There’s been a time when the monarchy was counted on stardom! Sometimes item songs. The calculative success had always been kept black and white, and in most cases, the predictions of the movie becoming a blockbuster triumphed. But as they say, ‘Nothing is constant; except change’, and so is stardom, and whether the movie shall flourish or not, tiptoes on the content it provides. The content monarchy remains omnipotent again! And if not today, it will be the ‘spices’ you put into tomorrow. Because while you might think that the audience isn’t aware, they are very cognizant of their ‘takeaways’.

And the reign of content shall only get dominant in the forthcoming times, with the increasing heights of OTT consumption worldwide. Content is almost like ‘water’, has the potential to give birth to subjective anecdotes inside the viewer’s mind, and can be moulded in any given parameter. The youth won’t buy tickets spending a thousand bucks to watch cliched content on multiplex screens! When they can have the privilege of watching a myriad of documentaries, cinemas, and series on 16:9 that give them better divulgence.

Let’s take the example of Brahmastra. Terrific VFX work, yet it couldn’t impress the viewers with its terrible screenplay. The massive trolling is very worth it! No, we relish the ‘try’ and ‘trial’, but would you deny that cinema (worldwide) has it better, that too at a lower cost? No, we aren’t making the ‘Hollywood’ hue and cry, we are mentioning ‘cinema’ on a worldwide expanse!

Earlier, the scenario has been quite like, ‘Some A’ is the ‘hero’, the movie must be a hit! And it used to be, with the mad fandom, that earned the movie in crores. Well, the loyal fandom still exists! And we love that; we respect that. But if we introspect, in terms of ‘ART’, the takeaway remains ‘zero’. Makers adding in ‘item songs’ just to boost the sale, but now this ‘ok boomer’ idea goes in vain. For example, Satyameva Jayate 2, Thank God and many more.

Let us bring you a contradictory success story, the movie ‘Jersey’ starring Shahid Kapoor and Mrunal Thakur, a remake of a South movie of the same name, failed miserably at the box office because who would watch a ‘Hindi remake’ in the era of subtitles? On the contrary, Shahid Kapoor’s Farzi, currently streaming on Prime Video, is roaring for its taut and cunning screenplay for a ‘con-drama’.

Next is Class, which is a frame-to-frame remake of the Spanish series ‘Elite’, it doesn’t feature any big face yet managed to score its place amongst the OTT viewers for its content pertinence of the hidden casteism in India. The audience could connect to it. Same success with TVF Pitchers latest season and Trial By Fire, among others.

Not just metaphorically speaking but also in aspects of what resounded with the audience, content erupted as the inevitable conqueror. Narrators get the alternative to evaluate tales that strike a chord on a twitchy level while also being cherished by a global reach because the viewers are growing more and more dynamic. In no way does the dwindling diameter of screens exemplify the spread of entertainment.

The digital age has made space for artistic articulation. Because the arbiters and censoring are no longer functional, anyone with a sumptuous idea can now take the initiative and broadcast their content, telling one ‘s narrative in a context that conveys it to them.

And it’s just the dawn of a new day!