#OTT Censorship

[ineffable-opinions]

BL “Censorship” & Commercialization

Content: 1. ubiquitous censorship - special focus on Japanese BL 2. commercial viability of live action BL & generalizations 3. solutions - special focus on state support of Thai BL 4. [update state-supported production of Love in the Big City series]

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Censorship is a sensitive topic. I have tried my best. Please feel free to comment and critique.

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History of Korean BL is one of censorship and commercialization and Korean fu-people has struggled against both. There have been different victors at different points in time. Aljosa Puzar’s "BL"(Boy Love), "GL"(Girl Love) and Female Communities of Practice and Affect in South Korea chronicles that struggle. (Highly recommended.)

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I have tried to problematize BL commercialization before. But that was in the context of fu-culture and the commodity fetishism associated with the consumption of BL, particularly in live action form which is probably its most capitalist rendition for many many reasons.

Here I would like to look at it from another angle: censorship. This is a continuation of my earlier post (Why so many shonen ai live-action?) motivated by the live action adaptation of ‘조폭인 내가 고등학생이 되었습니다’ (I, A Gangster, Became a High School Student) by 호롤 (Ho Rol).

The live action has jumped genres switching from BL to 판타스틱 휴먼 드라마 (lit. fantasy human drama). This switch got it tagged as ‘Censored Adaptation of Same-sex Original Work’ on My Drama List. I personally don’t like that tag. Almost all BL adaptation is a censored adaptation, with notable exceptions like Sei no Gekiyaku. But no one uses that tag for, say, 25 Ji, Akasaka de (2024) which censored all sexual content, especially from the volume 1 of the manga which was critical to the story and the couple’s development in the original manga series’ and its multiple adaptations’ popularity. Sukiyanen Kedo Do Yaro ka (2024) went as far as removing the more sexual second couple from the live action adaptation all together, yet it does not get a "censored" tag.

An interesting question that the controversy surrounding High School Return of a Gangster (2024) has sparked is that of BL media’s commercial viability, especially in live action form. Here’s what producers told the Korean newspaper, Hankook Ilbo, about the genre-jumping:

"BL 장르는 제작비 투자나 리쿱(제작비 회수)에 한계가 있는 게 사실이다. 그러다 보니 처음부터 이 작품은 브로맨스로 해보고 싶었다"

“The BL genre is limited in terms of investment in production costs and recoup (recovery of production costs). So, from the beginning, we planned it as a bromance (beulomaenseu).”

The author of this article cites examples of works that enjoyed success on OTT platforms, namely Watcha’s Semantic Error and TVing's Unintentional Love Story (2023). However, the article also highlights the fact that BL continues to be a niche genre and live action adaptations don’t guarantee success.

이성택 (Lee Seong Taek), the director of High School Return of a Gangster, previously directed the BL Love Class (2022). The producer 넘버쓰리픽쳐스 (Number Three Pictures Co., Ltd.) have BL works like Unintentional Love Story under its belt.

'Unintentional Love Story' Director Jang Eui-soon (장의순) | source

If the producer of one of the two most popular live action BL is admitting to it, then it is not easy to dismiss the issue of commercial viability of live action BL.

Very famous BL publishing houses (starting with JUNE) and hosting platforms with relatively lower expenses have struggled. Some of them are no more. It is also difficult for authors to survive merely on earnings from publishing houses and hosting platforms, especially when those platforms are not very rich. So, it is not difficult to imagine that live action production houses also struggle to survive.

Take GMMTV for example. They are probably one of the most successful BL producers. According to their managing director, BL content (series) is not a profitable business in itself. They rely on khujin (branded pairs) of actors to bring in advertisement revenue, merchandize sales, and pull crowds to concerts and fan-meets. It is not enough for actors to just act. They are expected to sing, dance and perform. Meanwhile, GMMTV is forced to keep working with these actor pairs and stick to templates that suit them. While it works for now, it remains to be seen how long the business model can last.

Now there is also investment from Mainland China that has migrated to other BL producers following dangai ban. But those who invest already burned themselves pretty bad with all the money they poured in during the short-lived but explosive dangai boom. It is sunk cost at this point. Another crack down could be the death knell for Chinese investments in BL. 

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More generally, it is likely that commercial viability of a live action BL project hinges on the following:

#1 Target demographic

Like all other BL content, live action too is primarily targeted at fu-people (BL audience) – both queer and non-queer. The target demography is further sub-divided based on the type of BL and purchasing power.

Sweeter ones are supposed to appeal to all ages and that’s the area Thailand and GMMTV in particular are focused on. Most of Japanese BL series are sweet. Korea too produces sweet BL. However, they are unlikely to bring in explosive success the way odo BL (those following royal road narrative progression – wherein characters face significant challenges, interpersonal or otherwise, to reach happy ending).

Older and, perhaps more hard-core fans, are likely to support jado works (BL that follow the evil path where neither happy ending nor resolution to challenges are guaranteed) with surprising frequency. This might be partly due to the erotic content in jado works.

Purchasing power of BL fans vary widely. There are those who are

“sending gifts to their actors in Thailand, sending food trucks to their shooting locations, putting up billboard advertisements and doing charity events [as well as] ordering merchandise in bulk.”

They also travel to BL producing nations [on fan pilgrimages] and attend fan meetings, concerts and other events regularly.

(Source: The Print)

The other group of BL fans who are probably younger and/or can’t afford to show support in the above-mentioned ways. BL commercially benefits from being appealing to those with higher purchasing power.

#2 Popularity of original work in case of adaptation  

Popular BL novels, manhwa, etc. bring in a set of fans who are interested in the live action. Longer and more-acclaimed works are likely to ensure success of the live action given decent making and reasonable changes during adaptation. Semantic Error is a case in point. However, missteps during adaptation can have the opposite effect.

#3 Cost of production

It is difficult to get investment in the first place, especially with how niche the genre is. Moreover, higher cost of production sets the bar for success higher too.

On the other hand, high production quality and better cast and crew (likely more expensive too) makes the viewing more pleasurable and increases the likelihood of success.

There are other factors which influence the success of BL producers. The most popular BL live action from China, Addicted, was produced by the author, Chai JiDan, with a tiny budget. Its dangai family drama remake, Stay with Me, also has an interesting producer.

Source | Mame with her Japanese fans

Orawan Vichayawannakul’s MeMindY is another BL author led production company that has enjoyed considerable success.

OP Pictures’ entry into BL genre has also been successful.

