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OTT platforms engage a smaller but paying audience, offering higher completion rates and longer shelf life.According to the Ficci EY Media and Entertainment Report 2026, TVoD revenues in India are projected to rise from ₹500 crore in 2025 to ₹740 crore by 2028. Yet monetization remains skewed towards micro-transactions and subscription models, rather than pay-per-view-led revenue.YouTube is India’s leading ad-supported video platform by reach and watch time, reaching four out of five internet users aged 18 and above.

ALTT, and is positioning itself as a family-friendly destination. That, however, is only one part of a three-pronged strategy.The company, known for mostly risqué theatrical offerings such as The Dirty Picture and Udta Punjab in the last decade, is also announcing a host of feature film projects, starring mostly bankable faces, to recover investment through a combination of theatrical, satellite and OTT revenues.Thirdly, Balaji, which saw its net loss widen by 107% to ₹24.43 crore in the third quarter of fiscal year 2026 (FY26) and reported a 53.5% year-on-year drop in total revenue to ₹41.58 crore, has also launched an astrological service and a talent management vertical.However, the big question is, will these new bets pay off?“Our growth strategy today is built on a multi-platform content ecosystem.

Masaan, is now backing theatre productions, Adarsh Gourav will soon be seen in a docu-series titled The Tribal Voice, while Ridhi Dogra will feature in a travel series for National Geographic Channel.Industry experts say that for film actors, the shift toward theatre, documentaries and other formats is both creative and strategic. Cinema is inherently project-driven, so these avenues allow actors to stay engaged between releases while continuing to build their craft.From a brand perspective, diversification helps actors evolve from being seen purely as performers to more rounded creative voices.

Filmmakers are planning mega-budget big-screen spectacles across languages in the coming months despite a relatively volatile box office and uncertain business environment.The producers of the two-part mythological epic Ramayana (the first instalment of which is to be released in November) and SS Rajamouli’s Varanasi (scheduled for release in April next year) are banking on the ability of these stories to reach audiences beyond Indians, and south Asians in general. Both films are among the titles estimated to cost upwards of ₹1,000 crore each to make.They are also looking to create cinematic universes with spin-offs and merchandise offers, besides expectations of a smooth recovery from satellite and digital rights, even though broadcasters and streaming platforms have slowed down acquisitions.“The scale of these projects reflects a structural shift in how Indian cinema is positioning itself globally,” said Abishek S.

social media attention.Recent examples include the wedding of Telugu movie stars Vijay Deverakonda and Rashmika Mandanna, followed by a campaign by wedding fashion brand Manyavar-Mohey starring them as brand ambassadors. Soon after, the actors announced a film titled Ranabali, scheduled for release this September.Industry experts say this wedding-marketing economy is here to stay and will help ‘power couples’ command even higher brand value after they are married.“Celebrity weddings today are more high-attention cultural IP waiting to be monetized.

Amarjit Singh Batra refers to himself as a “big-time bathroom singer”. The general manager for South Asia, Middle East and Africa and managing director at the music streaming service Spotify India never trained as a singer as a child but had a naturally gifted voice, which meant he was always asked to sing at weddings and family gatherings.

Boong, a Manipuri film that became the first Indian movie to win in the Best Children’s and Family Film category at the BAFTA (British Academy Film Awards) recently, was re-released in cinemas earlier this month after its win but it found few takers. It made only around ₹1 crore, mirroring the struggle of films like All We Imagine as Light (filmed in Malayalam, Marathi and Hindi) earlier, that was nominated for the Palme d'Or and won the Grand Prix at the Cannes Film Festival.For context, Boong was made at a cost of ₹8 crore.

Drumah sapushpaah salilam sapadyam, streeyah sakama pavanah sugandhih |Sukhaah pradosha divsashch ramyaah, sarvam priye charutaram vasante ||The meaning of the verse is as follows: Oh beloved! everything has turned so beautiful during spring time. Trees are laden with flowers, ponds are full of lotus, air is scented, evenings pleasant and days are delightful.I entered my housing society park with a lot of enthusiasm to meditate, but failed. Why? Incredible decibel assault was on from the Noida-Greater Noida Expressway in the vicinity.

Marvel, into spin-offs and cross-format storytelling across platforms.Industry experts say this is a capital-efficient way for IP owners to extend the universe and monetize catalogues without the production risk of large-scale formats. For new-age platforms such as those hosting micro-dramas, it accelerates adoption by new users without much marketing expense. “Taking a known IP into formats like audio or micro-drama is about unlocking new value from existing storytelling equity.

Dhurandar: The Revenge hit the theatres on Thursday, and expectations are high after the massive success of the first part. While audiences are excited, the release holds greater significance for PVR Inox Ltd and its shareholders.The film is estimated to garner net domestic box office collection of around ₹100 crore on day one, supported by advance bookings and strong demand. The movie’s lifetime collections are estimated at ₹1,000-1,300 crore, which is no mean feat.For PVR, a film of this scale pushes occupancy levels and average ticket prices higher.

Ram Lakhan have failed to take off, while Tiger vs Pathaan—a much-hyped spy film starring Shah Rukh Khan and Salman Khan—has been deemed unviable for now by Yash Raj Films.In contrast, Tamil cinema continues to mount such collaborations with tighter budgets and stronger studio backing, often anchored in compelling storytelling.Trade experts say such ensemble projects are a near-guarantee at the box office, as combined fan bases drive theatrical footfalls and ensure recovery through ancillary rights.“Financially, assembling two major Hindi film stars can dramatically inflate production economics before filming even begins. Actor remuneration in Bollywood is structured around either large upfront fees or profit participation models.

