India is central to the next phase of growth for Netflix, global co-CEO Ted Sarandos said, in the backdrop of moderating subscriber additions in mature Western markets.

While Netflix has an estimated 20-25 million paid users in India, against a global base of more than 325 million, he sees the country offering enormous headroom for expansion and being crucial for the firm to succeed globally.

Sarandos told Javed Farooqui and Vinod Mahanta in an interview that India’s deep appetite for entertainment, thriving creative ecosystem, rising smartphone and connected TV penetration, and affordable internet make it one of the most strategic markets for the platform. Edited excerpts:

When we launched Sacred Games, we introduced a new model of premium, cinematic television to India. It was ambitious, lavish and unlike anything on Indian TV then. Looking back, I think we should have invested in both high-end scripted shows and reality formats simultaneously.

The success of Lock Upp shows audiences also love dramatic, cliffhanger-driven unscripted entertainment. Netflix serves more than a billion viewers with very different tastes, and our job is to offer the best version of whatever they come for, scripted or unscripted.

We also learnt that every market has different needs, with some genres underserved and others already well served.

India has always been a fascinating entertainment market. Audiences are value-conscious, not just price-conscious—they’ll pay for the best if they consistently get it.

Many American companies try one big idea and move on. We took a different approach, investing continuously across genres and delivering fresh programming at scale.

With over a billion global viewers, we learnt you need enough choice to delight people every time they pick up the remote. Netflix isn’t a visitor in India’s entertainment ecosystem; we’ve become a leader in one of the world’s most complex markets.

There is a big appetite for entertainment in India and a large consumer base. I think those people have generally been underserved since there aren’t enough screens for as many people who want to watch a movie.

We are trying to solve it through different screens like TV and mobile. That’s why I think the market is so attractive and the principles of entertainment are exactly the same.

But let’s use the new technology to help solve a problem in India, which is being able to quench an appetite for more content and more entertainment.

Live sports are an important opportunity, but our strategy isn’t to chase full-season league rights. We’ve been building our live technology globally and will expand it market by market. Our focus is on unique Netflix events rather than becoming another broadcaster.

In the US, we’ve chosen marquee occasions like NFL games on Christmas and MLB’s Home Run Derby instead of entire seasons. The idea is to bring a younger, more engaged audience and a different creative approach that adds value to leagues, rather than simply driving up rights prices.

That’s the model we’re more likely to replicate elsewhere, including India. It would be very unlikely for us to get the whole season of cricket. An eventisable event, a tournament—those are the kinds of things.

It’s all of those. We’re a business, so revenue and profit matter because they fund continued investment. But cultural impact matters, too, and you can feel it when a local show like Lock Upp dominates social media and becomes part of the national conversation.

Success isn’t about a single hit. It’s about consistently entertaining audiences while building a sustainable business. Our ability to keep investing in India ultimately depends on our ability to keep entertaining India, creating a virtuous cycle of growth and reinvestment.

India has been an important testing ground for Netflix, including our first mobile-only plan, which has since influenced markets globally. But our approach here is no different from anywhere else: the key is delivering value, not just lowering prices. Every time someone presses play, they decide whether Netflix is worth paying for.

India keeps us honest because audiences have high expectations and demand compelling content that justifies the subscription.

Reed Hastings (Netflix co-founder) instilled an extraordinary level of focus from the beginning. For years, Netflix was a one-product, one-price company, and that discipline built a very strong foundation. As we’ve grown, we’ve been able to add multiple price points, products, partnerships and content formats without losing that focus.

We started with one premium scripted series, House Of Cards. Today, we make scripted shows, unscripted entertainment and stories across every imaginable language.

India reflects that evolution because there isn’t one India—it’s like a world in itself, with different languages, cultures and lifestyles.

You are trying to appeal to the world when you are appealing to India. There could be no Netflix globally without India. You can’t be successful without it.

We never looked at India as a market we could simply buy. That strategy has eaten companies around the world. The most exciting projects attract multiple buyers and bidders, which is good for the creative community. We’re certainly not in a phase of doing this cheaper or skimming the market. India still demands the level of investment it takes to win.

But we haven’t just thrown money at it. What you see on screen is spectacular, and that’s the approach we’ve taken since we first came to India.

I think there’s enormous headroom for both.

We want Netflix to be desirable, but not unattainable. Ultimately, consumers decide whether we’re delivering value.

It’s very easy to cancel Netflix—it’s just one click—so we have to earn consumers’ trust and admiration every day. That’s what keeps us focused on delivering great entertainment.

We report a global P&L rather than market-wise numbers, but we’re very happy with the economics of our India business. We’ve never been in the loss leader business. That’s why we stayed away from expensive rights like NFL football and still built a large business.

Very. I’m impatient by nature, but I’m thrilled with our progress over the past decade. We’ve built a strong slate across films, series and now unscripted programming. Shows like The Great Indian Kapil Show and Lock Upp have been particularly impactful, proving we can succeed in formats many thought we couldn’t.

Our goal is to be the first place you check and the last service you cancel. That means constantly finding new creators, investing in skills, and strengthening India’s creative ecosystem while generating significant economic impact.

I’m sure it’s coming down the road, but we’re not there yet.

AI will be a step change for entertainment, much like the shift from 2D hand-drawn animation to computer-generated animation, which ultimately created a bigger industry and more jobs.

At Netflix, hundreds of projects already use AI for tasks such as pre-visualization, helping filmmakers plan complex shots, improve safety and reduce risks on set.

AI is also transforming post-production and visual effects, making high-quality effects affordable for films that otherwise couldn’t have justified the cost.

De-ageing actors, for instance, has become dramatically cheaper and better than it was just a few years ago.

Every time there is technological advancement, that has been the worry. And it generally doesn’t prove to be true. In fact, it opens up a world of opportunities that people didn’t imagine before that new technology. I mean, there are still directors who want to shoot on film.

Netflix India is ramping up its content slate in the second half of 2026, with plans to release four titles a week across original series, films and licensed content, as the premium streaming platform broadens its programming beyond finite scripted shows to include non-fiction, comedy, longer-format series and creator-led content.

“In the second half of the year, we are launching four titles per week. We are ramping up our overall volume, though not at the expense of quality. We are programming more than 20 genres,” Netflix India vice-president, content, Monika Shergill told ET.

The push comes as streaming audiences in India become more open to varied formats, languages and genres across mobile and connected TV screens. Shergill said streaming has changed viewing behaviour by combining cinematic storytelling with the depth and frequency earlier associated with television.

