<img class="gwt-Image" src="/photo/32243274.cms" /> Here is one <keyword id="2045029" type="UNKNOWN" weightage="100" keywordseo="Bollywood-rom-com">Bollywood rom-com</keyword> that could have raised some serious questions about recession and its backlash, hollow consumerism and Gen Y lifestyle, without losing its frothiness. But Nupur Asthana-directed <keyword id="2045255" type="UNKNOWN" weightage="100" keywordseo="Bewakoofiyaan">Bewakoofiyaan</keyword> (from the house of <keyword id="36603" type="CITY" weightage="100" keywordseo="Yash-Raj-Films">Yash Raj Films</keyword>) does not go beyond the first layer of the grim reality and tanks at the <keyword id="25892" type="ORGANIZATION" weightage="100" keywordseo="box-office">box office</keyword>. The flick, starring <keyword id="6354535" type="PERSON" weightage="100" keywordseo="Ayushmann-Khurrana">Ayushmann Khurrana</keyword>, <keyword id="710" type="PERSON" weightage="100" keywordseo="Sonam-Kapoor">Sonam Kapoor</keyword> and <keyword id="6357910" type="PERSON" weightage="100" keywordseo="Rishi-Kapoor">Rishi Kapoor</keyword>, was released on Friday the 14th, exactly a month after Valentine’s Day, and turned out to be a damp squib – netting around Rs 6.75 crore at home after the first weekend. That’s quite disappointing as business should have picked up during the <keyword id="2144242" type="UNKNOWN" weightage="100" keywordseo="Holi-weekend">Holi weekend</keyword>. Also, the crucial Day 4 figures are not available yet as movie theatres across Northern India did not open till 3 pm on Monday (March 17) on account of Holi. As per a report by Rentrak, the opening weekend collection stood at $46,888 (Rs 28.64 lakh) in the US where Bewakoofiyaan was released in 51 theatres. 
 
Interestingly, Kangna Ranaut-starrer <a href="http://www.businessinsider.in/Box-Office-Queen-OutshinesGulaab-Gang-Total-Siyapaa-Tanks/articleshow/31848837.cms">Queen</a>, released on March 7, continues to rule the <keyword id="827271" type="UNKNOWN" weightage="100" keywordseo="Domestic-Box-Office">domestic box office</keyword> in the second week and has netted a little over Rs 31 crore after Day 10, according to trade estimates. The flick has grossed around Rs 5.3 crore overseas during this time span and could be well on its way to become another <keyword id="143" type="CITY" weightage="100" keywordseo="Bollywood">Bollywood</keyword> top-grosser in 2014 after Salman’s Khan’s <a href="http://www.businessinsider.in/Sunny-Leone-SizzlesIn-Ragini-MMS-2-Jai-Ho-Finally-Enters-100-Crore-Club/articleshow/29870204.cms">Jai Ho</a>. On the other hand, the much-touted <a href="http://www.businessinsider.in/Box-Office-Queen-OutshinesGulaab-Gang-Total-Siyapaa-Tanks/articleshow/31848837.cms">Gulaab Gang</a>, starring <keyword id="289" type="PERSON" weightage="80" keywordseo="madhuri-dixit-nene">Madhuri Dixit Nene</keyword> and <keyword id="6371319" type="PERSON" weightage="80" keywordseo="Juhi-Chawla">Juhi Chawla</keyword>, has considerably slowed down at the domestic box office, collecting around Rs 13 crore till date, as per Koimoi. 
 
The other release of the week is <keyword id="329977" type="PERSON" weightage="100" keywordseo="W">W</keyword>, a <keyword id="2144245" type="UNKNOWN" weightage="100" keywordseo="Musical-thriller">musical thriller</keyword> directed by <keyword id="2077464" type="UNKNOWN" weightage="100" keywordseo="Tarun-Madan-Chopra">Tarun Madan Chopra</keyword> and starring <keyword id="2144218" type="UNKNOWN" weightage="100" keywordseo="Leeza-Mangaldas">Leeza Mangaldas</keyword> (Sandy), Leslie Tripathy (Ruhi), Sonal Giani (Manu) and others. This one is a movie with a message and deals with the trauma of three rape victims, seeking justice in a male-dominated society. But don’t try to compare it with the regional but hugely acclaimed Adalat o Ekti Meye, directed by Tapan Sinha. The emotional pain and conflict are <keyword id="6357415" type="ENTERTAINMENT" weightage="80" keywordseo="missing">missing</keyword> here even though the movie is dealing with a sensitive issue like rape. Instead, we land up in a stereotype <keyword id="1321184" type="UNKNOWN" weightage="100" keywordseo="revenge-drama">revenge drama</keyword> that works out all too smoothly. The <keyword id="2034852" type="UNKNOWN" weightage="100" keywordseo="Box-office-numbers">box office numbers</keyword> are yet to arrive and we will keep you updated. 
 
Coming back to the storyline of Bewakoofiyaan, it is not difficult to see how ‘grave’ issues like joblessness and the consequent loss of social status have been watered down till everything falls into place as per Bollywood tradition. Here, we have <keyword id="793543" type="PERSON" weightage="100" keywordseo="mohit-chaddha">Mohit Chaddha</keyword> (Ayushmann Khurrana), an <keyword id="2144224" type="UNKNOWN" weightage="100" keywordseo="ambitious-airline-executive">ambitious airline executive</keyword> who has landed the infamous pink slip; his girlfriend <keyword id="2144220" type="UNKNOWN" weightage="100" keywordseo="Mayera-Sehgal">Mayera Sehgal</keyword> (Sonam Kapoor) – an upper class, brand-worshipping Delhiite, and her highly placed, ‘practical’ father VK Sehgal (Rishi Kapoor). While Ayushmann’s fall from grace, his anger and frustration at losing the top-end lifestyle look convincing enough, Sonam never walks the talk she hands out to cheer up a depressed Ayushmann. For her, there’s no maturing of role and she looks eminently confused – trying to cope with a dictatorial papa and a boyfriend in distress. As for Rishi Kapoor, there is no saving grace either. Once again, he is the quintessential Bollywood father, ruling his daughter’s life. 
 Overall, not an inspiring movie and fails to go beyond the obvious. <keyword id="210839" type="POSITION" weightage="80" keywordseo="Critic">Critic</keyword> Sanjukta Sharma sums it up well when she says the film is flat, monotonous and defying all manner of reason, and it is no better than ‘a soap opera.’ 
 
