#Hotstar Multiplex

[absolutebl]

[23rd December, 2022]

Hi!

Not sure what percentage of BL audience understand the algorithm, or the metrics of how an OTT platform is run, but I believe, since they are paying for it by taking either monthly, quarterly, or yearly subscriptions, they should be made aware of how things work with the OTTs, because almost all the BL series are streamed on them, unlike movies which have their theatrical release.

I do know for sure that well-established filmmakers, and producers get the analytics from multiplexes, and media companies that's into research, about how well their movie is doing domestically, and internationally. And they also get a detailed information about the demographics of the audience, to understand better about the kind of consumers they have.

For some strange reason, I think it would be fine to compare HW, or any other successful movie industry in the world, with that of the BL, because although the genre may be different, the intention of making money remains the same. And I guess, no producer would deny that, be it someone from the Asia, or the West. And given that almost 90% of the BL audience are international fans, the amount of money that's pumped in by the producers, as against the money minted by the OTT platforms would show a big difference.

That's the reason, I have always been intrigued with how OTTs function. And how does the business of streaming BLs on multiple OTT platforms work?

Apologies if any of my question is repetitive, but I guess its not.

So, my question to you are as follows:

As a BL fan yourself, how many OTT platforms have you subscribed to? And the price-point of which OTT platform according to you is justified? (If possible, mention how much you pay in your currency for each OTTs - Monthly, Quarterly, and Yearly.)

The subscription model of which OTT platform is affordable for all three options (Monthly, Quarterly, and Yearly)? (To you give you an example, a lot of BL fans are in praise of Viki, and have taken a yearly subscription of it, as against "iQIYI", which most have subscribed to for just Quarterly.)

At the moment, which BL OTT platforms would you consider the best in terms of streaming regular BL content, while at the same time offering a feasible subscription model? (The one that you are subscribed to for long, and will continue the subscription in future too.)

Which OTT platform according to you has the best User Interface? And what is it that's more appealing to you? (Please elaborate in detail if possible.)

As an audience, what kind of changes do you expect from an OTT platform? (Like for example: No pop-up ad windows, introducing comment section, multiple language subtitles, being able to reverse and fast forward, off-line download, etc,..etc,)

With multiple options of OTT platforms, like "Viki", "Netflix", "GagaOOLala", "iQIYI", "WeTV", "AISPlay", "DisneyPlus Hotstar". Don't you as a BL fan find it confusing and ridiculous at the same time to subscribe to so many platforms?

Should mid-budget, low concept BLs really be offered on a Membership model on YouTube, only because its coming from an independent production company that's trying to establish itself? (Case in point - "Commetive Productions by Dir.Aam Anusorn".),

Will you be ready to pay more price for an OTT platform that not only offers the best BLs, but also offers HD quality content, and multiple other options that you were looking out for?

If you as a BL content consumer had to give a critical advise to the creators (service providers & app developers) of an OTT platform, what would that be? And why?

Thanks!

xoxo

Arjuna

Hi hi, sorry it’s taken so long, been a bumper end of the year. All the stats must be collected and proceed all at once for prediction reasons. Jan-March are my busiest times just number crunching. 

1. As a BL fan yourself, how many OTT platforms have you subscribed to? And the price-point of which OTT platform according to you is justified? (If possible, mention how much you pay in your currency for each OTTs - Monthly, Quarterly, and Yearly.)

Erm, let me see: 

Youtube Premium $119.99/yr (I hate ads) - since I also run some channels and do a ton of other stuff on YT I find this totally acceptable as an expense, I already pay Google for work related services as well (see tax note) 

Viki Plus $99.99/yr (I like Kdramas so I upgraded last year) - not sure the higher price point is justified for BL, and many of the BLs are actually free with ads on Viki so... shrug. Others may not need this one at all. 

Gaga $83.88 - lowest price point, supports Taiwan, queer content. I’d probably keep this one going even if I never watched the platform, but they always have content I like, we have similar taste 

My FairyGodBLer gifted me subscriptions to IQIYI & WeTV because she wanted my thoughts on some of their offerings (and is a total sweetheart). I would not belong to these myself and either not watch their content or use back channels to get the BLs. 

Notes: 

Because of my job, media subs are a tax deduction most of the time. 

I’m not price sensitive, I’m efficiency and convenience sensitive. I always pay yearly. Since I’m a contract worker I earn income in chunks, rather than a salary, so I prefer to pay out that way. Psychologically, I think it helps to know exactly how much a thing costs me per year, too. 

2. The subscription model of which OTT platform is affordable for all three options (Monthly, Quarterly, and Yearly)? (To you give you an example, a lot of BL fans are in praise of Viki, and have taken a yearly subscription of it, as against "iQIYI", which most have subscribed to for just Quarterly.)

That depends on how you define affordable and content. 