“Streaming has married cinematic storytelling with a larger footprint of audience tastes, in terms of genres and languages,” she said. “Audiences are becoming genre-fluid and format-agnostic.”

Netflix’s slate reflects that shift. While premium scripted shows such as Taskaree: The Smuggler's Web, Kohraa and Super Subbu follow shorter episode structures, the platform is also experimenting with formats that require higher frequency or longer engagement.

Reality format Lock Upp: Sach Ya Sazaa, for instance, is designed as a five-days-a-week show, while upcoming slice-of-life comedy Chumbak will have more episodes because of its character-led family world.

The platform is also working more closely with digital creators who have built large communities on YouTube. Bhuvan Bam’s Dhindora Season 2 will stream exclusively on Netflix, while Samay Raina’s India's Got Latent 2 will come to Netflix in a co-exclusive format along with YouTube. Raina’s next stand-up special will be a Netflix exclusive.

Shergill said Netflix is not looking at these creators merely as social media personalities, but as storytellers with a distinct voice and strong audience connection.

“For us, it’s not about where a creator comes from. It’s about identifying unique voices,” she said. “Many YouTube creators have spent years building highly engaged communities by developing distinctive storytelling styles and understanding what resonates with their viewers.”

Non-fiction and comedy are also becoming bigger pillars for Netflix India. Its unscripted slate includes The Great Indian Kapil Show, India’s Got Latent 2 and Lock Upp: Sach Ya Sazaa. Shergill said audiences are returning to non-fiction as the streaming ecosystem matures after its first wave of premium scripted fandom.

“At its core, non-fiction appeals because people are fascinated by real people,” she said. “We enjoy watching individuals make difficult choices, navigate relationships, confront challenges, reveal their vulnerabilities and showcase their talents.”

On content sharing, Shergill said Dhurandhar The Revenge, backed by Jio Studios, was an exception rather than a broader strategy.

“We are not sharing films as a strategy. Dhurandhar was a very unique case because we have such a strong partnership with Jio Studios. We are not looking at splitting licences more broadly,” she said.

Shergill added that as streaming matures, platforms are becoming more disciplined in evaluating content investments. “Building a sustainable business is about balancing quality, diversity of storytelling and disciplined investment,” she said.

Netflix is also investing in the creative ecosystem through the NextGen India Writers’ Program, a two-month hybrid mentorship initiative for emerging screenwriters with up to three years of professional experience. Participants will work on long-form storytelling, character development, world-building and series bibles.

It may have dropped months ago, but the buzz around ‘The Ba***ds Of Bollywood’ is far from over. The irreverent industry satire is quietly gearing up for its next act. Sources tell mid-day that work on the Lakshya-led second season is already underway, with the writing process expected to continue till the end of the year.

The Netflix series, which marked Aryan Khan’s debut as a creator and director, is taking a measured approach to its sophomore outing. The makers are focusing on crafting a fresh narrative instead of simply repeating themselves to strike a chord with the audiences.

“Everyone is aware that the second season comes with greater expectations. The effort right now is to make sure the writing feels fresh and original, rather than simply repeating what worked the first time. Bilal Siddiqi, who was a key creative force behind the first season, is actively working on the scripts,” an insider reveals.

If development progresses as planned, the next season is expected to move into production next year. “If all goes as planned, the show will go on floors by the first quarter of 2027. Shoot-related decisions will take place after Shah Rukh Khan’s King releases in December,” confirms another source.

- The second season may feature a plotline where Aasmaan (Lakshya) stars in a biopic about the underworld don, Gafoor.

- It could explore a narrative where the world discovers Aasmaan is Ajay Talwar’s (Bobby Deol) son, potentially making him a nepobaby.

- Netflix is reportedly trying to leverage its global network to lock in a massive Hollywood star or an acclaimed international director for a cameo.

The Royals was greenlit for a second season, soon after the first dropped. But now mid-day has learnt that the leading lady, Bhumi Satish Pednekkar has left the show. The Netflix drama, which marked Zeenat Aman’s OTT debut, is expected to take a different turn from where the first season ended.

A source close to the production says, “When you do a romance, it is the story that leads. When the show came out, what resonated [with the audience] was the family — Ishaan [Khatter], Sakshi [Tanwar], Zeenat, and the world of The Royals — which feels different. We left season one at an unresolved romance. There was no decision to carry it forward. There was no fight with Bhumi. The makers are simply letting the story lead forward organically in the second season.”

Pednekkar has moved on from the series and is now prioritising darker, layered material. Sources say the actor is in talks for a courtroom drama backed by the makers of Haq (2025).

“Bhumi is also set to feature opposite Imran Khan in what insiders describe as his long-awaited comeback film for Netflix. The project, currently under wraps, has been in development for some time. She is also expected to begin working on Daldal 2, a project that aligns more closely with the intense space she has increasingly gravitated towards in recent years,” adds the source.

Pednekkar, who faced criticism after the first instalment, admitted in her Sit With Hitlist interview on mid-day that the backlash deeply affected her. “The noise became so loud that I couldn’t hear my own creative voice anymore. When you are told every day that you ‘don’t look like yourself,’ it starts to seep in. I felt numb.”

Sources close to the production maintain that the season two is being designed as a natural continuation of the world established in the first season, even if the central love story no longer remains the priority.

He was Hindi cinema’s quintessential chocolate boy ever since his debut in Jaane Tu… Ya Jaane Na (2008) — until he disappeared from the screen in 2015. Eleven years on, his resurgence has been organic, driven by fans who kept asking, “Where is Imran Khan?” On the cusp of his full-fledged comeback with Adhoore Hum Adhoore Tum, the actor opens up in a candid chat on The Right Angle with Sonal Kalra.

I am aware of what is out there, but I haven’t been watching a lot of recent films. Frankly, the recent pivot towards massively heightened, violent cinema… it’s a genre I call ‘an angry, hairy man covered in blood’. Basically, every poster shows that man holding an oversized, almost comically large weapon. It disturbs me at some deep level. That’s why I felt I had to make Adhoore Hum Adhoore Tum. It comes as a counter to an entirely under-represented palette of emotions... empathy, gentleness, kindness, dignity. I feel these emotions are missing from our films today.

An intriguing film is quietly taking shape, and if industry chatter is to be believed, it could see an unexpected pairing come together. Raveena Tandon and Kapil Sharma are said to be the frontrunners for a slice-of-life drama being developed for Netflix, with Sharat Katariya set to direct.

Katariya has earlier helmed movies like ‘Dum Laga Ke Haisha’ (2015) and ‘Sui Dhaaga’ (2018). While plot details of his new venture are tightly under wraps, insiders describe the film as “an intimate story about relationships and everyday dreams.”

