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Subscribe to enjoy similar stories.That Hindustan Unilever Ltd (HUL) has a network of 300,000 ‘influencers’ at work for its marketing department, as declared in April by Unilever CEO Fernando Fernandez, has quickly become a PowerPoint talisman. In a world where entire industries sometimes change direction through choreography rather than conviction, that’s an evocative figure. Indian marketing has always had a weakness for the large gesture.

Subscribe to enjoy similar stories.In the new Netflix documentary series Should I Marry a Murderer?, Caroline Muirhead, a Scottish forensic pathologist, falls in love with Sandy McKellar, a man who, after proposing, reveals to her that he and his brother have committed a homicide. What follows is baffling: Even after Muirhead turns him in to the police, she returns to his side.

Subscribe to enjoy similar stories.With global video-on-demand platforms streaming largely identical titles across markets, India-specific edits to international programming have drawn renewed attention after viewer backlash over The Boys on Amazon Prime Video. The latest season of the American series has triggered criticism on social media over censored dialogue and visuals, highlighting how global content is often altered before reaching Indian audiences, and how that gap is increasingly visible to subscribers.In The Boys, religious references were reportedly sanitized, while certain visuals, including religious idols and sexual content, were blurred or cut to comply with India’s broadcast standards.

Subscribe to enjoy similar stories.In an industry long powered by hype, three recent Hindi films are forcing a rethink.Dhurandhar: The Revenge, now the highest grossing Hindi film with domestic collections crossing ₹1,100 crore, along with its predecessor Dhurandhar (Rs. 895 crore) and romantic drama Saiyaara, which made over ₹300 crore last year, have shown that minimal promotions paired with strong content can deliver outsized returns.For years, studios leaned heavily on television, print, outdoor, social media campaigns, influencer collaborations and brand tie-ups to generate pre-release noise.

Subscribe to enjoy similar stories.For all the noise around artificial intelligence—new models, new assistants, new tools—there’s a quieter shift underway. It’s not about which chatbot is smarter this month or which latest device has the most AI features. It’s about something far more fundamental: how people actually use these systems.Across workplaces, classrooms, and creative studios, the gap between people who get consistently good results from AI tools and those who don’t is widening.

Subscribe to enjoy similar stories.Despite being infamous for box office volatility, the theatrical business is fast drawing digital-first players seeking scale beyond streaming.Kuku, the digital entertainment company behind platforms like Kuku FM and Kuku TV, has announced its expansion into theatrical-led cinema with its first Hindi feature film, Indian Institute of Zombies.Firms like Collective Media Network and TVF (The Viral Fever), known for OTT and digital projects, also have theatrical releases scheduled.Industry experts say that while cinema remains unpredictable in the short term, films continue to be one of the most powerful formats for building large-scale intellectual property and cultural relevance.Digital-first companies are not looking at films only through the lens of theatrical box office—they see them as long-term content assets that can travel across streaming, satellite, music, and international platforms. For many, film production is a natural extension of an ecosystem already built around audience data, creators, and cross-platform storytelling.“Digital platforms have spent years building audience trust, understanding consumption patterns, and identifying what truly resonates.

Subscribe to enjoy similar stories.NEW DELHI: Actors long associated with iconic film roles are increasingly acquiring rights to older hits, betting that nostalgia-driven intellectual property can generate fresh value through remakes, sequels, streaming, licensing and franchise extensions in an overcrowded content market.Recently, actor Sanjay Dutt acquired the rights to his 1993 hit cthat he plans to reimagine along with Jio Studios and Aksha Kamboj’s Aspect Entertainment. In the past, stars like Shah Rukh Khan too have bought rights to older hits from original producers, reflecting a broader shift in how value is captured in the content economy.Khan has bought rights to older hits such as Kabhi Haan Kabhi Naa and One 2 Ka 4 from original producers.For producers, selling rights can provide immediate liquidity, reduce risk and monetize legacy content that may otherwise remain underexploited.

Subscribe to enjoy similar stories.Roast comedy works around a fascinatingly self-referential format. The roast is the roast because it claims to be the roast.It is a format I have always watched, from classic Dean Martin roasts to the inimitable Don Rickles putting his friends through the wringer, to its mostly middling current incarnation, because amid predictable and easy gags, occasionally someone rises to the top with outstanding material.

Subscribe to enjoy similar stories.As boos rang out among the audience of University of Central Florida (UCF) graduates, commencement speaker Gloria Caulfield turned to the faculty staff behind her to ask what had happened. Then it dawned on her: She had mentioned artificial intelligence (AI).The real estate executive pressed on. “Only a few years ago,” she said, “AI was not a factor in our lives.” When that statement was greeted with loud cheers, Caulfield said: “We’ve got a bipolar topic here, I see.”For any commencement speaker in 2026, no conversation about the future could be credible without mentioning AI.