I did do this breakdown last year. Results still hold:

Viki has the most BL content (not Thai) by watchable hours, but by numbers only about 13%. (might have gone up a bit)

Gaga has the most content (not Thai) by numbers ( 28% because so many shorts). 

YouTube has the most content in general (42%), because Thailand. Although Thai BLs are getting outside distribution now so that number is falling GMMTV and its long history on the platform, still tips the scales. 

I can’t run these numbers anymore because lately so many BLS are on more than one platform especially Viki+Gaga and also it makes a difference where you, the watcher, live. 

3. At the moment, which BL OTT platforms would you consider the best in terms of streaming regular BL content, while at the same time offering a feasible subscription model? (The one that you are subscribed to for long, and will continue the subscription in future too.)

For me personally? 

YT

Viki

Gaga

iQIYI

WeTV 

If you’re only interested in queer content and very price sensitive?

Gaga

I’d do YT & Viki free w adds, everything else I’d wait or grey source it

4. Which OTT platform according to you has the best User Interface? And what is it that's more appealing to you? (Please elaborate in detail if possible.)

I watch primarily on an iPad. For that?

YouTube - playlists (sharable!) are great, they have a skip forward, 1.25 watch speeds (and more), continuous play, watch later, history, and tracking systems. The dash is easy to understand and personalize. It works seamlessly in desktop mode as well. Comments are non-invasive, and I can screen grab. It’s easily my favorite interface. Say what you want about YT’s search algos (which are crazy-making) as a UX it is quirky but smooth and easily the best streaming platform ever built (AS a streaming platform, for content creation that’s another story). I even enjoy the watch weight graphs on occasion. 

Viki - I like creating my own private categories and organizing things. I like they have a skip forward and autoplay options. I hate that they don’t have high speed and block screen grabs (which is why you rarely see screen grabs on this blog from their shows). Their desktop interface is always dated and lousy with bugs. The dash is insane. Their comment interface should be disabled. It’s a fucking nightmare if you accidentally press that button at the bottom. Viki should strip its community aspect entirely IMHO, just allow star ratings, nothing else is needed. 

Gaga - lack of sorting system, autoplay, and skip forward are maddening. Plus they block screen grabs. But the dash is okay, and they have high speed playback. I hate that anytime you tap anything it pauses. My List should be first not continue watch, and there should be some more personalization options governing things like visibility. 

iQIYI - vertical launch (SERIOUSLY?) how DARE THEY, also they serve ads even if you’re a subscriber (shitheads) those ads are ALSO portrait mode and often buggy, I’ve had alpha crashes off of their ads, that’s a UX SIN. They offer both high speed and skip forward, VERY necessary with their content, AND I can screen grab. But everything else about their interface is pretty darn terrible. 

I watch WeTV on a laptop. And not very much. 

5. As an audience, what kind of changes do you expect from an OTT platform? (Like for example: No pop-up ad windows, introducing comment section, multiple language subtitles, being able to reverse and fast forward, off-line download, etc,..etc,)

None, I expect no significant changes. I don’t think any of the established OTTs, even YT, are at all invested in improving background code infrastructure. They are all in maintenance mode, even more so now with a recession looming. The only thing they are focused on expanding is content acquisition (and not creation, acquisition).  

I foresee more and more shows, the same show, appearing on multiple platforms for international audiences either simultaneously (Viki & Gaga) or in succession, IQIYI/WeTV then YouTube. 

I foresee at least one deal between a larger Thai BL production house and a major streaming service, my guess is GMMTV + Netflix, APrime, or iQIYI. 

I’d like to predict a heavy hitting new OTT out of Korea, maybe Kakao, but I think they have missed that boat now, and Viki has cornered the market. 

6. With multiple options of OTT platforms, like "Viki", "Netflix", "GagaOOLala", "iQIYI", "WeTV", "AISPlay", "DisneyPlus Hotstar". Don't you as a BL fan find it confusing and ridiculous at the same time to subscribe to so many platforms?

No, see point 1 directly above. Also I am aware that most fans aren’t like me (a completest) and that there is too much content for most to keep up with. if you have a style of BL you prefer, like KBL for example, there is a platform for you (Viki). JBL = Gaga. Thai BL = YT, etc... So it still works if your fandom is niche within BL. There are only a ridiculous number of options and obligations if you are ridiculous in your consumption, like me. In which case... suffer for your obsession. That is the nature of obsession. The hunt. The collection. The expense. 

I found it a LOT more frustrating, and still do, when I have to go grey for soemthing and get it illegally. I would much rather pay creators for their content and it’s HUGELY frustrating when that content is just unavailable to me legally. I’m looking at you, Japan.  

7. Should mid-budget, low concept BLs really be offered on a Membership model on YouTube, only because its coming from an independent production company that's trying to establish itself? (Case in point - "Commetive Productions by Dir.Aam Anusorn".),

I don’t know. Maybe? I don’t kickstart or otherwise back indie projects, I’ve talked about why before. 