Image: Indiatimes

Box Office: Bewakoofiyaan Is Lacklustre, W Verges
On Stereotype

<ul><li>Social media app TikTok is famous for many things but mostly for its crazy viral challenges. </li><li>With increasing users, more and more people are taking up new and interesting challenges. </li><li>From “TakTakTak” to “ILoveMyIndia”, here are the most popular challenges of 2019. </li></ul>Social media app TikTok is famous for many things but mostly for its crazy viral challenges. With increasing users, more and more people are taking up new and interesting challenges. And, its 200 million Indian users are entertaining and getting entertained in the process. “Several creators and entertainment's finest found success on TikTok with their unique takes on trending challenges,” said TikTok. From “TakTakTak” to “ILoveMyIndia”, here are the most popular challenges of 2019: #2ofMe Views: 5.4 billion 
 
 
 
 
 <div type="javascript" title="Custom" contenttype="Video"><cdata><![CDATA[
<blockquote class="tiktok-embed" cite="https://www.tiktok.com/@nagmaa/video/6672961967436598534" data-video-id="6672961967436598534" style="max-width: 605px;min-width: 325px;" > <section> <a target="_blank" title="@nagmaa" href="https://www.tiktok.com/@nagmaa">@nagmaa</a> When I act sakht in front of my crush 😤 but on the inside I go 😻🤤😍❤️ twoofme <a title="2ofme" target="_blank" href="https://www.tiktok.com/tag/2ofme">#2ofme</a> 🎭 <a target="_blank" title="♬ Tenu Pyar Kardi - nagmaa" href="https://www.tiktok.com/music/Tenu-Pyar-Kardi-6644434927687305990">♬ Tenu Pyar Kardi - nagmaa</a> </section> </blockquote> <script async src="https://www.tiktok.com/embed.js"></script>
]]></cdata></div>











 ‘2 of me’ was the most viral challenge of the year. In the challenge, people show two sides of themselves — one that they express and one that they usually hide from people. #MyJourney Views: 5.3 billion 
 
 
 
 
 <div type="javascript" title="Custom" contenttype="Video"><cdata><![CDATA[
<blockquote class="tiktok-embed" cite="https://www.tiktok.com/@virendersehwag/video/6766271609889197313" data-video-id="6766271609889197313" style="max-width: 605px;min-width: 325px;" > <section> <a target="_blank" title="@virendersehwag" href="https://www.tiktok.com/@virendersehwag">@virendersehwag</a> <a title="myjourney" target="_blank" href="https://www.tiktok.com/tag/myjourney">#myjourney</a> Waqt toh hota hi hai badalne ke liye , thehrte toh bas lamhe hain ! <a target="_blank" title="♬ Baahubali Movie OST - Bhairava" href="https://www.tiktok.com/music/Baahubali-Movie-OST-6727139251068078849">♬ Baahubali Movie OST - Bhairava</a> </section> </blockquote> <script async src="https://www.tiktok.com/embed.js"></script>
]]></cdata></div>











 People showed their life’s journey — right from birth to present — in five photographs using TikTok’s photo template. Celebrities who shared their life evolving moments were Siddharth Malhotra, Ritesh Deshmukh, <keyword id="6355846" type="PERSON" weightage="20" keywordseo="madhuri-dixit">Madhuri Dixit</keyword> Nene, <keyword id="2342727" type="PERSON" weightage="20" keywordseo="Guru-Randhawa">Guru Randhawa</keyword>, <keyword id="836886" type="PERSON" weightage="20" keywordseo="Sunny-Leone">Sunny Leone</keyword> and many more. The challenge went viral with more than a billion views in two days #ILoveMyIndia Views: 4.3 billion 
 
 
 
 
 <div type="javascript" title="Custom" contenttype="Video"><cdata><![CDATA[
<blockquote class="tiktok-embed" cite="https://www.tiktok.com/@virendersehwag/video/6725314540889754882" data-video-id="6725314540889754882" style="max-width: 605px;min-width: 325px;" > <section> <a target="_blank" title="@virendersehwag" href="https://www.tiktok.com/@virendersehwag">@virendersehwag</a> <a title="ilovemyindia" target="_blank" href="https://www.tiktok.com/tag/ilovemyindia">#ilovemyindia</a> Jai Hind ! Sabhi Veeron ko Naman <a target="_blank" title="♬ Vande Mataram - A.R. Rahman" href="https://www.tiktok.com/music/Vande-Mataram-6714621487212399365">♬ Vande Mataram - A.R. Rahman</a> </section> </blockquote> <script async src="https://www.tiktok.com/embed.js"></script>
]]></cdata></div>











 The “ILoveMyIndia” India challenge went viral on the Independence Day in 2019. Thousands of people participated in short videos with patriotic music in the background. They also added virtual tricolor, face colour effects. “73 years 29 States 23 Official Languages 1 Nation 1 Voice 1 India That defines Unity in Diversity. Let's show our National Integration by making videos using #ilovemyindia ! Happy 73rd Independence Day🇮🇳🇮🇳🇮🇳” wrote TikTok. #TakTakTak Views: 2.2 billion 
 
 
 
 <div type="javascript" title="Custom" contenttype="Video"><cdata><![CDATA[
<blockquote class="tiktok-embed" cite="https://www.tiktok.com/@badshah/video/6710701486961134849" data-video-id="6710701486961134849" style="max-width: 605px;min-width: 325px;" > <section> <a target="_blank" title="@badshah" href="https://www.tiktok.com/@badshah">@badshah</a> <a title="taktaktak" target="_blank" href="https://www.tiktok.com/tag/taktaktak">#taktaktak</a> challenge. Mazaa aaya! <a target="_blank" title="♬ Right On Time (Douth! Remix) - Chris Lawyer" href="https://www.tiktok.com/music/Right-On-Time-Douth-Remix-6703662274986494721">♬ Right On Time (Douth! Remix) - Chris Lawyer</a> </section> </blockquote> <script async src="https://www.tiktok.com/embed.js"></script>
]]></cdata></div>









 People showed their surprising transformation using the “TakTakTak” challenge. Bollywood actor Jacqueline Fernandis and rapper Badshah’s short videos received as much as 2.5 million views each. #PlayCool Views: 1.8 billion 
 
 
 
 <div type="javascript" title="Custom" contenttype="Video"><cdata><![CDATA[
<blockquote class="tiktok-embed" cite="https://www.tiktok.com/@sunnychopra/video/6692702118987435269" data-video-id="6692702118987435269" style="max-width: 605px;min-width: 325px;" > <section> <a target="_blank" title="@sunnychopra" href="https://www.tiktok.com/@sunnychopra">@sunnychopra</a> Dekho aa gayaaaaa! 🤦🏻♂️🥤😂 <a target="_blank" title="♬ mohammad_ismail - mohammadismailmas" href="https://www.tiktok.com/music/mohammadismail-6678479123393874693">♬ mohammad_ismail - mohammadismailmas</a> </section> </blockquote> <script async src="https://www.tiktok.com/embed.js"></script>
]]></cdata></div>