Subscribe to enjoy similar stories.Big-ticket Hollywood franchises have long drawn audiences across metros and tier-two and tier-three cities, aided by Hindi, Tamil and Telugu dubs. But after a prolonged post-pandemic lull, smaller, niche titles — often with limited or no dubbed versions — are also regaining theatrical traction.Recent successes underline the shift.

Subscribe to enjoy similar stories.Some consolidation efforts are underway in the streaming content space as smaller platforms struggle with rising costs and programming clutter in what has so far largely been a fragmented industry.Shemaroo Entertainment has acquired the library of regional platform OHO Gujarati, while Vibhu Agarwal-owned Atrangii OTT has tied up with Amazon MX Player for distribution. Saregama India acquired a majority stake in digital entertainment company Pocket Aces Pictures in 2023.

Subscribe to enjoy similar stories.Bollywood filmmakers who dub and release films across languages to attract a wider audience may have bitten off more than they can chew. The first-day shows of recent hit Dhurandhar: The Revenge were cancelled in several places, more so in the south, where the prints of dubbed versions weren’t ready on time.Experts said logistical issues can often derail big release plans of films in multiple languages.

Subscribe to enjoy similar stories.In 2018, photographer and documentary filmmaker Shino Cherian decided, on an impulse, to attend the Koovagam festival in Tamil Nadu, which spans 18 days of the month of Chithirai (April-May) in the Tamil calendar.At 28, he hadn’t done anything close to as daring as venturing into a completely unknown terrain, inhabited by people who were nothing like him. However, along with his friend and fellow photographer Ram Manu Prasad, Cherian went on to document the events of the crucial two days that mark the end of the festival.

Subscribe to enjoy similar stories.Ritwik Pareek’s film opens with the image of a temple on a hill after dusk, prayer bells on the soundtrack. This gives way seconds later to shots of distant highway traffic and a great reverberating spaghetti western guitar chord. A man stumbles out of a dive bar, slurs a farewell “Jai siya Ram” and rides off into the night.

Subscribe to enjoy similar stories.Despite betting on VFX-driven, high-budget spectacles to lure audiences in droves to cinemas, Bollywood has largely been unable to crack the visual effects game.This was particularly evident in the recent criticism of the trailer for the first instalment of the mega-budget, two-part Ramayana franchise. The major criticism was that despite a reported ₹4,000 crore production budget, the visual effects seemed artificial and video game-like, and that they appeared ‘too digital’ and lacked soul.Experts said not only are Indian movie budgets much lower than in Hollywood, but Indian studios and producers also often handle visual effects in a rushed manner during post-production.

Subscribe to enjoy similar stories.Unlike the traditional Bollywood template of flashy acting debuts, celebrity relatives are increasingly building loyal audiences on social media first and monetizing their personal brands before stepping into films, shows or mainstream entertainment projects.Figures such as Riddhima Kapoor, who is set to appear in a film soon, and Krishna Shroff, recently seen in multiple reality shows, have leveraged the low barriers to digital content creation to build personal brands and attract collaborations with companies before taking the mainstream entertainment route.Industry experts say the strategy is straightforward: a ready-made audience reduces marketing costs and lowers the risk attached to launching fresh faces in films and television. Instead of building visibility from scratch, producers and brands now rely on measurable engagement and documented fan bases.“These are individuals who may not have broken into mainstream acting or production, but they carry significant advantages: access, wealth, network, and a powerful surname.

Subscribe to enjoy similar stories.After years of building large subscriber bases through aggressive pricing and bundled offerings, video streaming platforms are recalibrating their strategies to align revenue growth with rising content and acquisition costs. In many cases, this means charging users more for the same content — but in subtler ways.Late last month, JioHotstar and Warner Bros.

Subscribe to enjoy similar stories.Nostalgia is paying off for Hollywood.“The Devil Wears Prada 2” opened to an estimated $233.6 million worldwide this weekend, driven largely by women eager to rejoin Meryl Streep and Anne Hathaway in the world of fashion journalism 20 years after the original movie. It grossed $77 million in the U.S.

Subscribe to enjoy similar stories.WASHINGTON—King Charles III arrives in Washington on Monday to publicly celebrate 250 years since a nascent U.S. republic ousted his forebears, and privately ensure that a fraying trans-Atlantic relationship can cope with another two-plus years of President Trump.The four day visit—billed as King Charles’s most high-wire diplomatic act since coming to the throne—will include a speech to Congress, the first time a British monarch has spoken there since 1991, a private audience with Trump and state dinner in Washington, as well as trips to New York and Virginia.The attempted attack at the White House Correspondents’ Dinner cast a shadow over the visit.

Subscribe to enjoy similar stories.In the attention economy, where user time is the scarcest commodity, platforms such as content sites, OTT services and social networks are competing for every second of engagement. Several studies peg Gen Z attention spans at just around eight seconds, less than that of a goldfish.

Subscribe to enjoy similar stories.The microdrama sector is poised for a major disruption following the launch of Tadka by JioHotstar and Fatafat by Amazon MX Player. According to industry experts, these media giants are operating with budgets 10 to 15 times larger than those of early-stage companies.