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Solutions

#1 Let’s start with the worst

BL as money laundering vehicle. It is probably the most obvious, sort of win-win until it isn’t. Sustainability depends how much skin the ruling class have in the game.

#2 State sponsorship

(or better yet, tax payer supported BL production)

State sponsorship is what Thailand has perfected.

source | 2023 seminar on "Beyond Borders: Exploring the Global Appeal and Diversity of Thailand's Boys' Love Contents" by 9 companies from Thailand organized by Department of International Trade Promotion under Thailand’s Ministry of Trade.

The eleven speakers, including an official from the Office of Commercial Affairs, Royal Thai Embassy in Japan, vigorously pitched partnerships with Japanese content companies [at the above-mentioned seminar.]

Also, several of the companies pitching at the seminar, such as Star Hunter Entertainment […] were plumping for BL not as a niche product but rather a core element of their corporate strategy.

Halo Productions representative Tewarat Supunnium [trumpeted] the vertical integration of his company, from talent representation to contents distribution.

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Thai BL has been big hits in China, South Korea, Japan, India, Indonesia, the Philippines, and beyond, which has motivated Thailand’s government to ‘deploy Boys Love as its latest soft power weapon to promote the country on the global stage’. In an article published in The Nation, BL director, Bundit Sintanaparadee, explains how that affects production.

He pointed out that the international popularity of Thai shows can boost tourism and generate interest in the featured locations – a vital aspect of soft power. The government can facilitate this process by providing support and streamlining the bureaucratic obstacles to filming in attractive locations like Bangkok’s Chinatown district of Yaowarat.

Filming in iconic places such as Yaowarat can be costly and complicated due to the need to coordinate with multiple government agencies and pay location fees. Bundit said the government could simplify the process to benefit not just filmmakers but also tourist revenue in the locations.

Bundit also cautioned against a top-down approach to soft power, where the government dictates what represents Thailand on the world stage. He emphasises the need for industry professionals to have their say.

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In a 2022 article, Bangkok Post explores the impact of BL on Thailand’s economy ‘as export products that can draw lucrative revenue streams and foster business opportunities in other areas, including tourism.’

[According to government estimates from 2021,] Thailand's Y content market was worth more than 1 billion baht... In June that year, the Department of International Trade Promotion held an online Y content business matching event to boost the industry, with the participation of 10 Thai content creators. More than 360 million baht was generated from the purchase of the Thai content, with the top three buyers coming from Japan, Taiwan and Vietnam.

Noppharnach Chaiyahwimhon, GMMTV's senior director of content production, said [that the] business ecosystem linked to Y Series in Thailand shows a growth of 30-40% per year. [He also said that] Y Series can also be a boon for other businesses, such as films, artist management and merchandise. [He mentioned] Y Series from Thailand [getting] translated into several languages [and one of their Y Series having received theatrical adaptation in South Korea.]

[According to] Kanokporn Prachayaset, chief commercial officer and country manager of WeTV Thailand, … Y Series from Thailand is one of the most popular content genres on its platform. [Half of all the BL content on the platform was Thai.] WeTV [was] sourcing Y Series from Asia as well as having its own WeTV original shows by working with various local production houses, such as GMMTV, TV Thunder, Dee Hup House, M Choice Studio and All This Entertainment. [She also highlighted the contribution of the fan base, which is] active in organising activities and campaigns for their idols.

Seksan Sripraiwan, director of the Tourism Authority of Thailand's (TAT) Tokyo office, said the TAT and the Royal Thai Embassy have actively promoted the country by using Thai entertainment [and that] Thai BL content is considered one of the most popular recent cultural exports to Japan. Japan's market for Thai BL is around 1 million viewers, of which 20,000-30,000 are heavily active on social media sites for renowned BL actors, led by Bright-Win and Krist-Singto. He said Japanese tour operators already offered tailor-made tour packages which contain elements related to BL TV series, such as shooting locations like universities, cafes, Wat Arun or the Amphawa floating market.

Kanokkittika Kritwutikon, director of the TAT Chengdu office, said Thai BL TV shows have gained popularity in China, such as the coming-of-age series "I Told Sunset About You", which helped drive tourists to Phuket, the main location of the story.

"Most Chinese BL fans are millennial females who can offer long-term support for their favourite actors," Mrs Kanokkittika said. [Recognizing the 3 million strong queer population of Chongqing,] she said the LGBT segment could be categorised as luxury travellers as they are high-income earners, live in key cities, and want to spend more for travel experiences.

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Earlier this year Ministry of Commerce have partnered with Be On Cloud and Idol Factory to promote ‘Thai products, services, tourism, and culture by incorporating them seamlessly into’ their new series “Shine” and “Pin Phak” aka “The Loyal Pin” respectively.

“This will help create around 2 billion in value for Thailand’s economy,” said Commerce Minister Phumtham.

Deputy Prime Minister and Commerce Minister Phumtham Wechayachai and two actresses, Becky and Freen, witness the signing ceremony between the Ministry of Commerce and Idol Factory Co., Ltd. on February 28, 2024....

According to the Department of International Trade Promotion, the Thai movie and series sector and related industries will generate 8,000 million baht in exports by 2023. In 2024, it will likely reach 10,000 million baht, particularly in the Y-movie and Y-series, which are expected to expand in value from 1,000 million baht to 2,000 million baht as a result of the Ministry of Commerce’s proactive cooperation with the private sector.

source

The Thai government’s efforts are paying off.

Oramon Sapthaweetham, director-general of the Department of Business Development, revealed that the Boys’ Love series had helped revitalise the film production industry, generating substantial profits and extending economic benefits to allied sectors, such as advertising, leveraging actors as influencers, event organisation, and tourism. 

"Over the past 10 years, Thailand has produced over 177 Boys’ Love [series], continuously gaining popularity and expanding its customer base, eventually leading to exports to international markets," Oramon added.

The film production industry in Thailand is witnessing substantial growth. In the first four months of 2024, 56 new businesses were registered, marking a 12% increase from 2023. The total registered capital also saw a significant rise of 146.44% to 195.18 million baht. In 2023, the industry grew by 20% with 137 businesses and a capital of 258 million baht. The total revenue in 2022 was 12.895 billion baht, indicating a continuous growth trend.

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#3 Diversification

Ok, so this is based on my limited knowledge and imagination. Feel free to skip.

There are two production companies that I have ever been interested in - Bhavana Studios and Mammootty Kampany. Both of them have produced experimental Malayalam movies while managing to remain commercially successful. While is partially attributable to these companies being brands, I think their overall strategy of diversification have worked in their favour.