 The challenge was about the stark contrast between expectations and reality. People had to dress up a bit for the video and show as if they were going to do something great but ended up doing chores like washing utensils or cleaning tables. 
 <div type="Article" hostid="261" msid="72949092" title="Holiday season is here and here’s where Indians are heading to celebrate Christmas and New Year" mstype="2" mssubtype="0"></div>

These are the top 5 challenges that went viral on TikTok in 2019

<img class="gwt-Image" src="/photo/28176893.cms" /> Just a few hours from now and a brand new 2014 will be upon us with cheering, partying and celebrations taking place all over the world. But how was the <keyword id="17892" type="ORGANIZATION" weightage="100" keywordseo="bollywood-party">Bollywood party</keyword> in the year 2013? How did the <keyword id="1996024" type="PERSON" weightage="100" keywordseo="Dream-merchants">dream merchants</keyword> fare, what about <keyword id="1996031" type="UNKNOWN" weightage="100" keywordseo="Box-office-performance">box office performance</keyword> and most importantly, what was on the platter for the audience? <keyword id="143" type="CITY" weightage="100" keywordseo="Bollywood">Bollywood</keyword> will never be the same again post 2013 – a year that has given the mainstream <keyword id="1996034" type="UNKNOWN" weightage="100" keywordseo="Indian-movie-industry">Indian movie industry</keyword> many reasons to rejoice. 
 
For one, Bollywood has gone big in every sense of the term. Unlike last year when small-budget films managed to make big bucks, 2013 was the year of the biggies and crores of rupees were spent on production and marketing. Movies like <keyword id="24705" type="ENTERTAINMENT" weightage="100" keywordseo="Dhoom-3">Dhoom 3</keyword>, <keyword id="500441" type="ENTERTAINMENT" weightage="100" keywordseo="Krrish-3">Krrish 3</keyword> and <keyword id="227940" type="COMPANY" weightage="100" keywordseo="Chennai-Express">Chennai Express</keyword> top this trend but others are catching up fast. After all, the savvy audience of today wants big-time <keyword id="4578" type="COMPANY" weightage="100" keywordseo="entertainment">entertainment</keyword> that spells perfection and novelty – be it great <keyword id="5210" type="UNKNOWN" weightage="100" keywordseo="Star-cast">star cast</keyword>, exotic <keyword id="6542811" type="UNKNOWN" weightage="100" keywordseo="locations">locations</keyword> or stunning <keyword id="648530" type="ENTERTAINMENT" weightage="100" keywordseo="Special-effects">special effects</keyword>. But all these require big money – a prerequisite for <keyword id="1996041" type="UNKNOWN" weightage="100" keywordseo="Box-office-success">box office success</keyword>. Big-budget movies have not disappointed either and at least nine blockbusters have raced to the coveted <keyword id="925977" type="UNKNOWN" weightage="100" keywordseo="Rs-100-crore-club">Rs 100 crore club</keyword> in CY2013. 
 Also, in a bid to grab a bigger chunk of the <keyword id="182563" type="ORGANIZATION" weightage="100" keywordseo="BO">BO</keyword> pie, Bollywood has pushed global distribution and aggressively targeted as many screens as possible, both in India and abroad. For instance, Dhoom 3 has reportedly grabbed the biggest number of screens this time – around 4,500 in India and 750 screens overseas. The previous record was held by Chennai Express (3,700 screens at home and 700 screens abroad). 
 Bollywood has also witnessed a spate of diverse themes – from <keyword id="6355304" type="PERSON" weightage="100" keywordseo="action">action</keyword> thrillers like Dhoom 3 and <keyword id="115922" type="ENTERTAINMENT" weightage="100" keywordseo="Race-2">Race 2</keyword> to <keyword id="1996044" type="UNKNOWN" weightage="100" keywordseo="Superhero-movies">superhero movies</keyword> like Krrish 3, from romance-dramas like Chennai Express, <keyword id="1886157" type="UNKNOWN" weightage="100" keywordseo="Ram-Leela">Ram-leela</keyword> and <keyword id="791377" type="UNKNOWN" weightage="100" keywordseo="Yeh-Jawaani-Hai-Deewani">Yeh Jawaani Hai Deewani</keyword> to <keyword id="145976" type="UNKNOWN" weightage="100" keywordseo="adult-comedy">adult comedy</keyword> <keyword id="6621270" type="UNKNOWN" weightage="100" keywordseo="Grand-Masti">Grand Masti</keyword> and the impressive <keyword id="394815" type="UNKNOWN" weightage="100" keywordseo="biopic">biopic</keyword> <keyword id="127336" type="ENTERTAINMENT" weightage="100" keywordseo="Bhaag-Milkha-Bhaag">Bhaag Milkha Bhaag</keyword>. Almost every theme found its niche audience and managed to do big business, which indicate we are maturing as movie-goers. Here’s a quick look at this year’s <keyword id="671120" type="UNKNOWN" weightage="100" keywordseo="bollywood-blockbusters">Bollywood blockbusters</keyword>, their financials and a brief recap of the movies. 
 
Images: Wikipedia, Indiatimes

9 Bollywood Blockbusters
That Entered Rs 100 Crore Club In 2013

<img class="gwt-Image" src="/photo/27853827.cms" style="" /> It was released, it was watched and it delivered some frenzied results. That is good enough for many, especially those who judge a film’s merit by <keyword id="1839596" type="UNKNOWN" weightage="100" keywordseo="box-office-collections">box office collections</keyword>. Not that we have got anything against <keyword id="1987992" type="UNKNOWN" weightage="100" keywordseo="Big-moolah">big moolah</keyword> – the kind of money this <keyword id="1987996" type="UNKNOWN" weightage="100" keywordseo="Third-instalment">third instalment</keyword> of the Dhoom series has earned till Day 4, both in India and abroad. 
 Directed by Vijay Krishna Acharya and produced by <keyword id="6385240" type="PERSON" weightage="100" keywordseo="Aditya-Chopra">Aditya Chopra</keyword>, the high voltage <keyword id="6355304" type="PERSON" weightage="100" keywordseo="action">action</keyword> thriller (starring <keyword id="6355923" type="PERSON" weightage="100" keywordseo="Aamir-Khan">Aamir Khan</keyword>, <keyword id="499" type="PERSON" weightage="100" keywordseo="abhishek-bachchan">Abhishek Bachchan</keyword>, <keyword id="6354850" type="PERSON" weightage="100" keywordseo="Katrina-Kaif">Katrina Kaif</keyword> and <keyword id="36115" type="PERSON" weightage="100" keywordseo="uday-chopra">Uday Chopra</keyword>) has sailed into the <keyword id="925977" type="UNKNOWN" weightage="100" keywordseo="Rs-100-crore-club">Rs 100 crore club</keyword> just after the opening weekend and grossed around Rs 107 crore at home, according to industry estimates. That’s definitely better than Hrithik Roshan-Priyanka Chopra starrer <keyword id="500441" type="ENTERTAINMENT" weightage="100" keywordseo="Krrish-3">Krrish 3</keyword>, which could enter the coveted club after 4 days. Total collections during the first weekend stood at Rs 170 crore-plus, with nearly Rs 63 crore from <keyword id="116674" type="UNKNOWN" weightage="100" keywordseo="overseas-markets">overseas markets</keyword>. And that’s a record for any <keyword id="679" type="UNKNOWN" weightage="100" keywordseo="bollywood-movie">Bollywood movie</keyword>. Now it is only a matter of time before it surpasses the lifetime grossing of Krrish 3 (Rs 270 crore) or <keyword id="227940" type="COMPANY" weightage="100" keywordseo="Chennai-Express">Chennai Express</keyword> (Rs 409 crore). 
 