Unlike loud, high-concept spectacles, this one is reportedly designed to feel lived-in. “It’s very much in Sharat’s zone, flawed but lovable characters navigating ordinary life. The emotional core is strong, and that’s why casting is crucial. You need performers who can balance authenticity with star presence.”

If the casting goes through, this will mark Raveena and Kapil’s first on-screen collaboration. A look test and photoshoot was scheduled on Sunday [March 1], following which the film is expected to go on floors this month itself with a tightly planned schedule.

Within hours of dropping on Netflix on January 30, Ranveer Singh’s blockbuster Dhurandhar (2025) became a topic of discussion. Viewers noted that the OTT version of filmmaker Aditya Dhar’s action thriller was almost 11 minutes shorter than the theatrical one that had a three-hour-34-minute runtime. Another glaring change was that several expletives were muted or beeped out.

Dhurandhar was granted an ‘A’ certificate from the Central Board of Film Certification before its December 5 release. The fresh edits in the OTT version have left many questioning the need for additional sanitization.

A source close to Netflix India said, “Netflix has exhibited the film exactly as it was provided by the studio. The platform does not re-edit certified feature films,” said the source. 

According to the source, the version supplied for streaming was already the modified cut running in theatres. A revised version of the film was reportedly screened in theatres from January 1, 2026 after the makers removed the term ‘Baloch’.

“That is a shorter version and the same is streaming on Netflix. It is the same as the theatrical/CBFC-approved version. As with all theatrical films, the three-minute runtime difference is due to elements such as interval plates or in-theatre ad requirements that do not carry over to digital platforms,” added the source.

What prompted the removal of expletives, which were retained in the theatrical version? While Netflix insiders refused to comment, an industry insider said, “The new I&B Ministry Broadcasting Services (Regulation) Bill is being implemented in parts. The expletives being beeped out could be a result of that as they wish to regulate profanity and intimate scenes on OTT platforms.”

Playing a boxer had long been on Pulkit Samrat’s wishlist. The actor has manifested it this year with Glory, which marks his first OTT series as the leading man. “It’s a dream character for me,” he tells mid-day.

Created by Karan Anshuman and Karmanya Ahuja, the Netflix sports thriller revolves around a renowned boxing coach and his two estranged sons, whose Olympic dreams collide with secrets and revenge. Samrat stars alongside Divyenndu and Suvinder Vicky. Revealing that the shoot wrapped in mid-2025, the actor shares that being part of the universe was physically taxing. “The process has been intense, yet addictive,” he smiles.

Taxing as they may be, Samrat believes roles like these are essential to push creativity. He reasons, “Otherwise, it all turns into formulas. Everyone starts saying, ‘Oh, this is the formula, this works, and it’s all that sells.’ That’s not why we became actors. It’s necessary to get out of your comfort zone to see growth. You have to say, ‘Okay, let’s give the audience something they haven’t experienced before’.”

Ted Sarandos, the co-chief executive of Netflix, sent shock waves through the entertainment world last month when his company announced a $83 billion deal to buy Warner Bros Discovery’s movie and TV business. The deal elicited a strong – and largely negative – reaction within Hollywood. It also upset the plans of Paramount, which had been aggressively pursuing a deal for all of Warner Bros. Paramount is still aiming to buy the company, launching a hostile bid and threatening a board fight.

Netflix wants to “win the box office,” Ted said, adding that Warner Bros films will retain the existing 45-day theatrical window.

In an interview to The New York Times, Ted explained that they had held a lot of assumptions that weren’t necessarily true and shared, “The general economics of the theatrical business were more positive than we had seen and (what) we had modelled for ourselves. I think we’ve got to take ownership of the idea that when people are excited to go out and see something, they go. You’ve seen some really nice upside at the box office this year. They saw it in our Stranger Things finale experience. You give people a reason to leave the house, they will gladly leave the house.”

Discussing the harsh reaction to the deal in Hollywood, Ted Sarandos, Netflix’s co-chief executive said, “A lot of it was folks who questioned, rightfully so, our intent with theatrical because we hadn’t said anything about it. A lot of it was the emotions around that more than anything else. We had a lot of assumptions that weren’t necessarily true. We weren’t in the theatrical business not because we hated it. We weren’t in that business because our business was doing so well. I understand that folks are emotional about it because they love it and they don’t want it to go away. And they think that we’ve been doing things to make it go away. We haven’t.”

In 2022, Ted stated, “We make our movies for our members, and we really want them to watch them on Netflix.”

The remark, made at a New York summit, drew headlines for its dismissal of the traditional theatrical model as outdated. Addressing if he regrets calling the theatrical model ‘outmoded,’ Ted said, “I said 'outmoded for some'. I mean, like the town that Sinners is supposed to be set in does not have a movie theatre there. For those folks, it’s certainly outmoded. You’re not going to get in the car and go to the next town to go see a movie. But my daughter lives in Manhattan. She could walk to six multiplexes, and she’s in the theatres twice a week. Not outmoded for her at all.”

Speaking about the belief that streaming has reduced cinema attendance, Ted said, “I would say one of the other myths about all this is that we thought of going to the theatres as competition for Netflix. It absolutely is not. When you go out to see a movie in the theater, if it was a good movie, when you come home, the first thing you want to do is watch another movie. If anything, I think it helps, you know, encourage the love of films. I did not get in this business to hurt the theatrical business. I got into this business to help consumers, to help movie fans.”

Recent trade chatter suggests that Netflix has agreed to pay Rs. 130 cr approx for the streaming rights of Dhurandhar, covering both parts of the franchise. A few years ago, that number may have raised eyebrows for being too low. Back then, Netflix, Amazon Prime Video and Disney+ Hotstar were cutting much bigger cheques and asking far fewer questions.

According to trade analysts, film acquisitions have swung through multiple boom-and-bust cycles since the pandemic. A trade business analyst says, “What the OTT industry is seeing now isn’t exactly a correction, but equilibrium. And Rs. 130 cr is a huge amount in the current phase of streaming film acquisitions.”

We take a look at what goes on behind streaming platforms calling the shots on film pricing and how the system has changed.

During the pandemic, big titles sparked bidding wars among OTT platforms, which is not the case at wars among OTT platforms, which is not the case at present. Trade experts estimate that OTT rates for big-budget films have fallen, with platforms unwilling to pay premium pricing when theatrical performance is to pay premium pricing when theatrical performance is uncertain.