8 Will you be ready to pay more price for an OTT platform that not only offers the best BLs, but also offers HD quality content, and multiple other options that you were looking out for?

Yes, and I do with Viki, although I may drop back down to Standard in a year or so. But it’s not about HD for me it’s always about access to more content. The additional options i would pay for (downloadability w/ subs attached - glares at YT, screen grab access) they usually don’t offer and aren’t really desired by others enough to pay extra). 

9. If you as a BL content consumer had to give a critical advise to the creators (service providers & app developers) of an OTT platform, what would that be? And why?

Specialize in international distribution of one kind of BL from one country and then corner that market. Including going back into the archives for the older stuff from that country. 

If it is older previous published content, offer it in a form that’s not already available, so movie length repackages. Stripped out product placement. Re-edits and extra content director cuts. 

Figure out how to buy/commission better subs. Don’t air content until the subs are complete.

For shorter series, experiment with binge releasing, not week to week. Like Netflix does. 

Integrate your descriptions, tracking, sorting and tagging system with MDL. If you are going to borrow a crowd sourced community aspect, go for tags, not comments. Don’t try to build a community, borrow someone else’s. 

Allow for: sharing on social media, screen grabs & gifs, high speed & continuous play, skip ahead, anonymous public playlists, and personalized sorting systems, and a 10/10 star review system. 

[ryansjane]

[04th June, 2023]

Hi Axelle!,

HAPPY PRIDE MONTH. #PrideMonthSeries

Not sure what percentage of BL audience understand the algorithm, or the metrics of how an OTT platform is run, but I believe, since they are paying for it by taking either monthly, quarterly, or yearly subscriptions, they should be made aware of how things work with the OTTs, because almost all the BL series are streamed on them, unlike movies which have their theatrical release. 

I do know for sure that well-established filmmakers, and producers get the analytics from multiplexes, and media companies that's into research, about how well their movie is doing domestically, and internationally. And they also get a detailed information about the demographics of the audience, to understand better about the kind of consumers they have. 

For some strange reason, I think it would be fine to compare HW, or any other successful movie industry in the world, with that of the BL, because although the genre may be different, the intention of making money remains the same. And I guess, no producer would deny that, be it someone from the Asia, or the West. And given that almost 90% of the BL audience are international fans, the amount of money that's pumped in by the producers, as against the money minted by the OTT platforms would show a big difference. 

That's the reason, I have always been intrigued with how OTTs function. And how does the business of streaming BLs on multiple OTT platforms work?

Apologies if any of my question is repetitive, but I guess its not.

So, my question to you are as follows:

As a BL fan yourself, how many OTT platforms have you subscribed to? And the price-point of which OTT platform according to you is justified? (If possible, mention how much you pay in your currency for each OTTs - Monthly, Quarterly, and Yearly.)

The subscription model of which OTT platform is affordable for all three options (Monthly, Quarterly, and Yearly)? (To you give you an example, a lot of BL fans are in praise of Viki, and have taken a yearly subscription of it, as against "iQIYI", which most have subscribed to for just Quarterly.)

At the moment, which BL OTT platforms would you consider the best in terms of streaming regular BL content, while at the same time offering a feasible subscription model? (The one that you are subscribed to for long, and will continue the subscription in future too.)

Which OTT platform according to you has the best User Interface? And what is it that's more appealing to you? (Please elaborate in detail if possible.)

As an audience, what kind of changes do you expect from an OTT platform? (Like for example: No pop-up ad windows, introducing comment section, multiple language subtitles, being able to reverse and fast forward, off-line download, etc,..etc,)

With multiple options of OTT platforms, like "Viki", "Netflix", "GagaOOLala", "iQIYI", "WeTV", "AISPlay", "DisneyPlus Hotstar". Don't you as a BL fan find it confusing and ridiculous at the same time to subscribe to so many platforms?

Should mid-budget, low concept BLs really be offered on a Membership model on YouTube, only because its coming from an independent production company that's trying to establish itself? (Case in point - "Commetive Productions by Dir.Aam Anusorn".), 

Will you be ready to pay more price for an OTT platform that not only offers the best BLs, but also offers HD quality content, and multiple other options that you were looking out for?

If you as a BL content consumer had to give a critical advise to the creators (service providers & app developers) of an OTT platform, what would that be? And why?

Thanks!

xoxo

Arjuna

hi!

I am not subscribed to ANY streaming platform, be it as a thai drama fan or outside of that. as someone who grew up watching everything on free streaming sites, & considering half of thai dramas are available on youtube anyway, it has never crossed my mind to pay to watch a show lol. for western content, I never subscribed to netflix either bc they cancelled all of my fave shows in my late teens & now I almost exclusively watch asian content so it would be ludicrous to pay for something I'd barely use.