<keyword id="24705" type="ENTERTAINMENT" weightage="100" keywordseo="Dhoom-3">Dhoom 3</keyword> has also raced past the <keyword id="1988004" type="UNKNOWN" weightage="100" keywordseo="Opening-day-record">opening day record</keyword> of Chennai Express, a <keyword id="1988005" type="UNKNOWN" weightage="100" keywordseo="Shah-Rukh-Khan-Deepika-Padukone-starrer">Shah Rukh Khan-Deepika Padukone starrer</keyword> that bagged around Rs 33.12 crore on the first day. In contrast, Aamir’s flick has collected a little more than Rs 36 crore. Its performance is equally impressive after Day 4 (December 23, 2013) and the movie has grossed an estimated total of Rs 127 crore in the <keyword id="6382118" type="UNKNOWN" weightage="100" keywordseo="Domestic-Market">domestic market</keyword>. 
 In <keyword id="6378080" type="COUNTRY" weightage="80" keywordseo="North-America">North America</keyword>, too, Dhoom 3 has debuted to a record-breaking opening weekend, collecting Rs 21.26 crore nett ($3.4 million) across 236 theatres – the biggest opening of all time for a <keyword id="143" type="CITY" weightage="100" keywordseo="Bollywood">Bollywood</keyword> movie. In contrast, Chennai Express collected Rs 14.82 crore ($2.4 million) from 196 screens in America and <keyword id="6356687" type="COUNTRY" weightage="100" keywordseo="canada">Canada</keyword> in its opening weekend. So Dhoom 3 has beaten its both records in <keyword id="1988011" type="UNKNOWN" weightage="100" keywordseo="Screen-count">screen count</keyword> and collection. 
 
It has an impressive performance in other overseas markets as well. The movie has collected Rs 9.18 crore nett (£906,875) from 97 screens (fewer number of screens than Chennai Express) in the UK and Rs 3.85 crore nett (A$695,782) from 30 screens in <keyword id="6355478" type="COUNTRY" weightage="80" keywordseo="Australia">Australia</keyword> in the first weekend. While Dhoom 3 has collected Rs 1.11 crore nett (NZ$ 217,923) from 19 screens in <keyword id="22501" type="COUNTRY" weightage="80" keywordseo="New-Zealand">New Zealand</keyword> and Rs 3.9 crore nett in <keyword id="3001" type="COUNTRY" weightage="100" keywordseo="Pakistan">Pakistan</keyword> the first weekend, Chennai Express gathered Rs 60.05 lakh (NZ$1,23,478) from 10 screens in NZ and Rs 1.84 crore in Pakistan for that span. 
 
There is yet another record associated with Dhoom 3. It has reportedly grabbed the <keyword id="1988018" type="UNKNOWN" weightage="100" keywordseo="Biggest-number-of-screens">biggest number of screens</keyword> this time – around 4,500 in India and 750 screens overseas. The previous record was held by Chennai Express (3,700 screens at home and 700 screens abroad). 
 If all these numbers have numbed you a bit, let’s look at the storyline for a change. One can easily see it’s loaded with populist fare – <keyword id="24462" type="ORGANIZATION" weightage="100" keywordseo="bikes">bikes</keyword>, <keyword id="28817" type="UNKNOWN" weightage="100" keywordseo="babes">babes</keyword> (who can forget Katrina’s high-flying <keyword id="729495" type="UNKNOWN" weightage="100" keywordseo="Acrobatics">acrobatics</keyword> and tantalising <keyword id="16156" type="UNKNOWN" weightage="100" keywordseo="dances">dances</keyword>), exotic <keyword id="6542811" type="UNKNOWN" weightage="100" keywordseo="locations">locations</keyword>, great action and fascinating <keyword id="2902" type="UNKNOWN" weightage="100" keywordseo="Stunts">stunts</keyword>. To top it all, there’s the muscle-flexing Aamir playing <keyword id="1841797" type="PERSON" weightage="100" keywordseo="Sahir">Sahir</keyword> the baddie and looting <keyword id="6354604" type="COMPANY" weightage="100" keywordseo="Chicago">Chicago</keyword> banks without leaving any clue except a smiling clown face and a Hindi message (with help from Katrina or <keyword id="260889" type="PERSON" weightage="100" keywordseo="Aaliya">Aaliya</keyword>, of course) while no-nonsense cop ACP Jai Dixit (Abhishek) and his bumbling sidekick <keyword id="208896" type="PERSON" weightage="100" keywordseo="Ali-Akbar">Ali Akbar</keyword> (Uday Chopra) are back in action to <keyword id="1988025" type="UNKNOWN" weightage="100" keywordseo="Catch-a-thief">catch a thief</keyword>. 
 We are also impressed by the superb <keyword id="42054" type="PERSON" weightage="100" keywordseo="Cinematography">cinematography</keyword> and great technical specs, but in spite of the <keyword id="3909943" type="UNKNOWN" weightage="100" keywordseo="star-power">star power</keyword> and the <keyword id="1988030" type="UNKNOWN" weightage="100" keywordseo="Sleek-treatment">sleek treatment</keyword>, this movie is painfully <keyword id="794224" type="UNKNOWN" weightage="100" keywordseo="predictable">predictable</keyword> and incredibly <keyword id="1311050" type="UNKNOWN" weightage="100" keywordseo="unimaginative">unimaginative</keyword>. One actually misses the subtle fun and the intriguing crime-tracking mechanisms of <keyword id="3894" type="ENTERTAINMENT" weightage="100" keywordseo="Dhoom-2">Dhoom 2</keyword> here but then, this is the age-old Bollywood wine of betrayal-revenge-retribution, served in a <keyword id="99968" type="UNKNOWN" weightage="100" keywordseo="new-avatar">new avatar</keyword>. As Aparna Mudi of Zee News says – Dhoom 3 manages to deliver a typically <keyword id="1988026" type="UNKNOWN" weightage="100" keywordseo="Bollywood-revenge-saga">Bollywood revenge saga</keyword> in a modern way. 
 
