MUMBAIâIt was the âWebâ (as in Web Original Series) that enmeshed us in entertainment in 2020âespecially after the lockdown and pandemic began from late March.
Whether shot wholly before the crisis and only post-produced later, or bravely readied in part or whole later, these shows were our stout companions â even as we grew stouter â that did not make us miss the movies and theaters as much as we otherwise would have.
More, we could see all of them at our time and place (convenience) and on our device of choice (phones, laptops, PC, TV, iPads) and they were needed as mood- elevators and stress-busters in those critical times. Binge-watch them or otherwise, these shows were produced on a lavish level, though the recovery on investment modalities are as yet unknown.
Express News Service
Back in 2012, there was a heated debate that had the potential to kickstart a revolution in entertainment consumption in India. It was started by Kamal Haasan when he wanted to release his Vishwaroopam on DTH services hours before its theatrical release. His idea was snuffed out quickly. Eight years and a global pandemic later, every studio across the world has adopted variations of this model.
There are now 10-plus OTT streamers used by content creators to showcase their products. People who swore by theatrical releases not only warmed up to direct OTT premieres but became ambassadors of this growing market too. While audiences logged in in droves to watch direct-to-digital films that would’ve been theatrical releases if not for the pandemic, the reception to original Indian OTT content in 2020 was quite heartening. It was nothing short of a tectonic shift in entertainment consumption. Here are a few trends that best encapsulate the kind of Indian content th
A still from ‘Paatal Lok’ on Amazon Prime Video
2020, for all its woes, has been a vibrant year in India’s fledgling world of long-form cinematic storytelling. Here is how Hindi creators adapted to finally owning the streaming space
A pandemic-infused lockdown followed by a crippling economic recession is enough suffering for a lifetime, let alone a year. Nevertheless, faced with the dystopic nature of day-to-day existence, Indian creators seem to have taken to heart, one of Franz Kafka’s most cherished maxims, “Art is for the artist is only suffering through which he releases himself for further suffering”.
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