Mammootty Kampany could produce art-house movie Nanpakal Nerathu Mayakkam for award circuits and with no expectation of commercial performance by banking on their other production Kannur Squad which was action entertainer sure to bring in the big bucks. Their queer family drama Kaathal – The Core and neo-noir psychological thriller Rorschach did exceptionally well in the box office as well as garnered critical acclaim. Bhavana Studios has similar track record of their commercially successful projects kind of cross subsidizing their experimental and unique projects and lifting the heat off in case of flops.

Having production companies which are aspirational in their approach to BL while having the economics sorted out help where government support is not forth coming.

Censorship as No-thing

When sometime is truly censored, we wouldn’t know. Unless we ask. Here’s what Jooyin Saejang learned from asking.

Conclusion

I have a strong preference for live action adaptations that are willing to go the last mile in terms of sexual content, social critiques and addressing real-life issues. That’s the reason why the header image for this BL side blog is from Moothon (2019).

But realistically this isn’t always possible. And I prefer having more production companies offering variety. I don’t want them to sink under the weight of BL that didn’t do well commercially and me being left at the mercy of media conglomerates with seemingly bottomless funds and monopsony over BL authors, original works and the culture that creates them.

Also, there is queer content from Korean that is neither mainstream nor from fu-culture. Support those. Unfortunately, Cheers by Cheers 짠!하면 알 수 있어 has been removed from their YouTube channel which is now called Cheer Up. While the series is gone, there are interviews with English subtitles.

Love in the Big City

Love in the Big City, the series and the movie are based on Park Sang-young's novel of the same name that was published in 2019. In Korea, it sold over 100,000 copies. Ever since, it has been translated into 15 languages, including English. The English translation by Anton Hur was published in 2021. The book has been longlisted for the International Booker Prize in 2022 and the Dublin Literary Award in 2023.

The movie secured an investor early on. The film was produced by Showbox and Tale Farming (고래와유기농). Michigan Venture Capital, a key investor, was responsible for 2 billion won out of the net production cost of about 6 billion won. Plus M Entertainment, a subsidiary of the JoongAng Group took care of its distribution. (source)

State-sponsorship for Korean BL !

The series, on the other hand, faced difficulty attracting investment as well as had trouble finding OTT platforms willing to air the show. It was co-produced by MerryChristmas, a subsidiary of WYSIWYG Studio' a KOSDAQ-listed company, along with Big Stone Studio. Mbrella Films provided production services in Thailand. They have received the state-support through Korea Creative Content Agency under Ministry of Culture, Sports and Tourism amounting to 3 billion won as production costs support aimed at strengthening the global competitiveness of K-content through OTT.

Finally, TVING, a platform that has aired multiple BL projects previously (such as Unintentional Love Story, Jazz for Two, To My Star 2, The Eighth Sense and High School Return of a Gangster), aired the series in South Korea and the streaming platform Rakuten Viki promoted it as a BL.

An iconic scene from bonus chapter 2 of The New Employee aka The New Recruit manhwa adaptation (web novel written by Moscareto and illustrated by Zec) ahead that didn't make it into the live action adaptation.

Gong comes home to find su in a sexy position at the doorway, fingering himself according to gong's instructions over phone.

[kccinstitutes]

Online National Level Debate Competition

Vansh Shiv Neelan from Amity University and Sanchit Singh Bhandari from KCCILHE together won Online National Level Debate Competition on the theme “DO WE REQUIRE CENSORSHIP IN OTT PLATFORM?” organized by Bibliophile -The Literary Society of KCC Institute of Legal & Higher Education, Greater Noida .

Participants from Institutions  all over India presented a wide spectrum of contrasting views on the topic. Some of the colleges which participated were Narsee Monjee Institute of Management Studies (NMIMS)- Indore, Sastra Deemed To Be University Tamilnadu, L. J. School of Law Ahmedabad, LJD LAW COLLEGE, Kolkata, Idyllic Institute of Management Madhya Pradesh, Abhinav Law college Pune, Khalsa College Law Amritsar, Shri Ramswaroop Memorial University Lucknow, Manipal university Jaipur, IIMT University Meerut,  Carmel School Bihar, Gitarattan International Business School (GIBS) New Delhi, Maharaja Agrasen Institute of Technology, Amity University, Ajay kumar Garg Engineering College, Ghaziabad.

#kcc #kccinstitutes #kcciilhe #kccitm #ggsipu #ipuniversity #aktu #bba #bca #bajmc #bcomh #btech #greaternoida #Placements #Job #placement #mba #bballb #ballb #mtech

#KCC #Institutes #Greater #Noida https://www.kccitm.edu.in

[heibaicom]

The Benefits of Web Series Over TV Shows and Films

There is no doubt that Web series have taken the world by storm, but their revolution in India is on a whole different scale. Web series have created excitement around the world, mainly because people have immediate access to new content, not just national, but international as well.

The success of Web series in India is largely due to their effectiveness in eliminating the major shortcomings of the industry. In fact, these were serious issues that had plagued the industry for quite a while.

The debate still exists- which is better?

There are a number of advantages to watching Web series over traditional hindi tv shows and movies.

Censorship is less prevalent

The biggest advantage of Web series, (at least according to viewers who believe in the creative rights of a creator), is that the Film Censor Board of India has not yet loomed over the OTT content in India like a hungry vulture. As a result, many filmmakers and producers prefer OTT platforms to screen their films or series without having to deal with unnecessary cuts and censorship.

It appears that OTT content will not need to be censored in India (fingers crossed). Unlike movie theatres, OTT content is mostly made to be watched privately.

With OTT platforms, mature content can also be easily separated from family content. This makes it easy for those who want to avoid mature content to avoid it.

Talent that's newer and better

It is web series that have deservedly recognized actors like Pratik Gandhi, Shreya Dhanwanthry, Tripti Dimri, Jaideep Ahlawat, and many others. To maximize box office collections, directors tend to cast actors who have a strong fan following. As a result of their subscription-based revenue model, web series and movies do away with relying on a star's fame and cast the best actors for the role.

A greater degree of democracy has been achieved in talent recognition and awarding thanks to web content.

The best release for great writers and better stories

As well as actors, web series have also brought talented writers to the fore like Sudip Sharma, who wrote 'Patal Lok'; Gaurav Shukla, who wrote 'Asur'; and Richie Mehta, who created 'Delhi Crime'.