Sarita A Tanwar of Daily News and Analysis gives it 4 stars and says, “Welcome to the world of jaw-dropping action and stunts never seen before on Hindi screen. Dhoom 3 redefines the word ‘<keyword id="4578" type="COMPANY" weightage="100" keywordseo="entertainment">entertainment</keyword>’ in the grandest way possible.” 
 
That is true, in a way, but the flick has drawn flak for its many shortcomings. Rajeev Masand of CNN-IBN has given the film 2.5 out of 5 stars and stated, “Dhoom 3 is let down by a <keyword id="1988035" type="UNKNOWN" weightage="100" keywordseo="Convenient-script">convenient script</keyword> and its inability to deliver solid entertainment.” However, it’s Raja Sen of Rediff.com who drives the point home. He has given it 1.5 out of 5 stars and written, “Dhoom 3 is a children’s film made for children who’ve never seen a film.” And we cannot agree more. You will find loads of fascinating things in Dhoom 3, but just one thing is lacking – good cinema. 
 
With input from Agencies. 
Image: Indiatimes

Dhoom 3 Breaks All Bollywood Movie Records,
Gives You Some Dumb Entertainment

As devotees' countdown to the opening of the <keyword id="19956550" type="General" weightage="20" keywordseo="ram-temple-in-ayodhya" source="keywords">Ram Temple in Ayodhya</keyword> on January 22, the world's largest lock, weighing 400 kg, and 1,265 kg of laddu Prasad reached Ayodhya on Saturday. Both are offerings to the temple. While the lock is from Aligarh, the ladus are from Hyderabad. But what is in common between the two is the devotion of the people associated with them to Lord Ram. The laddu prasad was made by Sri Ram Catering Services in Hyderabad. <keyword id="20265027" type="General" weightage="20" keywordseo="nagabhushanam-reddy" source="keywords">Nagabhushanam Reddy</keyword>, the owner of the catering services, talked about the laddoo prasad and the story behind it while speaking to as he reached here. "God has blessed my business and my family. I had pledged to prepare 1 kg of laddoo for each day till I am alive," Nagabhushanam Reddy told ANI. "I have brought a food certificate as well. These laddus can last one month. 25 men prepared the laddoos for 3 days," he added. The lock was made two years ago by an elderly couple, <keyword id="20265025" type="General" weightage="20" keywordseo="satya-prakash-sharma" source="keywords">Satya Prakash Sharma</keyword> and his wife <keyword id="20265026" type="General" weightage="20" keywordseo="rukmini-sharma" source="keywords">Rukmini Sharma</keyword>, who were residents of Norangabad, Aligarh. Satya Prakash Sharma passed away recently. His wish was that this lock should be gifted to <keyword id="20068647" type="General" weightage="20" keywordseo="ayodhya-ram-mandir" source="keywords">Ayodhya Ram Mandir</keyword>. After worshipping as per the rituals, Mahamandaleshwar Annapurna Bharti Puri, a resident of Norangabad, Aligarh, left for Ayodhya with the lock on Friday. A crane was called to place the 400-kg lock in a vehicle. People gathered to see the lock and chanted 'Jai Shri Ram'. Mahamandaleshwar Annapurna Bharti Puri had earlier told ANI the story of the world's largest lock and how much effort was put in to make it. "Satya Prakash Sharma died before completing the lock but we got it completed by working day and night." Mahamandaleshwar Annapurna Bharti Puri highlighted that the lock will make Aligarh internationally famous for its lock industry. "The honourable Prime Minister <keyword id="19895781" type="General" weightage="20" keywordseo="narendra-modi" source="keywords">Narendra Modi</keyword> calls Aligarh Talanagari (the city of locks). The purpose of presenting the world's largest lock at the feet of Lord Ram is to represent Aligarh on an international platform. People from the entire country and from across the world who will come to Ayodhya will appreciate the large lock, which will boost the lock manufacturing industry in Aligarh. This initiative will also provide an economic boost to the city of Aligarh." Prime Minister Narendra Modi will perform rituals to mark the '<keyword id="19935704" type="General" weightage="20" keywordseo="pran-pratishtha" source="keywords">Pran Pratishtha</keyword>' while a team of priests, led by Lakshmikant Dixit, will lead the main rituals. SEE ALSO: <a href="https://www.businessinsider.in/tech/mobile/news/oneplus-12-with-the-snapdragon-8-gen-3-launch-in-india-on-jan-23-everything-we-know-so-far/articleshow/106691383.cms">OnePlus 12 with the Snapdragon 8 Gen 3 launch in India on Jan 23 – everything we know so far</a> <a href="https://www.businessinsider.in/tech/news/global-pc-shipments-decline-for-the-eighth-straight-quarter-hopes-pinned-on-ai-to-drive-sales/articleshow/106981182.cms">Global PC shipments decline for the eighth straight quarter; hopes pinned on AI to drive sales</a> <a href="https://www.businessinsider.in/tech/news/google-incognito-mode-has-a-new-disclaimer-you-are-being-tracked/articleshow/106978305.cms">Google Incognito mode has a new disclaimer – You are being tracked</a>

World's largest lock, 1,265 kg laddoo Prasad arrive in Ayodhya as Ram Temple Pran Pratishtha approaches