I haven't looked into any streaming platform so I can't answer you.

again no idea since I'm not interested in that, but imo viu seems the best bc some (or all?) of their shows are available for free. also I'd say the distribution of bl shows is pretty equal across wetv, viu, & ais play. gagaoolala seems to have the most shows though, while disney+ hotstar & iqiyi have only a few.

I have no idea which one has the best interface, but let me tell you something: it ain't ais play lmao. you can't fast forward, you have to reset the quality at every new part of an episode, and the search bar is also shit so finding shows is horrible. but hey at least they stopped making this a paid service lol.

since I'm not a streaming platform audience I have no idea.

I agree that there is too many platforms, but I also think I don't care bc I don't use any. every show will either be on youtube or end up on dramacool anyways so I just have to patiently wait lol

for mid-budget & low-budget bl series, I don't really know which is the best plan for them. I think hiding the eps behind a youtube paywall might be good for some that do gather success, but sadly I've also seen it stifle a project's success bc no one outside of the paying members (so not a lot of people) is watching it or talking about it. I think working with sponsors & ads is almost always the best option to offer the show up for free, as that's what drives more viewers to watch the show.

the only platform I've considered paying for is gagaoolala, bc it really has a lot of the bl content from thailand & also some great qualitative queer movies & short films, that include the always forgotten wlw. but the reason I haven't is that the price is too high for me & I don't see myself getting enough value from it for that price. apart from that, I am not ready to pay for a streaming platform AT ALL, therefore not willing to pay more, even for better content.

streaming platforms are simply not for me, so I don't know if I have anything to say. there are two types of people in the world: the ones who are willing to pay for comfort & no ads, and the ones who'd rather have to struggle more to find a show but not pay at all. I'm part of the later category, therefore I'm just not a streaming platform demographic. I would, though, definitely watch a streaming platform who ran on ads for free, like linetv was.

xxx

[tamanna31]

Telecom Services Market Key Vendors, Manufacturers, Suppliers and Analysis Industry Report 2030

Telecom Services Industry Overview

The global telecom services market size was valued at USD 1,805.61 billion in 2022 and is expected to expand at a compound annual growth rate (CAGR) of 6.2% from 2023 to 2030. Rising spending on the deployment of 5G infrastructures due to the shift in customer inclination toward next-generation technologies and smartphone devices is one of the key factors driving this industry. An increasing number of mobile subscribers, soaring demand for high-speed data connectivity, and the growing demand for value-added managed services are the other potential factors fueling the market growth. The global communication network has undoubtedly been one of the prominent areas for continued technological advancements over the past few decades.

Gather more insights about the market drivers, restrains and growth of theTelecom Services Market

The industry’s product offering evolved in the late 19th century from only voice and visual signals in terms of facsimile or telegraphs over wired infrastructure to the current scenario of exchanging audio, video, and text content over numerous wireless infrastructures. The market for telecom services has also witnessed significant improvements in data speeds, from Global System for Mobile communications (GSM) and Code Division Multiple Access (CDMA) to Third Generation (3G), Fourth Generation (4G), and now the commercialization of Fifth Generation (5G) networks. The advent of data connectivity has made possible the reduction in the duration of transferring large chunks of data from days to hours and now to a few seconds.

In today’s digital age, customers favor Over-The-Top (OTT) channels for a variety of reasons, among which the number of viewing options, and the pricing offered are the most prominent ones. The OTT solution providers offer video, audio, and other media content over the internet. Usually, they are not bound to price agreements with limited viewing choices to pick from. Common instances of OTT applications are Netflix, Amazon Video, Roku, Hotstar, HBO, and others.

Consumers and marketers alike are getting more acquainted with OTT applications and content. Furthermore, smartphone display and sound quality, open-source platforms, and super-fast Internet Protocol (IP) networks among other innovative services act as mobilizing factors to draw more consumers to the OTT providers 'freemium-based' business models, thus witnessing an ever-growing adoption rate and boosting the market growth.

As people worldwide struggle with the realities of the COVID-19 pandemic, digital entertainment platforms as well as the global telecom service providers have benefitted from the current scenario due to their industry type and business model. In a current worldwide lockdown scenario, a shift among masses to remote working will fuel the demand for network connectivity and infrastructure. Similarly, the temporary shutdown of multiplexes and other outdoor entertainment avenues due to strict social distancing has shot up the usage of various digital platforms, including social media, gaming, and OTT applications. The mobile voice traffic has also witnessed an upsurge during this period with prominent communication operators reporting an enormous escalation in their voice traffic since the outbreak of the pandemic.

Browse through Grand View Research's Communication Services Industry Research Reports.

The global managed services market size was estimated at USD 299.01 billion in 2023 and is anticipated to grow at a compound annual growth rate (CAGR) of 13.6% from 2023 to 2030.