It was Shupp Sharma’s dream to become a storyteller that led him to quit his conventional corporate job to create ‘Pataal Lok’. In addition to writing the story for movies like ‘NH10’ and ‘Udta Punjab’, he also wrote the incredible story for Sonchiriya. Though Sonchiriya did not do well in the box office, it received critical acclaim throughout India.

It is a tragedy that films like Sonchiriya, or creators like Sharma, whose stories are critically acclaimed and really worth watching, don't do well at the box office because moviegoers have specific aspirations.

It is true that the same themes work wonders on OTT platforms because it is a subscription-based model, and people are willing to watch serious content on such platforms. Pataal Lok is an example.

Stream anywhere, anytime

The greatest reason why web series are so popular with young and working people is that you don't have to wait for them to be broadcast. You can watch them anytime, anywhere.

Web series made in six to ten episodes have become more and more popular due to the binge-watch culture.

In light of the points above, it is obvious that web series have an advantage over traditional television shows and movies.

Future hindi movie hd are definitely on the rise. With the efficient way in which web series have eliminated many of the shortcomings of the Indian film industry, the entire industry has grown more positively in the few short years since OTT platforms were launched, than it has in the many years since it was founded.

OTT is by far the best way to ensure a continuous and adequate influx of good content and talent into the country. At least for now.

[cleverthylacine]

So one of the things people forget about Star Trek TOS is that things were very different in the 1960s--when this show came out, and I was a toddler and watched it with my dad.

The costume designer for Trek, William Ware Theiss, was one of those people who was brilliant at Getting Shit Past The Censors, which was much, much harder than it is today. There were all sorts of rules about what parts of an actress' body were allowed to be visible that do not exist today and did not exist at any time in which most of you reading this were involved with media fandom. This was the era in which bikini bottoms came up to your elbows because they wouldn't show a female navel on TV--if you look at most of the costumes on "hot" female characters, the navel was always covered, even if it meant having some truly odd fabric placement.

A good example would be the dress in the centre picture on the bottom row, from "For the World is Hollow And I Have Touched the Sky" which was also notable for letting Dr McCoy be the one who got the girl (and lost her, not because they hated women but because they couldn't afford to keep adding all Kirk et al's many gfs to the cast permanently lol). That is in fact Natira - the girl McCoy got.

And, while you could do cleavage all you wanted, the underside of the female breast was 100% a no-no.

Theiss took all these rules as a challenge and set out to create some of the sexiest outfits possible under the rules. In "Who Mourns for Adonais" there's a pink draped dress and the part that covers boobs is held up only by the weight of the train/cloak that's hanging over the character's shoulder. Oh, look, there it is in the centre pic out of the 9 smaller ones! Much more impressive than Bill Shatner's sparkly mini-toga.

Sadly, he died of AIDS in 1992 (and was probably queer) and it's sad to think about what Trek costuming might be like if Theiss had been allowed to go wild under relaxed censorship.

(Keep in mind, he did keep characters looking professional when that was what they were doing--the miniskirts look a bit OTT nowadays, but in 1966 it was a really big deal, and there were shorts under them, btw.)

hate people who don't like the outfits in old trek. they're literally the height of fashion fuck you

[neon-malai]

My Response for https://vt.tiktok.com/ZS2FL2KF9/

I appreciate Mr. Jiven’s concerns regarding the misuse of creative grants by some film producers—a well-known issue within our industry. However, I must respectfully disagree with many of his other views.

I’m compelled to respond here because his statements are overly generic, factually inaccurate, and misleading. Since the release of *Jagat*, a narrative has persisted, associating the film with box-office failure. Whenever young filmmakers attempt to create films in the vein of *Jagat*, certain industry insiders perpetuate this narrative, effectively undermining such efforts. It’s time to dispel this myth. I don’t enjoy addressing these issues publicly, as it may come across as self-promotion, but I hope you view this as a case study instead.

1. *Jagat* and Box Office

Firstly, I dislike terms like "Box Office" or "Art movie." There is art in every movie. The correct term is "Art house" film. A film is simply a film—either it’s good or bad, whether it moves you or not. These terms were coined by business interests, but for clarity, I’ll use "Box Office" when discussing *Jagat*.

Contrary to popular belief, *Jagat* was a box-office success in its own right, as some cinema exhibitors have told me. When *Jagat* was released in 2015, censorship was much stricter, leading to an 18+ rating, which cut our potential audience in half. We were allocated only 10 cinemas, compared to the 50+ cinemas given nowadays to Malaysian Tamil films. Despite these challenges, we collected RM 300k from just 10 cinemas, and there were no screenings in major cities like Ipoh, and only one in Penang Island. *Jagat* ran for nine weeks at Nu Sentral, making it the longest-running Malaysian film there for several years.

When discussing film revenue, we must also consider other sources like festival screening fees, private screening fees, TV stations, and OTT platforms. *Jagat* had over 60 private screenings in Malaysian colleges and was the first Malaysian Tamil film to be broadcast on TV3 for two years. It was also made available in 132 countries on Netflix—the only Malaysian Tamil film to achieve such a wide release. In contrast, other Malaysian Tamil films on Netflix are typically available in just 3-4 countries, mostly in Southeast Asia and India.

2. I’m Not Just a Film Festival Director

I’ve never claimed to be just a film festival director. If my goal was solely to make films for festivals, my approach would be entirely different. My aim is to tell local stories that resonate with my community while also reaching international audiences through film festivals. My last three films are genre films with an independent spirit—*Jagat* was a crime coming-of-age film, my second was a satirical romantic drama, and my third is a crime heist road movie. So, to clarify, I am not a film festival director alone. Even if I were, some films that only circulate in festivals can generate more revenue through screening fees than they would at the box office. In simple terms, making certain types of festival films can still be profitable.

3. I Do Make Bigger Budget Films

Who said I don’t make bigger budget films? My second film, *Neer Mel Neruppu/Fire On Water*, and my third, *Machai*, both had budgets around RM 1 million. Thanks to the profile I built with *Jagat*, I secured RM 650K through MyCreative Venture for my second film and RM 600K through Finas for *Machai*. We topped up the remaining funds ourselves. In an era where it’s challenging to raise even RM 250K for a Malaysian Tamil film, we managed to secure RM 1 million for each film. This was possible because we made our first film, *Jagat*, with RM 300K using our own funds and without government support. I didn’t wait for a higher budget to make my first move.

4.Good Films Can Be Made on Lower Budgets

An experienced director might say you can’t make a good film on a RM 100K budget. That’s wrong. Some of my industry friends have proven otherwise. One of my upcoming projects has a budget of around RM 100K, to be shot on an iPhone with non-actors. It depends on the project.