<div type="image" title="&amp;#39;Dhoom&amp;#39; director Sanjay Gadhvi passes away" agency="ANI" height="900" width="1200" msid="105330972" hostid="261" sizebytes="13608" caption="&amp;lt;p&amp;gt;Sanjay Gadhvi &amp;lt;/p&amp;gt;"></div>"<keyword id="1959" type="General" weightage="20" keywordseo="dhoom" source="Orion">Dhoom</keyword>" director <keyword id="106096" type="General" weightage="20" keywordseo="sanjay-gadhvi" source="Orion">Sanjay Gadhvi</keyword> died on Sunday morning at his residence here, his elder daughter Sanjina said. He was 56. Gadhvi, who was three days shy of his 57th birthday, is best known for helming two blockbuster hits in the Yash Raj Films' "Dhoom" franchise -- "Dhoom" (2004) and "Dhoom 2" (2006). According to Gadhvi's daughter, the director was "perfectly healthy". "He passed away at 9.30 am this morning at his residence. We are not sure what it is, but it is most likely a <keyword id="6357661" type="General" weightage="20" keywordseo="heart-attack" source="Orion">heart attack</keyword>. He wasn't unwell, he was perfectly healthy," Sanjina told PTI. Gadhvi made his directorial debut in 2000 with "Tere Liye", which he followed up with 2002's "Mere Yaar Ki Shaadi Hai", his first project with Yash Raj Films (YRF). In a statement shared on X, the studio said the "magic Gadhvi created on screen will be cherished forever". "May his soul rest in peace. #SanjayGadhvi," it further read. Gadhvi gained prominence with his third directorial, the stylish action thriller "Dhoom", which made motorbiking a rage among Indian youth in the early 2000s. The 2002 film followed the story of a cat and mouse game between a gang of motorbike robbers, led by Kabir (<keyword id="6354967" type="General" weightage="20" keywordseo="john-abraham" source="Orion">John Abraham</keyword>), and Jai Dixit (Abhishek Bachchan), a Mumbai cop who teams up with Ali (Uday Chopra), a motorbike dealer to stop them. It also starred Esha Deol and Rimi Sen. The success of "Dhoom" spawned a film franchise. Gadhvi also directed its superhit sequel "Dhoom 2". The 2006 film starred Abhishek, Chopra, Hrithik Roshan, Aishwarya Rai Bachchan and Bipasha Basu. Abhishek said he was shocked beyond belief by the filmmaker's sudden demise. "Sanju, when I spoke to you last week and we were reminiscing about our shoots and memories I would never have imagined even in my craziest dreams that I would have to write a post like this. I'm shocked beyond belief," the actor wrote on Instagram alongside a photo he took of Gadhvi while they were filming the climax of "Dhoom 2" in South Africa. "You had faith in me, even when I didn't. You gave me my first ever hit! I can never ever forget that or be able express what it meant to me. I will cherish your friendship always. Rest in peace my brother," Abhishek added. Bipasha shared a picture of Gadhvi on Instagram Stories and wrote, "Rip my friend Om Shanti @sanjaygadhvi4 Gone too soon." The third installment of "Dhoom" franchise was directed by Vijay Krishna Acharya. The 2013 movie featured Bachchan, Chopra, Aamir Khan, and Katrina Kaif. Shibasish Sarkar , president, Producers Guild of India wrote on X: "It's shocking.... Sanjay is no more!! Pray to God for his soul to rest in peace and give all the strength to his family." Kunal Kohli, director of "Hum Tum" and "Fanaa", was one of the first film personalities to condole Gadhvi's demise on social media. "This is beyond shocking. #SanjayGadhvi RIP never thought I'd have to write your obituary. Shared an office for many years at YRF, lunch dubbas, discussions. Will miss you my friend. This is too hard to accept," Kohli wrote in an X post. Tusshar Kapoor said Gadhvi was a "trailblazing director". "RIP #Sanjaygadhvi ....gone too soon! A trailblazing director of the blockbuster #Dhoom franchise!" he posted. Gadhvi's other film credits are "Kidnap" (2008), "Ajab Gazabb Love" (2012) and "Operation Parindey", his last directorial which was released in 2020. Besides Sanjini, Gadhvi is survived by his wife and another daughter.

'Dhoom' director Sanjay Gadhvi dies at 56

Mumbai, Apr 12 ()Film actors took to Twitter todeliver a robust ovation to policemen working round the clockto combat the novel coronavirus outbreak in Mumbai.It started after Mumbai police put out a video inwhich personnel on the streets were asked what they would doif they had the luxury of staying home during the 21-daylockdown.Action star of the 90s Suniel Shetty tweeted, "HEROESwe love", to which the Mumbai police replied from its officialTwitter handle that "every Dhadkan of our heart beats for thiscity", playing on the name of a film that was one of thebiggest hits of the actor's career.Ajay Devgn wrote "#TakingOnCorona@MumbaiPolice" towhich the police replied with a liberal mention of his films,"Dear 'Singham', Just doing what 'Khakee' is supposed to do toensure that things return to how they were - 'Once upon atime in Mumbai'!The actor also tweeted "Dear Mumbai Police, you areknown as one of the BEST in the world. Your contribution tothe COVID-19 pandemic is unparalleled. Singham will wear hisKhakee and stand beside you whenever you ask. Jai Hind, JaiMaharashtra".Actor Abhishek Bachchan expressed gratitude bytweeting, "Always in debt to them and the great work they do"and got a reply from the police that it was "Just taking the'ACP Jai Dixit' route to ensure that the city gets back tonormalcy soon - that too, with a 'Dhoom'! and added a lockdownadvice as well by stating that "All Mumbaikars need to do isnot make 'Dus Bahaane' about going out unnecessarily!."Giving up on their dreams for keeping the city of ourdreams safe. Thank You @MumbaiPolice We owe you a lot andstaying at home is the least we can do! #TakingOnCorona#MumbaiFirst" tweeted Shahid Kapoor.In reply the police said "The most 'Shaandaar' supportMumbaikars can provide right now is to stay at home. And makeplans for what all we would do together 'Jab We Meet' post#lockdown #TakingOnCorona."Akshay Kumar tweeted "There's an army of peopleworking day and night to keep us safe, our families safe. Letstogether say #DilSeThankYou to them because thats the leastwe can do. @mybmc @MumbaiPolice."The police told the Khiladi superstar "we are able todo what we do because we are never alone in this war. There'sa much bigger army of Mumbaikars doing all that they can -from home. The whole of Mumbai is by our side."Among the others who tweeted in support of the men inkhakhi were actors Jackie Shroff, Tiger Shroff, Arjun Kapoor,Richa Chaddha, Sai Manjrekar, Raveena Tandon among others. ZABNM BNM