The global 5G infrastructure market size was estimated at USD 16.69 billion in 2023 and is expected to grow at a CAGR of 22.9% from 2024 to 2030.

Key Companies profiled:

AT&T Inc.

Verizon Communications Inc.

Nippon Telegraph and Telephone Corporation (NTT)

China Mobile Ltd.

Deutsche Telekom AG

SoftBank Group Corp.

China Telecom Corp Ltd.

Telefonica SA

Vodafone Group

KT Corporation

Bharati Airtel Limited

Reliance Jio Infocomm Limited,

KDDI Corporation

Orange SA

BT Group plc

Comcast Corporation

Key Telecom Services Company Insights

Key market players are strategically focused on mergers and acquisitions in order to expand their geographical presence and overall product portfolios. For instance, in April 2020, T-Mobile US, Inc. acquired Sprint Corporation, a U.S.-based telecommunication company. The strategic merger was aimed to build robust 5G network infrastructure in the U.S. and capture the maximum market in rural as well urban areas. The merger will make a proposed investment of nearly USD 40 billion into its business, network, and others over the next three years.

Moreover, key market players are investing a significant amount in acquiring the necessary spectrum for offering next-generation services. Having an adequate spectrum would allow the market players to strengthen their overall portfolios and expand their subscriber base across various countries. For instance, in Feb 2021, AT&T Inc. and Verizon Communications spent around USD 70 billion combinedly on the 5G spectrum to provide improved network connectivity to their customers. 

Order a free sample PDF of the Telecom Services Market Intelligence Study, published by Grand View Research.

[cinemaflick]

Is the ott platform the biggest challenge to theatres?

There has been a big transition in the Indian movie theatre industry, from tiny street rolling-image frames to compact theatres in villages and towns to single projector theatres and finally massive multiplex chains. India is one of the world's biggest growing markets, with a GDP scale of 6-7 percent, a per capita consumption rise of around ~ 9 percent, as well as the third largest purchasing power parity economy in the entertainment and leisure sector, attracting rapid growth. The tendency to spend on recreation and entertainment is growing, with favorable demographics and increasing disposable spending, higher than the economy itself. The rise of the internet still continues to increase doubt as to where the future of the movie theatre industry is going given the technological developments that took the industry to the present position. Although the internet has helped to produce (digital) products and services more efficiently, it has the ability to improve efficiency and decrease costs as well. This will continue to build potential options for the consumer that can threaten other current possibilities. And OTT platforms are has become one of the film theatre industry’s disruptive innovations.

Over-the-top (OTT) media platform refers to something like a digital video platform which is distributed explicitly to consumers bypassing cable, radio and satellite tv channels over the Internet that usually act as distributors of those content. Over the past few years, owing to the rise in internet consumption, the media and entertainment sector has seen a significant push. This transition was motivated by factors such as fast internet connectivity, cheaper smartphones, extra screens, competitive data plans, and greater bandwidth capacity. Over the years, Over the Top (OTT) services have redefined their goals and customer desires. The growth of OTT networks has affected the movie theatre industry.

The fundamentals of the Movie theatre industry are being redefined; this paper will discuss development and evaluate the performance of the OTT market. Some of the online streaming platforms such as Netflix, YouTube, Amazon Prime Video, Hotstar, Zee5 provides a great opportunity to see and appreciate the issues facing the movie theatre industry, what the issuer is doing to combat the demand to see whether or not the customers are benefiting from these transitions.

[abeyyaaar]

What now???🤯🤯🤯🤯🤯

To tell the truth,I dint like the trailer.It doesn't have the same feel of Orginial Sadak esp the Villian. Sadak is all about its Villian and less about the protagonist.

Sadashiv Amrapurkar was the best thing about Sadak and will always be. His performance as MAHARANI will give you chills.I cannot watch this movie alone,neither at 10y/o nor at 25. I know for sure MAHARANI will haunt my ass!!😭😭

As much as I like to see Makrand Deshpande's performance, his character doesn't look as evil or sadistic as Amrapurkar's character or maybe they dint show much of him in trailer!!!

Anyway,I think I am gonna watch Original Sadak (completely this time) and ask my mumma if I can crash in her room!🙈

P.S. Another great actor who makes the best villian is Ashutosh Rana,if you have watched Sangharsh,you know what I am talking about!!!

That's another movie I am not able to watch completely because I know I will wet my pants,for sure!!😭😭😭

[chaaicoffee]

Shiddat Movie Cast, Story and Review

Shiddat Movie Cast, Story and Review

Shiddat: Journey beyond love, a throwback to the era of 90’s Bollywood movies. Passionate love, humor, filmy love and love story on factor ‘Pehle Takrar, Phir Inkaar aur Phir Ikrar and finally Pyar”. (more…)

[nandakhil]

What Does a Television mean today?