5. Budget Isn’t Everything

The film *Prebet Sapu* was made on a RM 300K budget, shot every weekend with different cameras borrowed from friends, which is why it’s in black and white. Another Malaysian director, Jacky Yeap, shot his first feature with a RM 150K budget. Last year, as a jury member for BMW Shorties, we selected a film with humble technical quality but a strong story. So, Malaysian Indian filmmakers, please stop using limited budgets as an excuse. This mindset is a curse because we tend to set the artificial standards of Kollywood’s cinematography and production design as the benchmark.

I hope these facts and my opinions help dispel some myths. Be honest with your art, stay persistent, and doors will open despite all the hurdles. Thank you for reading.

[credenceresearchdotblog]

The global demand for OTT services was valued at USD 202154.5 million in 2022 and is expected to reach USD 700206.52 million in 2030, growing at a CAGR of 16.80% between 2023 and 2030.The Over-the-Top (OTT) services market has undergone a transformative journey over the past decade, revolutionizing how consumers access and consume content. With its meteoric rise, OTT services have disrupted traditional broadcasting and cable TV models, offering unparalleled convenience, variety, and affordability. This article delves into the current state of the OTT market, its driving forces, challenges, and future prospects.

Browse the full report at https://www.credenceresearch.com/report/ott-services-market

Growth Trajectory

OTT services, which deliver content via the internet directly to viewers, bypassing traditional distribution channels, have seen exponential growth. Major players like Netflix, Amazon Prime Video, Hulu, and Disney+ have become household names, setting new standards for entertainment. According to industry reports, the global OTT market was valued at approximately $121.61 billion in 2021 and is projected to reach $1.039 trillion by 2027, growing at a compound annual growth rate (CAGR) of 14.3%.

Key Drivers of Growth

Several factors contribute to the booming OTT market:

1. Internet Penetration and Smartphone Adoption: The proliferation of high-speed internet and affordable smartphones has expanded access to OTT platforms. With more people connected than ever before, OTT services can reach a global audience.

2. Content Variety and Personalization: OTT platforms offer a vast library of content, ranging from movies and TV shows to documentaries and live sports. Advanced algorithms personalize recommendations, enhancing user engagement and satisfaction.

3. Flexibility and Convenience: Unlike traditional TV, OTT services provide on-demand content, allowing users to watch their favorite shows anytime, anywhere. This flexibility has made OTT platforms particularly popular among younger audiences.

4. Cost-Effectiveness: OTT subscriptions are generally more affordable than cable TV packages. Additionally, the absence of long-term contracts and the availability of free ad-supported options have made OTT services accessible to a broader audience.

Challenges Facing the OTT Market

Despite its rapid growth, the OTT market faces several challenges:

1. Content Saturation and Competition: With the influx of new entrants, the market is becoming increasingly saturated. Established players must continuously innovate and invest in original content to retain subscribers and stay ahead of the competition.

2. Piracy and Copyright Issues: The digital nature of OTT content makes it vulnerable to piracy. Protecting intellectual property and ensuring content security are critical concerns for service providers.

3. Regulatory Hurdles: Different countries have varying regulations regarding content distribution and censorship. Navigating these regulatory landscapes can be complex and may impact the availability of certain content.

4. Monetization and Profitability: While subscription models are popular, ad-supported models are also gaining traction. Balancing user experience with ad revenue and exploring new monetization strategies are ongoing challenges for OTT providers.

Regional Insights

The OTT market shows varying trends across different regions:

1. North America: The North American market, led by the United States, is the most mature. High disposable income, advanced infrastructure, and a strong preference for digital entertainment contribute to its dominance.

2. Asia-Pacific: This region is witnessing the fastest growth, driven by countries like India and China. Increasing internet penetration, a young population, and a growing middle class are propelling the demand for OTT services.

3. Europe: The European market is characterized by a diverse linguistic and cultural landscape. Local content production and strategic partnerships are crucial for OTT providers to cater to regional preferences.

4. Latin America and Africa: These regions present significant growth opportunities due to improving internet infrastructure and a burgeoning appetite for digital content. However, economic challenges and lower disposable incomes may pose barriers to widespread adoption.

The Future of OTT Services

The future of the OTT market looks promising, with several trends shaping its trajectory:

1. Technological Advancements: Emerging technologies like 5G, artificial intelligence, and virtual reality are set to enhance the OTT experience. Faster internet speeds and improved streaming quality will further drive user engagement.

2. Original Content Production: To stand out in a crowded market, OTT providers are increasingly investing in original content. High-quality, exclusive content will be a key differentiator in attracting and retaining subscribers.

3. Hybrid Models: The future may see a blend of subscription-based and ad-supported models, offering users more choices while maximizing revenue streams for providers.

4. Global Expansion: OTT platforms will continue to expand their global footprint, tapping into untapped markets and catering to diverse audiences with localized content and strategic partnerships.

Key Players

Google LLC (U.S.)

Apple Inc. (U.S.)

Amazon.com, Inc. (U.S.)

AT&T Intellectual Property. (U.S.)

STAR (India)

Twitter, Inc. (U.S.)

Hulu, LLC (U.S.)

Comcast (U.S.)

BT (U.K.)

Cox Communications, Inc. (U.S.)

Facebook (U.S.)

Verizon Media (U.S.)

TalkTalk TV Entertainment Limited (U.K.)

Deutsche Telekom AG (Germany)

Akamai Technologies (U.S.)

Fandango (U.S.)

Snagfilms Inc. (U.S.)

iNDIEFLIX Group Inc. (U.S.)

Xperi (U.S.)

Crackle, Inc. (U.S.)

Brightcove Inc. (U.S.)

Others

Segmentation

By Content Types

Video Streaming Services:

Subscription Video-On-Demand (SVOD)

Ad-Supported Video-On-Demand (AVOD)

Transaction Video-On-Demand (TVOD)

Live TV Streaming Services

Music Streaming Services

Gaming Services

E-books and Audiobooks

News and Magazines

Educational Content

Sports Streaming

By Distribution Models

Standalone OTT Services

OTT Services from Traditional Media Companies

Bundled Services

OTT Aggregators

OTT White-Label Solutions

OTT Advertising Platforms

By User Devices

Smart TVs

Streaming Devices

Computers and Laptops

Mobile Devices

Gaming Consoles

Set-Top Boxes

Smart Speakers and Voice Assistants

By Business Models

Subscription-based Services

Advertising-based Services

Transactional Services

Freemium Models

By Region

North America

The US.