Post-pandemic, several films for which streaming platforms paid a huge sum delivered neither box office platforms streaming traction. Platforms took note

Film business analyst Girish Johar says, "In the last two years, platforms discovered that acquiring a big-star film – no matter how expensive – doesn't necessarily translate into new subscribers. At the same time, box office collections have also faltered, with several high-profile releases underperforming across languages. What was failing in cinemas, platforms realized, was also failing on their apps. Hence, streaming services revised the rules of acquisition, linking the price of digital rights directly to theatrical performance."

A film that worked in theatres, platforms reasoned, A film that worked in theatres, platforms reasoned, had already cleared the hardest test – audience had already cleared the hardest test – audience acceptance. Paying more for such a title was not a risk acceptance. Paying more for such a title was not a risk but a calculated bet, say OTT executives. but a calculated bet, say OTT executives.

Trade analysts say that during the pandemic, streaming services were in a kind of gold-rush mentality. Cinemas were shuttered, audiences were captive at home, and platforms were under pressure – from investors and global headquarters alike – to grow quickly.

"Producers, sensing leverage, began demanding prices that were two or three times the perceived value of their films. Platforms not only agreed, but in several cases, bidding wars emerged around major releases,” says Girish Johar.

As audiences returned to theatres, subscriber growth slowed, and engagement dipped as box-office flops flooded OTT platforms.

Under the new model, negotiations have become more measured and more conditional. Producers open talks by asking for 60 to 80% of their production cost to sell streaming rights. What they often receive instead is a base price closer to 40%, with additional payouts tied to box office.

Trade analysts say, “If a film performs well theatrically, the final price rises in slabs – 5-10% at a time for all languages.”

For context, satellite television rights, which were once the backbone of nontheatrical revenue, now fetch barely 10% of a film’s budget.

Eros International Media Ltd has approached the Bombay High Court accusing filmmaker Aanand L Rai and his Colour Yellow Media Entertainment LLP of illegally riding on the goodwill of its 2013 hit Raanjhanaa while promoting and releasing the 2025 film Tere Ishk Mein. In a commercial IP suit and a related interim application, Eros has alleged trademark infringement, copyright infringement, and passing off, claiming that Tere Ishk Mein was deliberately projected as a “spiritual sequel” to Raanjhanaa, without any permission. Eros is demanding Rs. 84 crores as compensation for the damages done by Rai.

Eros has named multiple parties in the suit — apart from Aanand L Rai and the Colour Yellow Media Entertainment LLP, the defendants also include Super Cassettes Industries (T-Series), writer Himanshu Sharma, and Netflix Entertainment Services India LLP, making it a multi-party copyright and trademark battle over Raanjhanaa and Tere Ishk Mein.

According to the complaint, Eros says it is the producer and “exclusive owner of all intellectual property rights” in Raanjhanaa, including copyright, trademarks, characters, dialogues, and sequel and remake rights.

The suit states: “The Plaintiff is the producer and exclusive owner of all intellectual property rights in the highly successful Hindi language film ‘Raanjhanaa’ including without limitation… copyright, registered trademark rights in ‘Raanjhanaa’, character rights including in ‘Kundan Shankar’ and ‘Murari’, and remake, prequel and sequel rights.”

Eros claims the defendants — Colour Yellow Media Entertainment LLP, Colour Yellow Productions, Aanand L Rai , and others — misused these rights to market Tere Ishk Mein, which was released on November 28, 2025.

A major trigger for the lawsuit was the teaser of Tere Ishk Mein that appeared online in July 2025. Eros says it found that the teaser used phrases like “From the world of Raanjhanaa” and hashtags such as “#WorldOfRaanjhanaa”. The interim application notes: “The Defendants have made unauthorized use of the Applicant’s Rights / Applicant’s Film/brand/mark ‘Raanjhanaa’ for the promotion… of the Impugned Film titled ‘Tere Ishk Mein’.”

It further states that the teaser even used footage, background score, and music from Raanjhanaa, despite Eros not owning the music rights anymore.

One of the strongest allegations is about the use of the same actor, Mohd Zeeshan Ayyub, playing a very similar character in both films. The complaint says: “Murari, portrayed by Mohd. Zeeshan Ayyub, in both films, is a sharp-witted friend whose perspective adds conscience to the plot… The Respondents’ unauthorized reproduction and commercial exploitation of these characters… constitute a clear violation of the Applicant’s exclusive rights.”

Eros also claims that the lead character played by Dhanush in Tere Ishk Mein — named Shankar — mirrors Raanjhanaa’s Kundan Shankar, along with similar emotional arcs, dialogues , and themes.

Eros says it issued a cease-and-desist notice on July 25, 2025, followed by reminders in September. Some references were briefly removed from promotional material, but the company alleges the film still carried strong similarities when it released. The complaint states: “Despite receiving explicit legal notices… the Defendants proceeded to release and exploit the Impugned Film on 28th November 2025 while persisting in wrongful acts.”

After watching the released film, Eros claims it found “extensive copyright and trademark infringement,” alleging that the film was repeatedly described and projected as a “spiritual sequel”.

We reached out to Rai and Eros for a comment, but did not get a response till the time we went to the press.

An ambitious big-screen offering in Border 2 signifies a career high for Paramvir Singh Cheema after his successful OTT offerings Tabbar (2021), Chamak (2023), and Black Warrant (2025). Strangely, the actor was at his most cautious when director Anurag Singh’s war drama came his way.

Talking to mid-day, Cheema recalled, “When the casting director told me that Anurag sir wanted to test me for Border 2, I asked him what the character was. He said, ‘Bro, it’s Border 2. Why are you asking about the role?’”

Having been part of performance-led projects, Cheema was aware of the risks that come with ensemble films. He was worried he may be sidelined in a movie that boasted stars like Sunny Deol, Diljit Dosanjh, Varun Dhawan, and Ahan Shetty.

He added, “I wanted to know what I’d be doing in the film. I told the casting agent, ‘Don’t waste me.’ As an actor, you’re always scared that no one will value you. Plus, if you’re not a star kid, one wrong move can lead everything to go in vain. Earlier I’d be okay with a two-day role, but the industry makes you fear your instinct.”

After being narrated his role in the sequel to the 1997 hit Border, Cheema was certain he wanted to be a part of it. But there was another concern — he was asked to audition for a turbaned character. “I know I’m a Sardar and look good in a turban, but why only that? That’s where the typecasting starts. I convinced Anurag sir to let me play a Haryanvi guy.” 

If landing the film was a professional leap, inhabiting a real-life character came with immense emotional gravity. As they shot the war drama in Jhansi, Cheema lived among soldiers and was struck by their resilience.