Actors tweet, praise Mumbai cops for untiring COVID-19 vigil

Vikaspuri Assembly Candidate list in Delhi State Election 2020

<ul><li>As we enter a new year, we wanted to understand what to expect from the Over-the-top (<keyword id="1245953" type="General" weightage="20" keywordseo="ott" source="Orion">OTT</keyword>) industry in 2022.</li><li>In today's feature, we speak to industry experts who share their thoughts on what this year has in store for us.</li></ul>After 2020 we had hoped that 2021 would bring us some respite from the pandemic. However, things were challenging for a large part of the year. With many of us stuck within the four walls of our house for the most part of the year, OTT platforms sometimes became the only source of entertainment in our lives. Not only did 2021 see the launch of a lot of big-budget originals on various OTT platforms, a lot of movies like Sardar Udham Singh, Mimi and Shershaah launched on these platforms. Content producing companies put their best foot forward and created award-winning shows that won both commercial and critical acclaim. There has been a visible increase in investments in content production, a trend that is here to stay in 2022 as well. A recent joint report by industry body CII and Boston Consulting Group (BCG) stated that the Indian OTT sector is currently in the scaling stage with strong subscription growth and high investment in premium as well as original content. The Indian OTT sector is one of the most competitive amongst emerging markets with over 40 players. While there have been debates about more and more people moving away from TV, Mandeep Kohli, Managing Director and Partner, Boston Consulting Group India states that we are still some time away from that happening at a large scale in India. “The share of traditional media is slowly declining with increased digital adoption but there is still high headroom for penetration with only 54% of Indian households having a pay TV connection compared to more than 70% in China. For many households, TV continues to be the center of the home and a significant part of family time,” said Kohli, Managing Director and Partner, Boston Consulting Group India. The report further stated that the industry is at a scaling stage currently and has the potential to become a $13-15 billion industry by 2030. To understand what the new year has in store for us, we spoke to a few of the most important voices from India’s OTT industry, along with some of the biggest content production houses. Here is what they had to say about what lies ahead: Manish Kalra, Chief Business Officer, <keyword id="6245082" type="General" weightage="20" keywordseo="zee5" source="Orion">ZEE5</keyword> India <img src="https://lh4.googleusercontent.com/JVYY0VvdAyXtP_XXNrgVjAQqzmwGE5eh6Vz1gmMVpEgXtkwmbUyT4O2ZMI9ovr8aPa_SkZ7MHLKa4LpitbreZTKf3udN7o62_jYwGkGvLcEotWlw8Er0SU6q0TvqpKXf_gGX-2xS" /> The already-growing online media and entertainment business received a major boost with the black swan event that the Covid-19 pandemic was, setting a new growth trajectory in the last year. The audience adopted a more digitally advanced way of entertainment, something that went beyond the conventional mediums, leading to mass adoption of OTT platforms which resulted in a surge in both viewership and watch-time. This pandemic-induced growth in demand for quality content led to an increased focus on storytelling across languages leading to the creation of extensive and expansive content libraries. People also became more open to sampling diverse content from different languages and were keener to opt for the living room experience thanks to the increased adoption of connected devices. This growth of the connected devices ecosystem has made OTT a preferred choice not only for personal but also for family consumption. At ZEE5, we have seen a 3X growth in the viewership on connected devices. The rise in power-packed dynamic storytelling and the rise of connected devices has led to the advent of the ‘Home Box Office’ which is a trend that is here to stay. While we grew 200% this year at the back of an aggressive slate of content line-up and hyper-personalization, we aim to make deeper inroads into Indian homes going into 2022. Sameer Nair, CEO, <keyword id="1322450" type="General" weightage="20" keywordseo="applause-entertainment" source="Orion">Applause Entertainment</keyword> <div type="image" title="IMG_8153 (1)" msid="88694220" hostid="261"></div> I believe the biggest emerging trend for the streaming industry in 2022 and beyond is the increasing flattening of the Earth, with both geographical borders and language barriers breaking down as internet connectivity reaches the remotest audiences. Our audiences, both local and global, have become smarter, more perceptive and way more critical; this requires us as Content Creators and Distributors to significantly improve the quality of our storytelling, of our productions and of the consumer experience we offer. Authentic, rooted stories that have a universal appeal can and will breakout to reach audiences globally. The more we collaborate with talent from diverse cultures and geographies, the richer we will become as storytellers. The ‘One Planet One Species Shared Cultures’ is an idea whose time is truly upon us. Divya Dixit, SVP, Marketing &amp; Revenue, <keyword id="4241922" type="General" weightage="20" keywordseo="altbalaji" source="Orion">ALTBalaji</keyword> <img src="https://lh5.googleusercontent.com/3cjmd-ZsSC3vqFyZZDwsABzeLbkxf7JoB5xYItMJme1Rn2q_KAcAETuqjzgclPtGvpCI1dG4nV0nMuoaAE6-C0KF6gQiJ7fCIrO_78pQpIWT03H8u1DDlTNGPcuw2s5-xUud1X8-" /> With the traditional marketing budgets on a decline and digital and influencer marketing taking center stage, there are many trends, however interrelated, that we will see emerging in 2022. The digital audiovisual industry will explode; according to Bain and Company, India's online video user base has increased to more than 350 million people, growing 24% in the last three years. Influencer marketing will rapidly move to include micro-influencers and not just be dependent on Celebrity influencers, thereby also promoting UGC. Video marketing, live streaming will give rise to Social commerce and tier 2 and 3 cities will claim the growth chart curve. With all these interrelated events/trends triggering off, Users will expect personalized experiences which will be offset by deeper integration of ML, which will give rise to AI usage; however, the world of marketers will also see a more focused emerging curve towards Organic retention – CRM, surveys, retention tools, recommendation cycles, SEO, UI/UX as Google continues the stance of stopping 3rd party cookies by end of 2023. Manjit Sachdev- Head – Originals, Voot and Voot Select, Viacom18 Digital Ventures <div type="image" title="Manjit Sachdev _Head Content at VOOT AND VOOT Select" msid="88694240" hostid="261"></div> After an unprecedented 2020, with an acceleration in the growth of OTT platforms, 2021 was a year for creating milestones in curating unique and enthralling stories for the audience. Now as we step into 2022 with hope and resilience, the OTT sector will witness an increase in the demand for personalized and purpose-driven content. Given the increasing competition in the OTT space, staying relevant and purposeful is most critical. Considering the changing realities in today's times, having a purpose-driven story telling approach is the way to go. Content with purpose has the power to travel beyond boundaries, spread values, knowledge and positivity and build deeper engagement with subscribers. This trend will act as a key differentiator in changing behaviours. Megha Tata, Managing Director, South Asia, Discovery, Inc <img src="https://lh5.googleusercontent.com/fArAHgK9fUOTWYguz5iMs5D5SB_ztlpwk1d_T5s-ZYEjJruZKX29iV9HxOdtEiJD8AvcC8cpzoIBZzAh8TzLZ6aMH3CFpYM8FNK65-rlL0efxi5Y2yLgSRYdjpTAPUhudi5nBUfX" /> As SVOD continues to grow aggressively, we are