Canada

Mexico

Europe

Germany

France

The U.K.

Italy

Spain

Rest of Europe

Asia Pacific

China

Japan

India

South Korea

South-east Asia

Rest of Asia Pacific

Latin America

Brazil

Argentina

Rest of Latin America

Middle East & Africa

GCC Countries

South Africa

Browse the full report at https://www.credenceresearch.com/report/ott-services-market

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[formulerstore]

Benefits and Challenges of Android OTT Streaming

Android OTT (Over-The-Top) is a streaming platform designed to deliver content over the internet, eliminating the need for traditional cables or satellite TV devices. OTT content is easily accessible to consumers through various internet-connected devices, including smartphones, tablets, smart TVs, set-top boxes, gaming consoles, and desktop and laptop computers. Android OTT devices are recognized for providing high-quality content, offering a more cost-effective alternative to traditional satellite TV devices. Additionally, they are travel-friendly, allowing users to access their favorite content on the go.

One of the key advantages of Android OTT platforms is their ability to deliver content in real-time, enhancing the user experience. However, this does come with a prerequisite of a stable and robust internet connection. In remote areas or locations with poor connectivity, users may encounter issues such as buffering, which can impact the seamless streaming of content.

Moreover, Android OTT platforms distinguish themselves by offering no censorship, providing users with the freedom to explore a wide range of content without restrictions imposed by regulatory bodies. Despite this freedom, users need to be mindful of potential security risks, as OTT platforms are susceptible to malware and other security threats. Regular updates and cautious app installation practices are crucial to maintaining a secure viewing environment.

While Android OTT platforms present numerous advantages, it's essential to acknowledge certain drawbacks. The absence of age restrictions and the freedom to access uncensored content can be seen as both an advantage and a potential concern, especially for parents or guardians monitoring content for younger audiences.

In conclusion, Android OTT platforms represent a modern and flexible approach to content consumption. Their accessibility across various devices, cost-effectiveness, and freedom from traditional restrictions contribute to their growing popularity. However, users should remain aware of potential connectivity issues, security concerns, and the need for responsible content monitoring, especially in households with diverse age groups.

[myfrenzi]

Female-Centric Films and Web Series on OTT Platforms

The Pioneering Evolution of OTT Streaming: Best Web Series on OTT

In the realm of entertainment, Over-the-Top (OTT) streaming platforms have not only disrupted the traditional ways of content consumption but have also become the preferred choice for a global audience. The allure of OTT lies in its diverse content offerings, flexible accessibility, and the ability to cater to individual preferences. In this article, we’ll explore the pioneering evolution of OTT streaming and discover some of the best web series on OTT platforms that have taken the world by storm.

The Early Days of OTT Streaming

OTT streaming began as a relatively modest concept, but it quickly gained momentum and transformed into a colossal industry. The early entrants like Netflix and Amazon Prime Video laid the foundation for what would become a revolution in entertainment consumption.

Netflix: A Trailblazer in Original Content

Netflix, often credited with popularizing OTT streaming, shifted its focus from being a platform for licensed content to producing its own original series. Hits like “House of Cards” and “Orange Is the New Black” demonstrated that high-quality, original programming could thrive on OTT platforms.

Amazon Prime Video: Bridging the Gap

Amazon Prime Video entered the market with a unique approach, offering a combination of original content and a wide selection of movies and shows. “The Marvelous Mrs. Maisel” and “The Boys” became standout titles, showcasing the platform’s commitment to innovation.

The Rise of Diverse Content

One of the key strengths of OTT platforms is their ability to cater to diverse tastes and preferences. Unlike traditional television, where scheduling and programming are fixed, OTT platforms offer an extensive library of content that can be accessed at any time.

Drama and Intrigue: “Breaking Bad” (Netflix)

“Breaking Bad” is a prime example of how OTT platforms have embraced complex narratives. This gripping crime drama became a cultural phenomenon, demonstrating that viewers were hungry for more than just traditional network programming.

Comedy with a Twist: “Fleabag” (Amazon Prime Video)

“Fleabag” challenged conventional notions of comedy, offering a dark and witty exploration of life’s complexities. Phoebe Waller-Bridge’s performance and writing earned critical acclaim, proving that OTT platforms could push boundaries.

Global Reach and Cultural Exchange

OTT platforms have transcended geographical boundaries, connecting viewers from different parts of the world. This global reach has led to a rich exchange of cultural perspectives and storytelling styles.

Spanish Sensation: “Money Heist” (La Casa de Papel) (Netflix)

“Money Heist,” originally a Spanish series, achieved international acclaim and became one of Netflix’s most-watched shows. Its success highlighted the platform’s commitment to offering content from various regions.

Indian Diversity: “Sacred Games” (Netflix) and “Mirzapur” (Amazon Prime Video)

Indian OTT platforms, too, have made their mark with compelling web series like “Sacred Games” and “Mirzapur.” These series have not only gained popularity within India but have also found a global audience.

The Impact on Traditional Television

While OTT platforms have risen in popularity, traditional television hasn’t faded into oblivion. Instead, it has adapted to coexist with its digital counterparts.

Digital Extensions

Many traditional television networks have created their own OTT extensions. HBO Max, for instance, offers a digital platform that complements its cable programming, allowing viewers to access content on their terms.

Government Regulations and Challenges

The rise of OTT platforms has brought forth challenges related to content regulation and censorship. Governments in various countries have introduced guidelines to monitor and regulate content on these platforms, sparking debates on artistic freedom and expression.

Balancing Act

OTT platforms are now faced with the task of striking a balance between creative freedom and adhering to government regulations. This balancing act is crucial to ensure that content remains engaging and relevant while respecting cultural sensitivities.

Monetization Strategies

Monetization has been a pivotal aspect of OTT platforms’ growth and sustainability. These platforms have explored various monetization models to generate revenue.

Subscription-Based Models

Many OTT platforms offer subscription-based services that provide ad-free access to a vast library of content. Subscribers pay a monthly or annual fee to access premium features and exclusive content.

Ad-Supported Models

Some platforms offer free access to content but include advertisements that generate revenue. These ads can be in the form of banner ads, video ads, or sponsored content.

Freemium Models

Freemium models combine free and premium content. Users can access a limited selection of content for free but must upgrade to a premium subscription for full access.