“One day, I asked a soldier how things were at home. He told me his wife had passed away, and his mother was raising his daughter who was little. Yet he stood in front of me, smiling. If I’m portraying [such soldiers’] lives, it has to be absolutely correct.”

In 2025, mid-day had reported that the second season of ‘Black Warrant’ was deferred due to disagreements between creator Vikramaditya Motwane and Netflix India (No warrant to shoot, Sept 26). When asked about its fate, Cheema, who played a jailer, said that things are back on track. “Some delays are good for the material. Netflix changing its strategy was a big part of the reason, but now the season will be better.”

Streaming platforms have begun to do away with a fixed base or floor price (a minimum guaranteed payment) for films underperforming in theatres and have reduced base prices by 25–50%, in a move that could bring greater transparency and create a level playing field in the sharing of risks associated with box office outcomes, veteran distributors, independent streaming consultants and producers told ET.

According to distributors and trade analysts, after Sikandar (Hindi) and Thug Life (Tamil), the latest film to see a reduction in its base price is Akhanda 2: Thaandavam (Telugu).

They said that Netflix revised the film’s base price downward by 25% to Rs 67.5 crore from Rs 90 crore after its underperformance in theatres.

“Today, streamers immediately revise a film’s base price if it underperforms in theatres,” explained Suniel Wadhwa, co-founder & director, Karmic Films. “Platforms now read theatrical performance as a sign of audience rejection or acceptance. Box office success is not a validation today but rather a risk filter,” added Wadhwa.

This move by streamers reflects their sharp focus on profitability after having paid irrational prices for films to expand their libraries, materially impacting their profitability.

Today, digital rights are the fundamental trigger for producers to start a film, as these rights provide 40–80% of total film income. Given this noteworthy contribution, streamers came up with slab-wise revenue payments, which meant that beyond a fixed base price (arrived at after considering the average performance of past films of actors and producers), a film gets an additional upside (bonus) of 10–15% for every box office collection milestone set by the platform and the producer.

“It is a fair deal. If makers get an upside, then they must be prepared for a downward revision of the base price if a film flops in theatres,” said veteran filmmaker Vipul Amritlal Shah.

Distributors said that this move by streamers has emerged from poor responses to underperforming films on their platforms.

“In a way, the downward revision of the base price from a fixed base price will keep in check tactics such as block booking of tickets or releasing films on streamers before the eight-week window to recover cash, as practiced by producers,” said film distributor and trade analyst Shaaminder Malik. “Also, flop films do not provide incremental subscribers to streamers,” added Malik.

Another reason for the downward revision in a film’s base price is the fall in streamers’ appetite for content after recent consolidation. Consequently, power has shifted from producers to streamers.

“After the recent consolidation, the appetite for content among streamers is not as high as it was three years ago. Today, they have more realistic criteria for buying films,” said Shrirang Nargund, an independent streaming consultant.

There is a section of producers that believes that if a streamer revises a film’s base price downward, it should not release the film on its platform before the eight-week window.

“If a streamer reduces a film’s base price, then it must not insist on releasing it on its platform before the eight-week window. They must allow a film to stay in theatres. It may contain losses. The idea is to buy the right film at the right price,” said producer Rajesh R. Nair.

Even as the fourth season of The Great Indian Kapil Show began streaming over the weekend, its third edition has landed comedian Kapil Sharma and the makers in trouble. Phonographic Performance Ltd (PPL) India, the country’s oldest copyright licensing organization, has moved the Bombay High Court against Sharma, the producers of the comedy reality show, and Netflix India, alleging copyright infringement through the unauthorized use of songs on the popular comedy series.

According to the commercial intellectual property suit filed on December 12, a copy of which is in mid-day’s possession, three episodes aired between June 21 and September 20 are in contention. One featured actors Sidharth Malhotra and Janhvi Kapoor, in which the song M Bole To from Munna Bhai MBBS (2003) was used, while another with Sanjay Dutt and Suniel Shetty played the track, Rama Re, from Kaante (2002). The final episode, featuring Akshay Kumar, used the number Subha Hone Na De from the actor’s movie Desi Boyz (2011). 

In the suit, PPL India has claimed these uses amount to “public performance/communication to the public” under the Copyright Act, 1957, requiring a licence from the rights holder. Stating that no such licence was sought or granted, it has accused K9 Films Pvt Ltd and BeingU Studios Pvt Ltd, the production houses behind the show, of copyright infringement. The suit also notes that the show is first recorded in front of a live audience, where the music is audibly performed, and only later streamed on Netflix, compounding the alleged infringement.

Before this, PPL India had issued a cease-and-desist notice to the producers on November 6. “However, only a holding reply has been received, and the defendants have not stopped playing the plaintiff’s sound recordings,” states the plaint.

The organization has now appealed to the High Court to restrain the defendants from using its copyrighted sound recordings without a licence, to order disclosure of revenues earned through the alleged illegal use, and to appoint a court receiver to seize infringing material. The matter is expected to come up at the Bombay High Court’s commercial division.

mid-day reached out to Sharma and PPL India. Both didn’t respond till press time.

Mumbai: The Multiplex Association of India (MAI) has raised concerns over Netflix's acquisition of Warner Bros Discovery's studio and streaming assets, warning that the growing trend of streaming platforms buying major studios does not bode well for the theatrical business.

Amazon's $8.5 billion takeover of MGM did not attract similar pushback because the studio, though modest, was operational at the time, and Amazon has since focussed on increasing its theatrical output. Amazon MGM Studios plans to release three to four films annually in India. Netflix, by contrast, has maintained a limited and selective approach to cinemas.

Netflix's $83 billion deal for Warner Bros Discovery, following the spinoff of the linear TV networks and Discovery+ into Discovery Global, is among the largest entertainment mergers in recent years. Its scale mirrors Disney's $71 billion purchase of 21st Century Fox in 2019.

MAI said Indian cinemas rely on a steady and diverse film slate to sustain a vibrant theatrical ecosystem. The takeover of a major Hollywood studio by a streaming company that has deprioritized theatrical releases poses a competitive and economic threat.

Kamal Gianchandani, president, MAI, said the Indian theatrical market thrives on choice, scale and cultural diversity and highlighted Warner Bros' longstanding contribution to release calendars.

"Cinemas in India are more than entertainment venues. They are cultural hubs and major economic engines. They support millions of livelihoods across production, distribution, exhibition, food and beverage and ancillary services," he said.

He added that Netflix has made its stance clear through its restrictive approach to theatrical releases. "If this acquisition proceeds, the risk is two-fold: a meaningful reduction in high quality content for cinemas and the potential for shortened or non existent theatrical windows. This would impact revenues, limit consumer choice and weaken the broader film ecosystem. A consolidation of this size requires careful scrutiny and MAI will continue to raise its concerns with regulators in India and abroad," he said.