What does television mean today? When was the last time, you watched television? Has a television just becomes another screen today? You have started watching a new series, that everybody has been talking about. But you don’t want to miss out! Do you start watching it on your phone first, then continue watching on the tablet and if it’s something binge-worthy do you continue watching it on your…

[doonitedin]

Vidyut Jammwal's 'Sanak'set for OTT release on Disney+ Hotstar Multiplex!

Vidyut Jammwal’s ‘Sanak’set for OTT release on Disney+ Hotstar Multiplex!

New Delhi: Producer Vipul Amrutlal Shah and Zee Studios highly-anticipated film, ‘Sanak – Hope Under Siege’ has joined the list of big-ticket Bollywood movies releasing on one of India’s largest premium OTT platforms.  Directed by Kanishk Varma, the movie featuring Vidyut Jammwal and Bengali actress Rukmini Maitra will be streaming soon on Disney+ Hotstar Multiplex. Along with the announcement,…

[filmikeedareview]

Bhuj: The Pride of India Trailer : देशभक्ति से भरपूर ट्रेलर ने हाहाकार मचाया. Bhuj का ट्रेलर यहाँ देखिये

Bhuj: The Pride of India Trailer : देशभक्ति से भरपूर ट्रेलर ने हाहाकार मचाया. Bhuj का ट्रेलर यहाँ देखिये

Bhuj: The Pride of India Trailer : अजय देवगन, संजय दत्त और सोनाक्षी सिन्हा जैसी स्टारकास्ट से लबालब फिल्म ‘Bhuj: The Pride of India का Trailer रिलीज़ हो गया है. ‘भुज’ फिल्म के ट्रेलर रिलीज़ होने 4 घंटे के भीतर 20 लाख से ज्यादा व्यूज आ चुके है. दर्शक ट्रेलर से ज़बरदस्त खुश है. फिल्म का ट्रेलर एक्शन और डायलाग से भरपूर है. तीन मिनट के ट्रेलर कहीं भी आपकी आँख नहीं झपकने देता. ट्रेलर रिलीज़ होते ही फिल्म…

[chaaicoffee]

Bhoot Police Cast, Story and Review

Bhoot Police Cast, Story and Review

Director Pavan Kirpalani of Ragini MMS, Phobia and Darr at the Mall fame experiments with Horror Comedy with some famous faces, Shaif, Arjun Kapoor, Yami Gautam, and Jacaline along with Javed Jeffrey in the latest release Bhoot Police. The movie took us to some good tourist sites of Himachal Pradesh, like Kangra, Dharamshala, Dalhousie, and some parts of Gujarat.  Continue reading

[hsakibatpug]

Dil Bechara Trailer: Sushant Singh Rajput’s Final Movie Will Be Doubly Tearful The Dil Bechara trailer is here. Disney+ Hotstar and Disney-owned Fox Star Studios have unveiled an over two-minute look at Sushant Singh Rajput's final movie — the actor died in June — that finds him playing a cancer patient Manny (Rajput) who falls for another cancer patient Kizie Basu (debutante Sanjana Sanghi) in an adaptation of John Green's 2012 novel “The Fault in Our Stars”.

[watchonlinehindimovies]

How To Watch Online Hindi Movies At No Cost?

Now, you do not have to wait for the movie release dates and the multiplexes to get your favorite Hindi movies streaming at your fingertips through a good online platform. From the comforts of your home, with the click of a button you can now watch online hindi movies and other Indian popular television programs at any time you want. There are several service providers who offer a single platform to stream movies, but there are a few major benefits that you can avail from a good online portal. To begin with, the quality of the picture and sound is crystal clear and you get to choose from a wide range of Indian movies and TV shows. Also, you have the facility to browse through various genres of movies and select your favorites according to your preferences.

There are many sites that give you free hosting and streaming of Indian movie files, but there are a few major benefits that you can derive from such websites. First, you get unlimited access to the movie database of Indian film industry and the same content is never going to be deleted from the website. On top of that, there are no advertisements interrupting your viewing experience and you can freely go on with your favorite Hindi movies or other Indian popular television programs. Also, there are no viruses or adware and spyware present in these websites so you can enjoy viewing your Hindi movies or other Indian and international top TV shows uninterruptedly.

There are several websites that claim to offer free movie streaming site but when it comes to watch online Hindi movies for free without downloading, only a few are included in this section. The major benefit that you get with any genuine video streaming site is the large database of Indian movie clips, which is updated regularly. You can search for and watch your favorite Hindi movies according to your preference and time. You can also compare different video clips and rates to find out which one is the best and the most cost effective.

Most of the top-rated movies are in Hindi and hence, you need to know how to watch online Hindi movies without downloading them. The first thing that you need to know is which language of Hindi movies you want to watch. While the list of languages is quite long, you should stick to the main languages of India such as Hindi, Punjabi, Bengali, Marathi, Telugu, Tamil and Kerala. Once you know the language of the movie then you can easily zero in on a website that offers free Indian movie clips. Since Punjabi, Bengali and Telugu are more commonly spoken languages in India, you can easily zero in on these websites that offer free Hindi movies download. On the other hand, Marathi, Tamil and Kerala are more common in the southern part of the country, so if you are living in the southern part of the country, you need not worry as most of the top notch Hindi movies are available in these state languages.