The Advent of Live Sports Streaming

In recent years, OTT platforms have ventured into live sports streaming, acquiring broadcasting rights for popular sports events. This diversification of content offerings has attracted a broader audience base, further solidifying the position of OTT platforms in the entertainment industry.

A New Era for Sports Fans

Sports enthusiasts can now enjoy live matches and events on OTT platforms, allowing them to watch their favorite teams and athletes in action from anywhere with an internet connection.

The Future of OTT Platforms

As we look ahead, the future of OTT platforms appears promising, with several trends shaping the industry’s growth and evolution.

Personalization: Tailored Experiences

OTT platforms are increasingly using data analytics and artificial intelligence (AI) to personalize content recommendations. This enhances the viewer’s experience by offering content that aligns with their preferences.

Live Streaming Beyond Sports

Live streaming has expanded beyond sports events to include concerts, news broadcasts, and other live experiences. OTT platforms are capitalizing on this trend to provide diverse live content.

Global Expansion

OTT platforms are aggressively expanding into emerging markets, where there is significant potential for growth. This expansion is driven by increasing internet penetration and a growing appetite for digital content.

A New Era of Entertainment

The rise of OTT streaming platforms has ushered in a new era of entertainment. These platforms have not only transformed how we consume content but have also democratized access to diverse and high-quality programming. Whether it’s the convenience, the diversity of content, or the freedom to choose when and where to watch, OTT streaming platforms have redefined the entertainment landscape.

Advertisement

As we continue to witness the ascent of OTT streaming, one thing is clear: this medium is here to stay. It will continue to shape how we consume and engage with entertainment, offering an ever-expanding universe of choices for viewers worldwide. So, the next time you’re wondering what web series to watch on OTT, rest assured that there’s a treasure trove of captivating content waiting for you to explore.

FAQs

Are OTT streaming platforms replacing traditional television? While OTT streaming has gained significant popularity, traditional television continues to coexist, with both mediums evolving to meet viewer demands.

What is the future of cable TV in the era of OTT streaming?| Cable TV is adapting by offering more flexible packages and exploring streaming options to remain competitive in the evolving media landscape.

Are there age-appropriate controls on OTT platforms? Yes, many OTT platforms offer parental controls and age-appropriate content settings to ensure a safe viewing experience for all audiences.

How can I access the best web series on OTT platforms? You can access these series through their respective OTT platform websites or dedicated apps, often available on various devices.

Will the popularity of OTT streaming continue to grow? Yes, the popularity of OTT streaming is expected to continue growing as platforms invest in original content, expand their global reach, and enhance user experiences.

The evolution of OTT streaming is an exciting journey, and it’s a journey that’s far from over. Stay tuned for more thrilling content, groundbreaking technology, and innovative experiences in the world of OTT streaming.

[kharisubas40972]

Manoj Bajpayee opposes calls for censorship on OTT platforms; says, “The day you get censors to OTT, it will die” : Bollywood News

Censorship on OTT is one of the hottest topics of debate in the entertainment world currently. Not-so-long-ago, superstar Salman Khan spoke in favour of censorship on OTT. However, Manoj Bajpayee is resolute in his belief that censorship should not be imposed on digital content. Bajpayee contended that if severe regulations are enforced, it would lead to the demise of the platform itself. Manoj…

[werindialive]

To make a return, Rana Naidu needs to simmer down several notches

Rana Naidu season 2 will be on Netflix in its time but it will be possible only after the series would simmer down significantly. as per the sources, the series received a backlash from the fans which has affected those behind the production of the series. Veteran actor Venkatesh who is renowned for his acting skills and have a massive fan base was at the worst receiving end of the backlash as the majority of his fans are highly conservative. Even if they aren’t, the sex and obscenity in the series are way too much for normal audience. Venkatesh shows a sleazy character and the entire series uses graphic sex-related dialogues which really is traumatizing.

Many reputed personalities have shown their concerns about the series including veteran actress Vijayashanthi. Without naming the series, Vijayashanthi criticized Rana Naidu and advised censorship for the OTT platform. The minister of Information and Broadcasting Anurag Thakur also spoke about the series and not in a positive way. “Abusive language in the name of creativity will not be tolerated. The government is serious about the complaints of increasing abusive and obscene content on OTT platforms. If there is a need to make any changes in the rules regarding this, the ministry is willing to consider that...these platforms were given freedom for creativity, not obscenity".

Although he did not mention any name in his statement, it was clear that the remark is directed towards Rana Naidu for its obscene content in Rana Naidu.

Thus, before the second season of the series hits the screen, a thorough scrutiny would be performed to ensures soberness.

As per a source, “Rana Naidu is a big hit on Netflix. If people were so outraged by its content how come it has clicked bigtime? So no, the second season won’t be scrapped. But yes, it will be severely toned down.”

For more entertainment news in Hindi, subscribe to our newsletter.

[vilaspatelvlogs]

भास्कर इंटरव्यू: OTT सेंसरशिप पर अभय देओल ने कहा- यह लोगों को तय करने देना चाहिए कि उन्हें क्या देखना है और क्या नहीं

भास्कर इंटरव्यू: OTT सेंसरशिप पर अभय देओल ने कहा- यह लोगों को तय करने देना चाहिए कि उन्हें क्या देखना है और क्या नहीं

Ads से है परेशान? बिना Ads खबरों के लिए इनस्टॉल करें दैनिक भास्कर ऐप 21 मिनट पहलेलेखक: ज्योति शर्मा कॉपी लिंक 1962 के भारत-चीन युद्ध पर आधारित वेब सीरीज ‘1962: द वॉर इन द हिल्स’ 26 फरवरी को OTT प्लेटफॉर्म डिज्नी प्लस हॉटस्टार पर रिलीज हो चुकी है। इसके जरिए अभय देओल और माही गिल की जोड़ी 12 साल बाद वापस लौटी है। दैनिक भास्कर को दिए इंटरव्यू में अभय ने सीरीज, किसान आंदोलन, माही के साथ अपनी…

[shivam11110000]

Abhay Deol Talks About His Web Series 1962: The War in the Hills, Farmers Protest, OTT Censorship And Other Things | OTT सेंसरशिप पर अभय देओल ने कहा- यह लोगों को तय करने देना चाहिए कि उन्हें क्या देखना है और क्या नहीं

Abhay Deol Talks About His Web Series 1962: The War in the Hills, Farmers Protest, OTT Censorship And Other Things | OTT सेंसरशिप पर अभय देओल ने कहा- यह लोगों को तय करने देना चाहिए कि उन्हें क्या देखना है और क्या नहीं

