration. The show’s scriptwriting stays with the Japanese team to retain Obocchama-kun’s original charm, while Indian creators handle animation production to ensure local relevance and seamless adaptation. This approach preserves the core humor and storytelling while fine-tuning cultural nuances for Indian viewers.

Sony Yay! is also developing what Tiwari describes as “possibly India’s first anime series” based on Indian mythology, currently code-named “Project K.” While declining to specify which mythological character will be featured, Tiwari confirmed it’s neither Kalki nor Ashwathama. “This is a very anime story with a little guy who has some kind of powers, then a full physical transformation happens,” he says, noting that Japanese partners are helping build the series with authentic anime storytelling elements.

These initiatives form part of Yay! Animations’ strategic imperatives: IP production/co-production with “CID Squad” as the flagship series, content creation for other platforms and global talent collaboration. Additional upcoming titles include “Ray,” a series based on stories by legendary filmmaker Satyajit Ray, and “Karna – The Guardian,” reimagining the iconic Indian character in a new avatar.

The channel has also acquired anime titles like “Naruto,” “Naruto Shippuden,” “Jujutsu Kaisen,” “Dr. Stone” and “Black Clover.” It has been performing strongly and is particularly successful in South India.

Sony Yay! has developed a balanced revenue model leveraging advertising partnerships, syndication deals and licensing opportunities. The anime boom has added significant value to its offerings, allowing the brand to monetize across various channels. The brand is also strengthening its digital presence, with nine YouTube channels (four show-centric Hindi-language channels and five regional channels) generating over 150 million viewers and 1.5 billion impressions per month.

“What we have understood — we now see the market of advertisers and licensers kind of understanding the same hypothesis — that it is truly time for animation for all,” Tiwari concludes.

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