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Subscribe to enjoy similar stories.To have a coffee delivered to an office in Shanghai, simply ask one of China’s artificial-intelligence super-apps to choose a brew on your behalf, press “confirm” and the beverage will be on its way. Delegating such important decisions brings risks, of course.

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.From its early days mailing DVDs to becoming a major feature film studio, Netflix isn’t done disrupting the entertainment industry.Speaking at the Licensing Expo in Las Vegas on Tuesday, Netflix Chief Marketing Officer Marian Lee announced the company is expanding into new family-oriented business segments, with “major moves” into toys and candy.Netflix in a press release cited the popularity of its “kids and families” content as one of the reasons for moving further into consumer products.The streaming company said it is working with Ferrero Group to bring Charlie and the Chocolate Factory offerings to market, beginning with 10 seasonal and limited-edition chocolates, plus sugar confectionery, ice cream, and cereals. These products will launch this fall in the U.S.

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.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.As content clutter intensifies and organic discovery of fresh titles becomes harder, consumers are increasingly turning to AI for help.According to Gracenote, the content data business unit of Nielsen, adoption of AI-powered entertainment experiences is rising—especially among older Gen Alpha respondents (ages 13 and 14). The shift is already reshaping how this cohort discovers content.When asked to name the best source for TV and movie recommendations, 49% of Gen Alpha chose web- and app-based AI chatbots, ahead of streaming and cable service interfaces and program guides (41%) and internet search engine results (11%).The implication is clear: discovery is moving from browsing to prompting.As a result, creators and platforms are experimenting with multiple entry points.

Subscribe to enjoy similar stories.Ted Turner died last week at 87 and the world now feels a little less interesting, a little less imaginative and a little less fun without him in it—but also a lot better off because he was here.After hearing the news of his passing, one moment came to mind that embodied how he moved through the world: a very drunk Turner giving an interview after winning the America’s Cup in 1977. The yachting world was aghast.

Subscribe to enjoy similar stories.Back in school, Gaurav Banerjee wrote some poetry, following in the footsteps of his father, a civil servant who was also a poet. He didn’t think it was anywhere close to what his father wrote nor good enough to be shown to anyone.

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.Music labels, grappling with slow growth in paid subscriptions and advertising revenue in the Indian market, are increasingly eyeing regional music catalogues to bolster libraries and returns. Times Music, Warner Music and Saregama have acquired regional catalogues recently. Such consolidation benefits both established players and smaller regional companies.

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.Moviegoers couldn’t resist the chance to see Meryl Streep and Anne Hathaway reprise their roles as fashion magazine diva Miranda Priestly and her former assistant in Walt Disney’s The Devil Wears Prada 2.The 20th Century Studios’ remake of the 2006 hit film cat walked to the top of the domestic box office with an estimated $77 million take through Sunday, according to Comscore.AMC Entertainment, the nation’s largest movie theater chain, offered luxury-inspired popcorn handbags in select theaters on opening day, perhaps contributing to its $32.5 million in ticket sales on Friday.Comscore’s head of marketplace trends Paul Dergarabedian said The Devil Wears Prada 2 overperformed in international markets, where it raked in $156.6 million—more than twice what it sold in the U.S. and Canada—for an estimated $233.6 million global opening.

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.Two major films – Salman Khan’s Maatrubhumi and Vijay’s Jana Nayagan have been delayed indefinitely over the past few months as political pressures hold off certification and theatrical showcasing, adding to the inventory of unreleased films in India.The former film, previously titled Battle of Galwan, was to have been released in April, and is fighting a China angle as the government softens its stand towards the neighbouring country. Lead actor-turned-politician Vijay’s film was to have been released in January but has faced intense scrutiny and certification issues ahead of assembly elections in Tamil Nadu.Such delays for films have been seen earlier, adding to costs and expenses, disrupting OTT showcasing, and even having to be majorly re-edited or not released at all.

Subscribe to enjoy similar stories.India’s music industry is finally witnessing a long-awaited shift from free to paid consumption, with revenues and subscriptions climbing steadily.Yet the transition remains fragile. Sustaining the move from free to paid listening is critical, especially at a time when AI-generated versions of songs threaten to divert streams from original works and pirated sources continue to undercut legitimate consumption.Speaking to Mint, Victoria Oakley, chief executive officer of IFPI (International Federation of the Phonographic Industry)—the organisation that represents the interests of the recording industry worldwide—said the recent uptick in paid streaming marks a long-promised transition for India.However, she cautioned that the regulatory framework around AI remains unclear, even as governments, including India’s, grapple with how to balance technological innovation with rights protection and fair monetization for the creative community.According to a recent Ficci EY report, the Indian music segment, measured as revenues earned by music labels from licensing and other income, grew by 10% to reach ₹5900 crore in 2025.

Subscribe to enjoy similar stories.With Dhurandhar: The Revenge crossing the ₹1,000 crore mark at the domestic box office—becoming the first Hindi film to do so—industry watchers believe India’s theatrical potential could stretch to ₹1,200–1,500 crore for the right film.But unlocking that ceiling is far from easy.Films remain constrained by limited and uneven screen penetration across smaller towns, high ticket pricing that curbs footfalls, and intense competition that shortens exclusive theatrical runs. Add to that the shortage of consistently mass-appealing commercial entertainers, and record-breaking numbers become rare events rather than the norm.“The success of the Dhurandhar franchise clearly highlights the headroom in India’s theatrical market and demonstrates how scale-driven content can unlock exceptional outcomes,” said said Bhuvanesh Mendiratta, managing director, Miraj Entertainment Ltd.The opportunity is significant, but structural challenges persist.Screen penetration remains the biggest constraint.

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.