Ads से है परेशान? बिना Ads खबरों के लिए इनस्टॉल करें दैनिक भास्कर ऐप 19 मिनट पहलेलेखक: ज्योति शर्मा कॉपी लिंक 1962 के भारत-चीन युद्ध पर आधारित वेब सीरीज ‘1962: द वॉर इन द हिल्स’ 26 फरवरी को OTT प्लेटफॉर्म डिज्नी प्लस हॉटस्टार पर रिलीज हो चुकी है। इसके जरिए अभय देओल और माही गिल की जोड़ी 12 साल बाद वापस लौटी है। दैनिक भास्कर को दिए इंटरव्यू में अभय ने सीरीज, किसान आंदोलन, माही के साथ अपनी…

[myfrenzi]

Analyzing the Success of OTT-Exclusive Movies

In recent years, the landscape of entertainment has witnessed a significant transformation with the rise of Over-The-Top (OTT) platforms. These streaming services have not only changed the way we consume content but have also given a new dimension to the movie industry. One of the fascinating trends that have emerged is the creation and distribution of OTT-exclusive movies. In this blog, we will delve into the reasons behind the success of these movies and also highlight some of the Best movies on OTT platforms.

The Rise of OTT-Exclusive Movies

OTT platforms have become a hub for original content, giving filmmakers an alternative avenue to showcase their creativity. The success of OTT-exclusive movies can be attributed to several factors:

1. Diverse Content: Unlike traditional studios that often stick to tried-and-tested formulas, OTT platforms encourage diverse and experimental storytelling. This has led to the production of movies that cater to niche audiences, providing content that might not have found a place in mainstream theaters.

2. Global Reach: OTT platforms have a global audience reach, allowing movies to be accessible to viewers around the world simultaneously. This wide distribution can lead to instant recognition and fame for both the film and its creators.

3. Less Restrictive Content Regulations: Unlike traditional cinema, OTT platforms are less constrained by censorship and content regulations. This creative freedom enables filmmakers to explore bold themes, resulting in unique and impactful narratives.

4. Data-Driven Approach: OTT platforms use data analytics to understand viewer preferences and behavior. This data-driven approach helps in producing content that is tailored to audience tastes, increasing the chances of success.

5. Flexibility in Viewing: Viewers have the flexibility to watch movies at their convenience, eliminating the need for fixed schedules. This accessibility enhances the chances of a movie’s success over time, as word-of-mouth recommendations spread.

6. Lower Budgets, Higher Quality: OTT-exclusive movies often have more modest budgets compared to blockbuster films. However, this limitation fosters creativity and encourages filmmakers to focus on storytelling and character development rather than relying solely on visual effects.

Best Movies on OTT Platforms

1. “The Irishman” (Netflix): Directed by Martin Scorsese, this crime drama starring Robert De Niro, Al Pacino, and Joe Pesci garnered critical acclaim for its powerful performances and gripping storyline.

2. “Soul” (Disney+): This Pixar animated film explores deep philosophical questions through the journey of a musician’s soul. It is a perfect example of how animation can be used to convey profound themes.

3. “Parasite” (Hulu): Bong Joon-ho’s masterpiece took the world by storm with its thought-provoking social commentary and brilliant storytelling. It became the first non-English language film to win the Academy Award for Best Picture.

4. “The Trial of the Chicago 7” (Netflix): Based on true events, this legal drama directed by Aaron Sorkin offers a riveting account of the trial of anti-Vietnam War protestors.

5. “Nomadland” (Hulu): Directed by Chloé Zhao, this film follows a woman’s journey as a modern-day nomad, blending fiction and reality seamlessly.

6. Disruption of Traditional Distribution Models: OTT platforms have disrupted the traditional distribution models, giving filmmakers an alternative way to showcase their work. This shift has led to a more democratized approach to filmmaking, where talent and creativity are often prioritized over big budgets and star power.

7. Changing Box Office Dynamics: The success of OTT-exclusive movies has challenged the traditional box office metrics. While box office earnings used to be a primary indicator of a movie’s success, the focus has now shifted to factors like streaming numbers, subscriber growth, and audience engagement on OTT platforms.

8. Boosting Independent Filmmakers: Independent filmmakers, who often struggle to find a place in mainstream cinema due to budget constraints and distribution challenges, have found a welcoming platform in OTT services. This has given rise to a surge in indie films that may not have seen the light of day otherwise.

9. Altered Marketing Strategies: The marketing strategies for OTT-exclusive movies are different from traditional films. While traditional movies rely heavily on pre-release marketing and opening weekend box office numbers, OTT movies benefit from sustained marketing efforts that focus on building long-term audience engagement.

10. Recognition at Awards Shows: The success of OTT-exclusive movies has garnered the attention of prestigious awards shows like the Oscars, Golden Globes, and Emmys. This recognition has broken the barrier between “cinema” and “television,” showcasing that exceptional storytelling can thrive across various platforms.

11. Shaping Audience Preferences: The availability of diverse content on OTT platforms has influenced audience preferences and expectations. This has encouraged traditional studios to adapt to changing tastes and produce more varied and relevant content.

12. Global Talent Collaborations: OTT platforms have facilitated collaborations between talent from different parts of the world, leading to cross-cultural storytelling that resonates with a global audience. This has enriched the creative landscape by introducing viewers to different perspectives and cultures.

The era of OTT-exclusive movies has ushered in a new era of creative freedom and global reach in the movie industry. These platforms have allowed filmmakers to break free from conventional norms, resulting in the production of unique and diverse content that resonates with audiences around the world. As we’ve explored in this blog, the success of OTT-exclusive movies can be attributed to their diverse content, global reach, flexibility, and data-driven approach. The best movies available on OTT platforms, such as “The Irishman,” “Soul,” “Parasite,” “The Trial of the Chicago 7,” and “Nomadland,” exemplify the potential for excellence in storytelling on these platforms. With the continuous evolution of technology and viewing habits, it’s certain that OTT-exclusive movies will continue to captivate audiences and redefine the cinematic lands.

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I love being on the stage and will continue even if no one turns up: Shah

I love being on the stage and will continue even if no one turns up: Shah

After a long and eerie uncertainty that loomed over the premises of Mumbai’s iconic Prithvi theatre, Naseeruddin Shah returned to stage as Einstein, much to the delight of theatre goers. Shah, who continues to be the theatre circuit’s mainstay, to a large extent, feels there are tough times ahead for theatre in a Covid-19 world. The 70-year-old actor says, “I fear for the existence of the large…