Netflix said on Friday it expects to maintain Warner Bros' current operations and build on its strengths, including theatrical releases.

Multiplex executives privately admit the deal may have limited short-term impact in India because Hindi and regional films dominate the box office. Ormax Media data shows the 2025 box office reached Rs. 11,077 crore by October, up 24% from last year. Hollywood contributed 10% of the total, with Indian films accounting for the rest.

Hollywood remains a strong double-digit contributor for chains such as PVR Inox and Cinepolis, though Warner Bros Discovery's share is in low single digits. "While WBD's contribution in India is not very large, this merger will shake up global cinema in the years ahead. There is already strong opposition to the deal in the US," said a senior multiplex executive.

Streamer Netflix’s acquisition of the iconic Hollywood Studio Warner Bros. Discovery (WBD) will add muscle and sinews to its content offering, but experts said locking cricket rights that will be up for grabs in 2027 might be a gamechanger on the Indian subcontinent.

Netflix has agreed to acquire WBD in a landmark deal valuing the company at an enterprise value of $82.7 billion and an equity value of $72 billion, after WBD spins off its global television networks into a new listed entity, Discovery Global, giving the streaming giant control over one of Hollywood’s most well-known studios and creating a global entertainment behemoth.

Once the spin-off is completed in the third quarter of 2026, Netflix will take over the Warner Bros. film and TV studios, along with HBO and streaming platform HBO Max. Netflix expects $2-$3 billion in annual cost savings by year three and says the deal will be accretive to GAAP earnings per share by year two. The transaction is targeted to close in 12-18 months.

The deal has also drawn comparisons with Disney’s $71 billion acquisition of 21st Century Fox in 2019, with analysts noting that while the two transactions differ in scope, the Netflix–WBD combination moves Netflix closer to the studio scale Disney reached after the Fox merger.

Analysts say it remains unclear how the deal would affect India, though some note that a larger consolidated content catalogue could shape future licensing decisions.

A few industry observers cautiously add that the strengthened portfolio may, over time, prompt Netflix to reassess broader growth opportunities in the market, including whether to evaluate cricket rights when they come up for renewal in 2027, although there is no indication that the company is considering such a move at this stage.

“The Netflix-WBD acquisition is a watershed moment for global streaming and its ripple effects in India will be profound. Content consolidation will bring HBO’s prestige series and WBD’s blockbuster franchises under Netflix, reducing fragmentation and creating Netflix a premium destination for global hits. Licensing disruption is inevitable as existing deals with other platforms expire, paving the way for Netflix exclusivity. This will drive industry to recalibrate their strategies, focusing on sports rights, regional originals and ad-supported models. Competitive pressures will intensify, driving innovation in pricing, bundling and localized storytelling. This deal definitely accelerates India’s OTT evolution towards a more consolidated and consumer-centric ecosystem,” said PwC India partner and leader for media and entertainment Rajesh Sethi.

“This acquisition gives Netflix access to franchises it has historically lacked, reflecting a strategy similar to Disney’s past content acquisitions such as Marvel and Star Wars. The price is significant, and its impact in India may be limited because the audience for premium HBO content remains relatively narrow. In this market, meaningful scale is unlikely unless Netflix eventually pursues cricket,” said N V Capital managing partner Nitin Menon.

Netflix will pay $27.75 per WBD share, including $23.25 in cash and $4.50 in stock. The sale followed a competitive process involving Paramount Skydance and Comcast.

Reuters reported that preliminary bids in November valued WBD at close to $24 per share for the full group in Paramount’s case, while Netflix and Comcast bid only for the studios and streaming assets. Netflix later raised its offer to about $28 per share for the restructured perimeter.

WBD then enters exclusive talks with Netflix. Discovery Global will house CNN, Discovery, TNT Sports, free-to-air European channels and Discovery Plus, all of which remain outside the deal.

Netflix says the acquisition will provide more choice and greater value by combining complementary strengths. Warner Bros.’ studios and HBO’s premium programming will deepen Netflix’s catalogue, and Netflix plans to preserve the studio’s existing operations, including theatrical releases. The combined slate is expected to boost engagement and revenue, expand Netflix’s production capacity and create more opportunities for creators.

Netflix enters the deal in a position of financial strength. It reported about $39 billion in 2024 and has projected $45 billion in revenue in 2025, has a market capitalization of about $437 billion and trades near $103 a share. Its gross debt is about $14.5 billion, and has cash and equivalents of $9.3 billion. WBD posted about $39 billion in revenue, has a market cap of around $60.8 billion, trades near $24.50 a share and carries gross debt of about $34.5 billion with $4.3 billion in cash, equivalents and restricted cash.

Netflix co-CEO Ted Sarandos said the combined libraries would strengthen its mission to entertain the world, citing classics such as Casablanca, Citizen Kane, Harry Potter and Friends.

“This acquisition brings together two pioneering entertainment businesses, combining Netflix’s innovation, global reach and best-in-class streaming service with Warner Bros.’ century-long legacy of world-class storytelling,” he noted.

“This acquisition will improve our offering and accelerate our business for decades to come,” added Greg Peters, co-CEO of Netflix.

WBD CEO David Zaslav said the merger would extend Warner Bros.’ century-long storytelling legacy. “By coming together with Netflix, we will ensure people everywhere will continue to enjoy the world’s most resonant stories for generations to come,” he said.

The deal will face regulatory review in the United States and Europe. Analysts say the combination of two major streaming services could draw scrutiny. Some have suggested earlier that a Paramount Skydance bid for the entire WBD group might have had a smoother path because it did not merge two large global streamers.

Netflix has about 302 million subscribers globally and HBO Max has about 128 million (including discovery+), giving the combined services roughly 430 million users.

Larry Ellison, co-founder of Oracle, is a key financial backer of Paramount Skydance through his son David Ellison, who took control of Paramount after Skydance’s 2024 merger.

Analysts said Ellison’s longstanding ties to Donald Trump and his political donations could have eased regulatory prospects, although there is no public indication of any official preference.

The restructuring will affect WBD’s India operations. Linear TV channels will move to Discovery Global. WBD had delayed an HBO Max launch in India and instead licensed HBO and Warner Bros. content.

HBO content exited Disney Hotstar in 2023 and moved to JioCinema, now part of the JioStar-led JioHotstar platform. JioStar pays $20 million per year for WBD content. Analysts expect HBO titles to return to Netflix once the multi-year deal ends.