Hollywood is known for its short memory, but David Ellison has been testing the aphorism’s limits. Ellison, who merged his Skydance studio with Paramount seven months ago and is in the process of acquiring Warner Bros Discovery, has a payroll that includes several names lodged in the collective memory of observers for the wrong reasons.First, there’s Jeff Shell, president of Paramount Skydance, who was fired as CEO of NBC Universal in 2023 following an allegation of sexual harassment. Then there’s John Lasseter, Paramount’s head of animation, who left Walt Disney in 2018 after allegations of inappropriate behaviour.

music labels under contractual arrangements. Disputes arise when legacy agreements are vague or silent on new exploitation methods, leading to debates over residual rights, especially in public performance, digital sharing, or re-recordings.The case highlights the continuing tension between authorship rights and the commercial realities of assignment-heavy industry practices.“The interim order in the Ilaiyaraaja vs.

Dhurandhar: The Revenge was, like its first edition, is anyway unlikely to release in the territory given its patriotic and anti-Islamic theme, other titles scheduled for the coming weeks could bear the brunt, given the unpredictable timeline of disruption.Over the coming weeks, Akshay Kumar’s horror comedy Bhooth Bangla, Telugu film Dacoit, and Malayalam titles Aadu 3, Drishyam 3 and Pallichattambi would have ordinarily looked to West Asia for box-office returns. Indian film buffs are now unlikely to make it to theatres to watch these films under present circumstances even if cinemas are technically functional.The region is among the top five overseas markets for Indian films along with the US, the UK, Australia and New Zealand.Industry experts said most Indian film producers are in a wait-and-watch mode, with only Kannada star Yash’s Toxic moved to June, citing tensions in the region.To put it in perspective, a big hit like Shah Rukh Khan's 2023 release Jawan had earned nearly ₹150 crore from the UAE alone and trade experts estimate that 25-30% of overseas box office comes from West Asia.“There will definitely be a big impact.

Where to watch: HBO Max or Amazon Prime VideoOne thing to know: Michael B. Jordan has appeared in all of director Ryan Coogler’s features, but in this saga of a Mississippi juke joint beset by vampires Jordan plays two characters: twins Smoke and Stack.Insider info: Miles Caton sung alongside the musician H.E.R.

The Beatles, the move underscores a long-standing reality: the Hollywood game remains fairly hard for Indian stars to crack.While the American entertainment industry appears inclusive and casts diverse faces, the resources and effort required to audition and secure a talent agency to represent them are beyond the reach of many Indian actors.“One reason may be simply lack of access. Another is that many actors are doing very well here; they have a strong run of films, they're surrounded by their people, they're celebrated, they're treated a certain way,” said Harikrishnan Pillai, chief executive officer (CEO) and co-founder, TheSmallBigIdea, a digital marketing agency.

India’s courts are keeping up with the times in their efforts to curb online piracy of films and television shows by issuing dynamic plus injunctions that are effective even for content that hasn’t been released yet.“We are witnessing a pivotal transition toward the dynamic plus injunction, where the Indian judiciary is providing ex-ante protection for content that hasn't even been expressed yet,” said Yash Vardhan Singh, counsel at Sarvaank Associates. “By moving away from static, URL-based orders, the courts are addressing the intractable reality of digital piracy, ensuring marquee properties like Stranger Things and Friends are protected from the moment of creation.”Experts said recent anti-piracy orders, particularly the dynamic plus injunction, expand the scope of dealing with emerging cyberspace issues.

OTT (over-the-top) content and other entertainment options for audience attention, promotional campaigns have become a central part of a film’s release strategy, often with actors contractually required to participate.A recent dispute in the Malayalam film industry has brought that shift into focus. The Kerala Film Producers’ Association (KFPA) has asked actor Biju Menon to pay a compensation of about ₹15 lakh to cover the alleged loss incurred by the producer of his movie Nadanna Sambhavam, after the actor allegedly failed to appear for promotions as required under his contract.Queries sent to the actor on Saturday requesting a comment remained unanswered.

streaming business is unsold inventory and falling acquisition prices, as studios are sitting on hundreds of crores of ready‑to‑release films and 40‑45 web series that no buyer wants.OTT revenues in India are estimated to be around ₹37,000 crore, in a mix of advertising and subscriptions.Meanwhile, the overall content spend has been halved and per‑episode costs are now benchmarked against TV rates, forcing producers to do more with less. Plus, the number of Indian originals has gone down, with many creators switching back to feature films, because a premium series can take over a year to develop.The rapid commissioning spree also created a shortage of experienced writers, directors and crew, hurting quality and making it difficult to scale new projects.Still, 2025 has witnessed intense licensing wars for theatrical releases.

Dhurandhar, industry experts say Bollywood has, in several cases, acted as a cultural accelerator for international acts in India.The phenomenon is not new.Akon’s association with Ra.One is often cited as a strong example—while he already had global recognition, the film placement pushed him into deeper mainstream recall across India. Similarly, Kylie Minogue (Blue) and Snoop Dogg (Singh Is Kinng) saw their familiarity widen through Bollywood integrations.The unparalleled reach of Hindi cinema—across theatres, television and streaming—creates a fast track for international artists to penetrate the Indian market.

The fear of artificial intelligence (AI) is so rampant now that it appears to be a matter of decorum to admit to this fear. People keep telling me AI is coming and that I should be scared. I’m very open to being scared, which I’ve always thought is a reasonable way of surviving life, but somehow I am not, and I have tried to understand why.Also, I don’t know what exactly I should be scared of, because there are two distinct fears.