Apart from these, there are also many popular websites that offer free Indian movie downloads, especially those that are based in Hindi speaking states. For example, Hotstar has one of the largest database of Indian movies and is also one of the most popularly used portals. Apart from offering free Indian movie clips, Hotstar also offers other popular Indian TV shows. In fact, the Hotstar database includes not only popular Hindi movie stars but popular actors and actresses from Indian films and popular TV shows. Apart from watching Hotstar videos, you can also get to watch full seasons of popular TV shows at the touch of a button.

If you are looking for a better way of watching online Hindi movies, then you can zero in on the best website that offers free Indian movie clips, downloads and TV shows. While there are several websites that offer free Indian movie downloads, most of them are illegal as they use copyrighted material. As per the law, uploading any content that is not licensed is strictly prohibited. To enjoy the benefits of these sites, make sure you download or watch Hindi movies online from a legal source.

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Sanak: Fans go gaga as Vidyut Jammwal shares first poster of new action film

Sanak: Fans go gaga as Vidyut Jammwal shares first poster of new action film

Image Source : INSTAGRAM/VIDYUT JAMMWAL Vidyut Jammwal Vidyut Jammwal on Wednesday said his upcoming film “Sanak – Hope Under Siege” is slated to be released on Disney+ Hotstar Multiplex. It also stars Bengali actress Rukmini Maitra. Along with the announcement, the makers have also launched a new intriguing poster featuring Vidyut holding a gun, looking like a man on a mission.The release date…

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Khuda Haafiz movie review (2020) Release date, Cast ,trailer,rating based on real story Available on Disney plus Hotstar Multiplex. Read more on ; 👀 www.reviewandstory.com 👆 Link is in profile bio. . . . . . #reviewing #movienight #disneyplushotstarvipmultiplex #insta #reviewandstory #hindimovie #IG #review #bloggers #latestpost #newpost #panoramastudio #khudahaafiz #instaupdate #blogger #vidyutjammwal #checkoutthelink #linkinbio #filmcommunity #realstory #actionmovies #thrillers #movie2020 https://www.instagram.com/p/CEDwlM8JdQW/?igshid=1o188frdb388z

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★ Barbaad ho rahe hai hum log”: Single-screen exhibitors DISAPPOINTED & ANGRY with Disney+ Hotstar’s 7 films announcement : Bollywood News!

June 30, 2020

Since more than a month, there have been speculations that Disney+ Hotstar, one of the biggest streaming platforms, has acquired more than a half-a-dozen films for a direct OTT release due to the Coronavirus-induced lockdown. Today, on June 29, the suspense was finally unveiled and it came to light that as many as 7 films will skip theatrical release and arrive straightaway on the internet. These films are Akshay Kumar’s horror comedy Laxmmi Bomb, Ajay Devgn’s war saga Bhuj – The Pride Of India, Sushant Singh Rajput’s last film Dil Bechara, Mahesh Bhatt’s directorial comeback Sadak 2, Abhishek Bachchan’s stock market drama The Big Bull, Kunal Kemmu’s comic caper Lootcase and Vidyut Jammwal’s action love story Khuda Hafiz.

As expected, the exhibitors are disappointed with this historic announcement. Already, they have been suffering since cinemas are shut since more than 3 months. And with the lockdown getting extended in most major states to July-end, they are all set to suffer more. In such a scenario, to see 7 films going straight to OTT, including few star-studded ventures which could have drawn audiences to cinemas in big numbers, have not just saddened them but also infuriated the exhibitors. While the representatives of multiplex chains were unavailable, the single-screen exhibitors have openly made their displeasure clear.

Akshaye Rathi, film exhibitor and distributor, says, “We all saw it coming since 1 ½ months. Hence, we were all prepared to see this happening. As an exhibitor, I’d say that it’s a bit disappointing because some of these films could have actually played a role in resurrecting the very medium that made them such big stars.” A very angry Vishek Chauhan, owner of Roopbani Cinema in Bihar, angrily tells, “I think Bollywood has jumped the gun and have pressed the panic button too early. This will have a very bad long-term impact on the Hindi film industry.” Raj Bansal, the owner of Entertainment Paradise theatre in Jaipur states, “I am not very happy with this announcement. They should have waited for some more time, at least two more months. I understand that they have invested heavily in these films and they must have had their reasons. But in this time of crisis, we should support each other.”