India is not expected to see a major immediate impact from the deal. Netflix has over 20 million subscribers in the market, but HBO and Warner Bros. titles alone are unlikely to shift the competitive landscape because cricket remains the key driver of streaming growth in India and is controlled by JioHotstar, not Netflix.

While HBO series such as Game Of Thrones, Succession and The Last Of Us and Warner Bros. films like Oppenheimer and Barbie have strong followings, their return to Netflix will not materially alter market dynamics. Netflix could make a bid for cricket in India when it comes up for renewal in 2027.

Mumbai: Indian content is travelling faster and wider than ever through streaming platforms, with industry leaders saying the global surge in demand marks a turning point for the country's media and entertainment economy.

Executives say streaming platforms have dismantled long standing distribution barriers and opened direct access to audiences across continents with nearly 25% of total viewership for Indian OTT and digital programming now comes from overseas.

Platforms such as Netflix and Amazon Prime Video are seeing strong global traction for Indian originals, helped by subtitles and dubbing that eliminate language dependence. The government has urged the sector to think global and treat entertainment as a strategic soft power asset, expanding India's cultural reach through digital distribution at scale.

"With nearly 25% of viewership for Indian OTT and digital content now coming from overseas, our local voices from regional rappers to wellness educators are sharing our culture on world stages. This is local innovation, going global," said YouTube India head Gunjan Soni at the CII Big Picture Summit on Monday.

"It's how Kerala-born rapper, Hanumankind, can drop a track like 'Big Dawgs' and find fans from Lucknow to Los Angeles overnight. Or, how Anita Bokepalli can build a global community around mindfulness and yoga, sharing one of India's greatest wellness exports with the world."

Calling the surge in consumption a structural shift, YuppTV CEO Uday Reddy said international appetite is expanding far beyond the diaspora.

"Even non-diaspora audiences are actively seeking out our movies and shows. Subtitles and dubbing have removed language barriers, allowing good-quality Indian content to reach much wider global audiences," said Reddy.

"You can see the scale of this demand in the extent of piracy, which drains nearly Rs. 10,000 crore in revenue every year - money that should be flowing back into the Indian media and entertainment industry."

Streamer ZEE5 is also seeing steady overseas traction across the US, UK, MENA and APAC.

"Indian content on digital platforms continues to strike a strong chord with the diaspora audience through authentic storytelling across languages," said Siju Prabhakaran, Chief Business Officer, ZEE5 India and Global. "We continue to garner steady viewership from markets like the US, the UK, MENA and APAC."

He added that ZEE5 is scaling content with simulcasts, new formats and distribution partnerships.

"We also innovating with dynamic strategies like windowing, new content formats, simulcasts addressing the TV plus Digital audiences and CTV users amongst others. Distribution partnerships remain an important aspect to build global scale and ZEE5 has strong tie-ups across the value chain including telecom operators, OEMs and content aggregators," Prabhakaran said.

A new CII white paper on India's media and entertainment sector outlines the regulatory and infrastructure reforms needed to sustain this momentum. It highlights fragmented laws that create inconsistent compliance requirements and argues for unified regulation to protect IP and talent.

On Thursday, senior advocate Rajiv Nayar, appearing for Netflix, told the Delhi High Court that The Ba***ds Of Bollywood is a broad satire on the film industry and former NCB officer Sameer Wankhede should not be oversensitive about a one-and-a-half-minute segment.

According to a Bar & Bench report, Nayar argued: “Everyone has been painted with some element of parody. The theme is to expose Bollywood and its workings. Even if Aryan Khan disliked Wankhede, it still doesn’t meet the threshold of malice.”

A day earlier, actor Shah Rukh Khan’s Red Chillies Entertainment, the producer of the series, had told the court that the show, directed by (Shah Rukh’s son) Aryan Khan, is a work of satire and fiction, not a retelling of the 2021 Cordelia cruise drugs case, reports PTI.

Senior advocate Neeraj Kishan Kaul said the series “may be partly inspired by overzealous officers” but does not depict or reference the Cordelia episode, adding that “satire and fiction can co-exist” and that hurt sentiments alone do not amount to defamation. He also pointed to the disclaimers distancing the narrative from real events.

Over the last decade the gravitational pull of India’s entertainment economy has shi fted unmistakably southward. What began as sporadic national curiosity, gradually swelled into a full-blown cultural crossover. When Naatu Naatu from the Ram Charan-NTR Jr starrer RRR lit up the Oscar stage, it signalled that southern cinema was no longer rising quietly; it was asserting itself at the centre of India’s mainstream imagination.

That momentum has now spilled decisively into the OTT universe. For years, India’s streaming landscape ran on a Bollywood-first operating system. Budgets, narratives, and viewer targeting were all sculpted around the Hindi-speaking market.

But the lockdown years changed viewing behaviour dramatically. Housebound and hungry for fresh stories, audiences began exploring Tamil, Telugu, Malayalam and Kannada films in unprecedented numbers. The runaway popularity of Pushpa: The Rise - Part 01, Kantara and RRR ensured that southern storytelling was no longer incidental, it was central.

Among the southern-language industries, Malayalam cinema has emerged as the most intriguing outlier. Despite being the smallest in scale, it has consistently punched above its weight. Films like Manjummel Boys and Aadujeevitham - The Goat Life have travelled across states, while titles such as 2018 and Premam have shown modest overseas draws. Its combination of creative discipline and financial prudence has strengthened the entire value chain, making Malayalam cinema an appealing proposition not just for theatres but also broadcasters and streaming platforms chasing quality content with dependable economics.

Today, the fiercest battle for subscribers, originals and film rights is unfolding in southern India. Tamil Nadu, Telangana, Andhra Pradesh, Kerala and Karnataka have become high-growth markets. Every major platform is investing aggressively, drawn by more than 250 million people, deep digital penetration, mature entertainment habits and a willingness to pay.

L V Krishnan, chief executive officer of TAM Media Research, notes that southern audiences have historically shown about 50% higher content consumption. “With growing digital penetration and diverse storylines, content consumption is being further boosted by streaming platforms. Easy and cost-effective AI-driven dubbing has broadened the appeal of southern content to a global audience.”

India’s streaming ecosystem has exploded to 57 OTT platforms, spanning national giants and regional players like Aha, Sun NXT and ETV Win. Ormax Media estimates the country’s OTT audience will touch 600 million by year-end, powered by rising connected-TV usage expected to hit 129 million. With 562 million smartphones and nearly 50 million connected-TV screens, digital entertainment is now the default mode of consumption.

