Entertainment – Page 10 – THE ECONOMIC INDIA

22 Dec

Anubhav Mohanty: Odisha’s Superstar Continues to Redefine Stardom Across Cinema and Public Life

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Bhubaneswar (Odisha) [India], December 22: Anubhav Mohanty, one of the most celebrated faces of Odisha, stands tall as the only superstar in the state to have achieved unparalleled stardom to date, commanding admiration that transcends generations. From his early days as an album sensation to his status as a cinematic icon, Anubhav Mohanty’s journey reflects an extraordinary connection with the people of Odisha—from young children to grandparents alike. With a career marked by consistency, mass appeal, and record-breaking success, Anubhav Mohanty has delivered some of the biggest blockbusters in Odia cinema, including I Love U, Balunga Toka, Agastya, Karma, Kuhudi,…

20 Dec

Soft Blankets For A Loud World: Why Entertainment Is Quietly Turning Into Comfort Content

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Mumbai (Maharashtra) [India], December 20: Somewhere between endless notifications, collapsing attention spans, and a world that refuses to calm down, entertainment made a subtle decision. It stopped trying to surprise us. It decided to soothe us instead. No press release announced it. No industry panel formally acknowledged it. But audiences did. With their clicks, rewatches, and suspicious loyalty to stories they already know by heart. This isn’t laziness. It’s exhaustion. In an era where reality feels aggressively unpredictable, entertainment has become the emotional equivalent of a familiar couch—slightly worn, deeply reliable, and incapable of judging you for watching the same…

20 Dec

From Paychecks To Power: Why Actors Are Choosing The Producer’s Chair Before Fame Even Settles In

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Mumbai (Maharashtra) [India], December 20: There was a time when becoming a producer was the industry equivalent of retirement planning. You acted, you aged gracefully (or not), you survived the studio system, and then—as a reward or a rebellion—you produced. That timeline has been quietly cremated. Today’s actors aren’t waiting for the grey hair or the honorary applause. They’re stepping into production offices while their faces are still on billboards. Not because it’s fashionable. Because it’s survival. Because control has become the real currency. And because, frankly, the system taught them what not owning your work feels like. This isn’t…

20 Dec

The Sound You Can Hold: Why Physical Music Refuses to Stay Dead

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Mumbai (Maharashtra) [India], December 20: There was a time—not ancient history, just recent enough to sting—when music became something you rented from the cloud. Ten dollars a month, infinite choice, zero ownership. Songs slipped in and out of libraries without warning, albums dissolved into playlists, and liner notes became a forgotten art form, like cursive handwriting or patience. And yet, somewhere between algorithm fatigue and emotional burnout, listeners began doing something unfashionable. They started buying music again. Not clicking save. Buying. Vinyl records. Deluxe box sets. Signed CDs. Cassette reissues. Photobooks are heavy enough to double as self-defence weapons. The…

20 Dec

The New K-Pop Economy Is Bigger Than Its Gatekeepers

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Mumbai (Maharashtra) [India], December 20: For years, K-pop behaved like a carefully guarded monarchy. Power, capital, talent pipelines, and global visibility revolved around a few entrenched empires. If you weren’t born inside the walls, your odds of ruling the world stage were… theoretical. That structure is now quietly cracking. Not collapsing. Not burning. Just losing its inevitability. The next phase of K-pop isn’t about dethroning the giants. It’s about proving that the throne itself was never the only seat of power. Newer groups—often from smaller agencies, hybrid collectives, or digitally native systems—are breaking through internationally without waiting for validation from…

20 Dec

“Raanjhiya”, A Soulful Ode to Love Starring Nishant Singh Malkani and Sugandha Sharma

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Mumbai (Maharashtra) [India], December 20: Love is most expressed in Raanjhiya, a new romantic song which is an excellent expression of tenderness, longing and depth of relationship in modern times. The song has the attractive on-screen coupling of Nishant Singh Malkani and Sugandha Sharma. It combines emotion, music and images into a romantic experience of immersion. Sunil Pal, Pradip Khairwar, Priyanka Saha, Rajshree More, Maayatakaoka, Shahzad Khan, Alisha Bose, Sushant Kalyan Singh and Gaurav Sharma, among others, were present at the evening. Watch the song here- https://youtu.be/YhvRXx6tkiM?si=1ta1dcq8ZK-gFtA1 Performed with immense sensuality by Yasser Desai, Raanjhiya is brought to a higher…

20 Dec

Iconic Gold Awards 2026 Date Announcement

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Mumbai (Maharashtra) [India], December 20: The Indian show business timeline has got a new big red circle. It has been confirmed that the Iconic Gold Awards 2026 will be held in Mumbai on 18 February 2026, underscoring that the city remains the country’s cultural hub and the natural place to celebrate achievements in the various creative sectors. The award itself, the Iconic Gold Awards, has steadily earned a valid place in an ecosystem that tends toward spectacularism. The difference is that it remains dedicated to recognising the work that resonates since its inception: performances that touch people, creative decisions that…

20 Dec

Prestige Didn’t Die — It Just Lost The Algorithm’s Patience

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Mumbai (Maharashtra) [India], December 20: There was a time when television asked for commitment. Not attention—commitment. Slow-burn dramas took seasons to reveal themselves. Characters aged, mistakes accumulated, silence mattered. Viewers didn’t binge; they returned. Prestige TV wasn’t designed to trend. It was designed to linger. That era hasn’t ended with a dramatic cancellation or a farewell montage. It’s been edged out—politely, efficiently—by a different philosophy of storytelling. One that values immediacy over immersion, spikes over arcs, and cultural moments over cultural memory. Prestige TV is shrinking. Event TV is rising. And the reasons have less to do with creativity dying…

20 Dec

The Vanishing Shelf — How Streaming Platforms Learned To Delete Without Making Noise

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Mumbai (Maharashtra) [India], December 19: At some point, streaming promised permanence. A digital utopia where films and shows would live forever, immune to dust, decay, and the indignity of late-night reruns. Watch anytime. Anywhere. Always. That promise has quietly expired. Streaming platforms are cutting content—not dramatically, not with announcements or apologies—but with the soft efficiency of an accountant closing tabs. One day, a show exists; the next, it doesn’t. No farewell banner. No warning. Just absence. And audiences are left wondering whether they imagined it in the first place. This isn’t chaos. It’s a strategy. And like most strategies born…

19 Dec

Regional Cinema Didn’t Ask for a Visa — It Just Showed Up Everywhere

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Mumbai (Maharashtra) [India], December 19: Once upon a time, global cinema required permission. A nod from Hollywood distributors. A dub deal. A festival blessing. A carefully negotiated release window that decided whether a film from Seoul, Chennai, Madrid, Tokyo, or Jakarta would be deemed “exportable” enough for the rest of the world. That era didn’t end with a press release. It simply collapsed under its own irrelevance. Today, regional cinema is crossing borders the way people scroll—casually, repeatedly, without waiting for validation. Non-English films are not “breaking through” anymore. They are arriving unannounced, subtitled, unapologetic, and increasingly unavoidable. The most…