Vishek Chauhan makes it clear that “Bollywood is in danger, theatres are not” and also adds, “People feel that right now that the theatres will suffer if Hindi films will arrive on TV or OTT. Hollywood started this trend of releasing films on streaming platforms in the lockdown and the first film to do so was Trolls World Tour. But that film could be accessed through PVOD (Premium Video-On-Demand) and not SVOD (Subscription Video-On-Demand). So you have to pay $19.99 to buy the film and then you get to watch it. In our case, the accessibility is so easy for these new films that you’re films would be counted in the same breath as Aarya and Chaman Bahaar. Look at Gulabo Sitabo – it came and it went in no time. My point is that, what makes actors stars is when people take the trouble of heading to a cinema hall, standing in a queue and then watching them perform on the big screen. So if Akshay Kumar’s film will be accessible online without any effort at home, Akshay Kumar is then no longer that star! He and Ajay Devgn just killed their own stardom. Disney has kept its Hollywood film, Black Widow, ready. Even James Bond’s No Time To Die is ready for release. But these films are being held for theatrical release. Toh fir yeh log kyun apni film online release kar rahe hai?”

The thoughts of Sandeep Jain, an exhibitor from Indore and Bhopal, are in sync. He states, “What they are doing is wrong. They are trying to destroy the medium that made them such big stars. Has there been any star from OTT? Alia Bhatt became a craze because she debuted in Student Of The Year, which released in cinemas. Same goes for other actors.”

Vishek Chauhan further adds, “Suriya is not giving his away film to the internet. Vijay hasn’t given his finished film Master to an OTT platform. Same goes for Dhanush, Chiyaan Vikram and Mahesh Babu. They have all declined the offer from OTT because they know where their stardom comes from. And look at our Bollywood actors. They are killing their stardom which they painstakingly cultivated over the years. They are forgetting that stardom jaane mein time nahi lagta hai.”

Other exhibitors too agree that they’ll now give preference to films of other languages. Akshaye Rathi opines, “Theatres have survived a hundred years and will survive long enough. The only thing that might change is the content that reaches the theatrical medium. If you see, in every other industry, from Southern to Hollywood, all the tent pole films have been held back for theatrical. So if these Hindi films don’t release, there will be enough Hollywood and Southern films in dubbed Hindi versions and also regional films that will take that space and keep bringing people to cinemas so that they keep getting their share of entertainment.” Manoj Desai, executive director of G7 multiplex in Mumbai, popularly known as Gaiety-Galaxy cinema complex, agrees as he says, “We’ll now give preference to South films which are dubbed in Hindi. Also, we’ll show dubbed Hollywood flicks. And I am sure audiences will come to these films as these films have lot of entertainment. The action in Hollywood films is amazing. As for South films, their action too is a visual delight. Also, their songs make for a great watch.”

Vishek Chauhan also argues that OTT won’t give these films the desired and the deserved viewership. He says, “Uday Shankar (The Walt Disney Company [Asia Pacific] and Chairman, Star & Disney India) is claiming that there are 50 crore smartphones in India and hence the reach is tremendous for these 7 films. If that’s the case, then why does your platform have just 80 lakhs subscribers? At least, Akshay Kumar’s films in cinemas gets footfalls of 2 or 2.5 crore. Your subscriber base is less than half of that. Bollywood has to decide for whom they are making the film. If they give films on the internet, then Bollywood will become an OTT industry.”

Thankfully, not all is lost. There are still many big Bollywood films which will come directly to theatres. Akshaye Rathi exults, “There are quite a few Hindi films as well like Sooryavanshi, ’83, Coolie No 1, Radhe etc which will make it to cinemas.” Raj Bansal in agreement says, “Those who will hold their films will get more benefit. It’s a matter of time.”

However, the other industries are already all set to take advantage. Vishek Chauhan reveals, “The day Disney+ Hotstar announced and hinted about releasing 7 films on OTT, Warner Bros sent a mail to all the exhibitors in the country that their Hollywood films Tenet and Wonder Woman 1984 releasing only in theatres. Universal Pictures also regularly tells us that they are releasing No Time To Die only in theatres. The idea behind these messages is that if Bollywood steps aside, then Hollywood will have a free run in cinemas of India. Similarly, down South, producers have asked us to let their films release simultaneously in North and Western belt.”

As of now, exhibitors are suffering immensely and the Disney+ Hotstar announcement has added to their woes. Manoj Desai rues, “Barbaad ho rahe hai hum log aur digital platforms aabaad ho rahe hai. Aaj Maharashtra meinJuly 31 tak lockdown extend ho gaya lekin Uddhav Thackeray ji ne theatres ke baare mein ek lafz nahi bola hai.”

Sandeep Jain has the last word and he is confident that once the lockdown is lifted, exhibitors will benefit. “Once things get back to normal, viewers will forget OTT and will come to cinemas. Even when VCR technology had arrived, we had faced some problems. Right now, with theatres shut, these platforms are getting so much importance. But later on, audiences will flock to theatres just like old times.”

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