Content supply has kept pace —India churns out close to 200,000 hours of original programming a year—from over 1,600 films to more than 2,600 hours of premium OTT series, says a FICCI-EY report. Paid streaming is also expanding, with subscription video users projected to rise from 47 million in 2024 to about 65 million by 2027.

Although platforms do not reveal regional subscriber splits, executives say the South contributes disproportionately to paid users and viewing hours. The region’s 143 million OTT users nearly match North India’s 151 million despite its smaller population base, according to Ormax. Half the southern population already consumes OTT content, the highest penetration in India.

The investment momentum reflects this energy. Platforms are building larger content teams in Chennai and Hyderabad, experimenting with new pricing models and aggressively commissioning original series that reflect local culture rather than merely ticking regional boxes. The era of token presence is over; depth is the new strategy.

For Netflix, Prime Video and ZEE5, southern growth is fuelled by blockbuster films and originals. For JioHotstar and Sony LIV, sports strengthen their entertainment pipeline. Local giants such as JioHotstar and ZEE5 also benefit from steady daily TV content that reinforces platform stickiness.

“Streaming created a watershed moment for South cinema. During the pandemic, high quality subtitles and dubbing removed language barriers and audiences discovered stories they never had access to,” said Monika Shergill, VP content, Netflix India.

In 2022, South content viewership grew 50% year-on-year, with South titles appearing in Netflix’s global non-English Top 10 list in about 17 countries the following year. This number has now risen to 26. Last year, Vijay Sethupathi’s Maharaja became Netflix’s most-watched Indian film globally.

“South storytelling is not just becoming bigger in India, it is becoming mainstream. A large part of our slate today consists of South movies, and we acquire the Hindi dubbing rights along with multiple subtitle and dubbing language rights. This allows these powerful films to travel across different audiences,” Shergill said.

Early OTT investment focused heavily on acquiring South Indian films. Titles such as Pushpa, Kantara, Kalki 2898 AD and KGF fetched some of the highest digital acquisition fees. Films still trigger subscriber spikes, but platforms are now investing more in long-form originals to build retention.

Netflix recently announced six new Tamil and Telugu originals, underscoring long-term commitment.

“We currently have about 26 shows in development, negotiation or production for the South. This is the largest pipeline of South Indian content we have ever had,” said Nikhil Madhok, director and head of originals, Prime Video India, adding that 60% of users watch content in multiple languages.

Sony LIV is developing 13 regional originals, 11 of them from the South. Sony LIV’s business head Danish Khan said the South’s strong legacy in films and television raises creative expectations. “Tamil and Telugu are large markets both within India and internationally. Malayalam has become a supplier of strong stories across India.”

Khan noted that consumption patterns in South India mirror national trends—sports, films and originals drive engagement. Sony LIV acquires only select Malayalam films for cost efficiency. The subscriber split is around 80:20 male to female and viewership is 70:30 in favour of men. “OTT penetration in South India is already high and content consumption per user is higher than the national average,” he said.

“We anticipate a substantial rise in the volume of OTT content originating from the South in the coming years.”

JioHotstar plans to triple its South slate to 1,500 hours of original and acquired programming over the next year. JioStar head of entertainment, South cluster, Krishnan Kutty said one-third of the platform’s viewers are from the South and account for a disproportionately high share of watch time.

“The Tamil and Telugu markets are the largest in terms of heft and creative ecosystem. Kerala punches far above its weight because it has a strong pool of storytellers. Some of our most successful movies and specials have come from Kerala. In Karnataka, we are at an early stage, but we are very excited about that market too,” Kutty said.

ZEE5 chief business officer Siju Prabhakaran said, “South contributes up to 45% of our total OTT watch time. Language packs contribute roughly 60-70% of our new subscribers. Each market has a business head who understands local culture and stories. For us, content is the hero.” ZEE5’s language packs are priced at Rs. 99 per month and Rs. 699 annually.

Executives say South Indian audiences are shaping a distinct OTT playbook. The region’s entrenched TV habits and strong cinema culture push platforms to create habit-forming content. Films remain the biggest subscription catalyst, with Prabhakaran estimating 50- 60% of new subscribers still coming from movies. Prime Video also notes the South’s affinity for films.

To build retention, platforms are adopting TV style storytelling. JioHotstar’s 80–100 episode series are “breaking conventional norms of digital content” as viewers return weekly. ZEE5’s OTT-first reality shows are among its biggest non-fiction subscription drivers.

The South is no longer a regional appendage to the national entertainment market. It has become the creative engine powering India’s soft-power ambitions. As language barriers fall and audiences embrace Indian stories, creators from Tamil Nadu, Telangana, Andhra Pradesh, Kerala and Karnataka are leading the charge. Streaming has not only expanded southern cinema’s audience; it has reshaped India’s entertainment economy and its cultural centre of gravity.

- JioHotstar plans to triple its South slate to 1,500 hours over next year.

- Prime Video has 26 South-origin shows in the pipeline.

- SonyLIV has 13 regional originals, 11 of them from the South.

- ZEE5 says the South accounts for 45% of its OTT watch time, driven by aggressively priced language packs.

- Netflix has announced six new Tamil and Telugu originals; says views of South content grew 50% YoY in 2022.

The Delhi High Court on Monday resumed hearing former NCB official Sameer Wankhede’s defamation plea against The Ba***ds Of Bollywood. The court pulled up Red Chillies Entertainment and Netflix, noting that while the show may be satirical, its portrayal of Wankhede appeared biased.

According to a report in NDTV, Wankhede sued Red Chillies, Netflix, and Aryan Khan for defamation. Aryan, actor Shah Rukh Khan’s son was arrested by Wankhede in 2021 when he was with the Narcotics Control Bureau, but later all charges against him were dropped. The IRS officer asked the court, “Do I deserve this trial in public opinion?”

Wankhede’s lawyer J Sai Deepak, cited self-proclaimed film critic Kamaal R Khan’s (KRK) post on X to demonstrate the threats and mockery he faced after the show aired. “The show has convinced people that I have no integrity — chor, and what else?” the lawyer said on Wankhede’s behalf

Appearing for Red Chillies, senior advocate Neeraj Kaul defended the show’s satire, saying, “I am entitled to do this. You are putting a gun to my head in the plaint. Of course, I can say that I am inspired by characters....Every producer, paparazzi can appear tomorrow, (saying) my face resembles.”

The advocate noted that cartoonist R K Laxman could satirically critique the Prime Minister, calling it a source of national pride. The court responded that, unlike The Ba***ds Of Bollywood, Laxman’s work showed no bias, unlike the context involving Aryan and Wankhede. The Delhi HC will continue hearing the matter on November 26.