seeing an increasing number of audiences now willing to pay for good content. I believe a right combination of compelling content and pricing would be the key in attracting a bigger share of consumers into the SVOD world next year. Also, differentiated programming will add to a player’s competitive advantage in the midst of most mainstream players offering similar content. This is a trend familiar to what we saw even broadcast channels go through. I believe some players will be able to carve out a niche for themselves, while most streaming catalogs will end up resembling each other. Rishi Negi, COO, Banijay Asia <img src="https://lh5.googleusercontent.com/zbzVlh3OxHDkELFjUJSNIoI5Xvgu9HrpCRLwjKGtOVE-8y_hsbsTL0WVG1MzdWUlNw-XQbXuOwzGEbe8elPoL_uNx9xV2L_ovyzXHTkMyP_AMC76puk-MkSENRk8E4KnFM7kQpxU" /> 2020 was a game changer for the whole world, we strategized a smooth transition to the streaming era and the year 2021 was about sustaining the positive change and envisioning the prospects of growth. With changing narratives and experimental content taking a lead, along with the fact that the data &amp; streaming charges have dropped, has resulted in the content reaching a much bigger audience. I anticipate the year 2022 to be vibrant with original productions, compelling storytelling and some path-breaking performances. Fighting the content inflation with a wide variety of exceptional chronicles intertwined with existing catalog shows in this post-pandemic world, viewers are streaming more than ever. With nominal data plan and streaming charges, content is reaching even the darkest corner of the world. Considering the pace of content transmission, at Banijay Asia, we have become more aggressive towards producing content that delights the heartland of India. We see a hike in demand for stories which are untold, female centric and with CTV on the rise, we anticipate growing interest in regional unscripted content in 2022. While we have seen this trend kickstart already with our Tamil unscripted show The Survivors as it received unparalleled response from the audience and our hinterland drama Matsya Kaand recently crossed a 100M views on <keyword id="2214311" type="General" weightage="20" keywordseo="mx-player" source="Orion">MX Player</keyword> within a month. These numbers affirm that the trendsmap that we're following leads to a sustainable future. Given these past two years have been a real tester, we have pushed through every possible challenge posed by the virus this year and successfully produced shows for the streaming giants and kept the show running. While we have covered grounds with our scripted, non-scripted, international format adaptation, book adaptations, in the upcoming year, we aim to keep up with our pace and keep reinventing our ways. To sum it up, we are thoroughly looking forward to 2022 to be a year full of exciting and enthralling projects to keep our audiences engaged and invested. Rohit Jain, Managing Director, <keyword id="193261" type="General" weightage="20" keywordseo="Lionsgate" source="Orion">Lionsgate</keyword> South Asia and Networks, Emerging Markets Asia <img src="https://lh5.googleusercontent.com/miNGVfdiurdWQrQKtXWtYDZDVqFFKq-l7F_yxLG2oX4DU4uXeG-z9A6vRQ8MsHooqVaz3U87bg6U9GcAqRm-TvRdSxclnkLRY_94CrDrCqh4zbrfqCPAumXmjKOoMjYe7rPvZB0w" /> 2022 is going to be an exciting year for OTT players as the content pipeline will be stronger than ever. While the pandemic has leapfrogged growth in terms of viewers and subscription we expect 2022 to further amplify the reach and will witness growth not only in the metros but also in tier II &amp; tier III cities. Today’s viewers are constantly looking for edgy and unique stories. We have always said premium content is the ultimate winner. The OTT industry will have to concentrate on quality content over quantity of content. Siddhartha Roy, COO, Hungama Digital Media <img src="https://lh3.googleusercontent.com/nO178M3efwvAk2fE8Y9_Ui_AscNN9WtYhuxVGOg56wl-58CAmIjEKaqqWvYnPxRFsTPj-St-GVow_lhcKMWkoQhifvtTAp0V9S8_7-Dv-o-lwhbCr5jUedprBkerBOEDgt4_G5xM" /> The media and entertainment industry has been making rapid strides in the interior of India. Regional markets are becoming the industry’s point of convergence as the digital infrastructure expands across the length and breadth of the country. Content houses and creators are going vocal through local, thereby, making homegrown, high-quality content available at the click of a button. Going further, consumption of entertainment, in addition to audio and video, will be extended to varied mediums, such as gaming. As the Indian online gaming sector is witnessing tremendous growth in 2020 it sets a tone that gaming will be the next big thing. The industry will witness a rapid rise in the use of AI and ML to create a customised and personalised experience for audiences. This makes industry consumer friendly; not just that, it helps in massive consumption and double consumer engagement. Hiren Gada, CEO-Shemaroo Entertainment Ltd <div type="image" title="Hiren Gada, CEO, Shemaroo Entertainment Ltd." msid="88726664" hostid="261"></div> With regional internet penetration growing at a rapid pace, localization of content and OTT apps are going to be one of the emerging trends to look out for. Content that was earlier restricted to just Bollywood and Hollywood is getting extended to other native languages and it is going to play a key role in attracting new consumers and in supporting other industries such as dubbing and subtitling that will further boost the content bank. Other than localization, we will also see content being offered across other segments that include devotional, and kids’ categories. As we see new OTT apps being launched almost every month with multiple paying models, the consumers will have more flexibility and power to make their own choices. With increased smartphone adoption along with affordable data, mobile penetration of the OTT will see more focus. Mobile-centric plans have been introduced by most OTTs today to cater to the Millennials and GenZs who have the hunger to consume content but not the deep pockets to pay. This space will continue to grow with the increased bundling of OTT by telecos. Additionally, the arrival of 5G which is most likely to take off this year will be a game-changer not just for the OTTs but also for the consumers. It will enable faster connectivity, accessibility to content and further enhance the viewing experience with reduced buffering issues, and an uninterrupted real-time streaming experience. Shailesh Kapoor, The Founder &amp; CEO, Ormax Media <img src="https://lh6.googleusercontent.com/dD0gPbWF2ZDF27iY6BfsjEyK7l_5xcyELbUJszd15MliI2E_SwCtz30eikQu-KQH0gVcnmJKxOA2JuuuRoEY_f2rVK8Leu6V4WDkk-HCm4z2CqtQNjuGjkubcWiMZU-iGpl_K-xL" /> The last two years have been exceptional for the OTT market in India, aided in no small measure by the lockdowns. As things begin to get back to normal, the question that we will hear a lot more in 2022 is: Where is the next level of OTT growth in India going to come from? The category has grown at an estimated 30-35% in its user base and more than 50% in paid subscriptions over the last two years. But these growth rates are not sustainable in the long run. Platforms will have to look for offerings that are both compelling and distinctive, to get new subscribers in a category that will continue to grow, but at more modest levels of 15-20% per annum. Crossover content, be it Indian (such as Jai Bhim) or foreign (such as Squid Game or Money Heist), will play an important role in this regard. The language barrier has been broken considerably by the OTT medium, and with dubbing and subtitles available in many languages for all major shows and films now, platforms cannot stick to single-language, homogenous offerings anymore. We can expect more language-led experimentation, both in content acquisition and presentation."

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