Hindi
All eyes on the next big Khan
To be released on 21 December, the film has already been in the eye of many a controversial storm. From who is the original director of the film to Aamir‘s alleged tiff with the media and thus his decision to release the film‘s promo on the Internet.
The promos of Taare Zameen Par look very promising and with Aamir‘s track record it will be a must-watch film. The first phase of publicity and promotions that has rolled out sets an optimistic tone. The Internet community of film lovers is keenly awaiting the film. Trade analyst Amod Mehra is positive that TZP will do well. “It is Aamir‘s debut as director and he won‘t jeopardize it. It is not a light entertainer but a very emotional film. Now with the multiplex culture it does not make much of a difference if masses like it or not. Lagaan was declared a hit though it was a classy film. The bottomline is that a film should entertain as well as educate. Swades flopped as it was a documentary.”
The film industry has begun to stir towards the end of the year. The Bhool Bhulaiya, Heyy Babyy, Jab We Met earnings may mean a better 2008. “Though OSO and Saawariya have got good initials it is too early to declare them hits. One can assess only early next week,” says Mehra. “As for Aaja NAchle I am not too hopeful. And Goal is a sports film and many such films have flopped. More over after the debacle of No Smoking John Abraham may find it difficult to attract audiences.” And as the year draws to a close Anees Bazmee‘s comedy Welcome starring current rage Akshay Kumar and Sudhir Misra‘s Khoya Khoya Chand will release. Hit or miss? It‘s too soon to predict. But on the whole Mehra says that the end of the year looks promising. So after a bright Diwali its now time for Xmas celebrations. We just hope Xmas will be as auspicious for Aamir as Diwali may prove for Shahrukh. |
MUMBAI: Since the past three months Shahrukh Khan was all over. He stormed TV sets, went to cricket stadiums, got plastered on hoardings and backs of buses and even spoke to you on radio. Now it‘s the turn of yet another Khan, the reclusive Aamir Khan. The currently -in-the-news for all the wrong reasons, Aamir will be making his directorial debut with Taare Zameen Par. 
The film revolves around an autistic child and his teacher played by Aamir Khan. TZP which will see an end of year release will play a crucial role at box office collections. For the Hindi film industry Y2K 07 has not been a very exciting year financially. But the last quarter could prove to be a leveler. With over Rs 2.2 billion riding on just four end of year releases – Om Shanti Om, Saawariya, Goal and Aaja Nachle – November could set a spirited mood for Bollywood. 
The actor on his blog writes about his debut as director, clears some controversies and plans on releasing the English- translated lyrics on the TZP website on 5 November. With PVR ‘s Ajay and Sanjeev Bijli as co-producers of the film, TZP may get the cash registers ringing. The advantage for TZP is the release timing. After the OSO Vs Saawariya, Goal Vs Dus Kahaaniyan and Aaja Nachle fever dies down, TZP will hit the marquee. Besides, Aamir‘s annual fare is always much-awaited by his fans. The Lagaan–Rang de Basanti–Fanaa euphoria is not forgotten in a hurry. His sense of film is his biggest draw. And with the actor now making his directorial debut in an emotional film it will not take much to entice audiences to watch TZP.
Hindi
GUEST COLUMN: Why film libraries & IPs are the new engines of growth
Unlocking value through catalogue strength and IP synergy
MUMBAI:In a media landscape defined by fragmentation, platform proliferation, and ever-evolving audience behavior, the economics of filmmaking are undergoing a fundamental shift. No longer confined to box office performance, a film’s true value is now measured across an extended lifecycle that spans digital platforms, syndication networks, and global markets. As content consumption becomes increasingly non-linear and algorithm-driven, film libraries and intellectual properties (IPs) are emerging as strategic assets, capable of delivering sustained, long-term returns. For Mohan Gopinath, head – bollywood business at Shemaroo Entertainment Ltd., this transformation signals a decisive move from hit-driven models to portfolio-led value creation. In this piece, Gopinath explores how legacy content, when intelligently repurposed and distributed, can unlock recurring revenue streams, why the interplay between catalogue and original IP is critical, and how media companies can build resilient, future-ready entertainment businesses.
For all these years, we thought that a film is successful if it performs well in theatres. There are opening weekend numbers, box office milestones, and distribution footprints that gave a good picture of how the movie has done commercially and also tell us about its cultural impact. However, there are multiple platforms today, always-on content ecosystem, which has caused a shift. Today, the theatrical performance is not the culmination of a film’s journey but merely the beginning of a much longer and more dynamic lifecycle.
Film libraries today are emerging as high-value, constantly evolving assets that deliver sustained returns well beyond initial release cycles. This becomes a point of great advantage for legacy content owners with diverse catalogues, to shape long-term business outcomes.
According to FICCI-EY, the media and entertainment industry of India achieved a valuation of Rs 2.78 trillion in 2025 which is expected to reach Rs 3.3 trillion by 2028 through a compound annual growth rate of approximately 7 per cent and digital media will bring in more than Rs 1 trillion to become the biggest sector which generates about 36 per cent of overall market revenues.
This shift is the expansion of distribution endpoints. We know how satellite television was once the primary secondary window but today, it coexists with YouTube, OTT platforms, Connected TV, and FAST channels. Each of these platforms caters to distinct audience demographics and consumption behaviors, helping content owners to obtain more value from the same asset across multiple formats.
For instance, films that had great reruns, now find continuous engagement across digital platforms. On YouTube, classic Hindi cinema continues to attract significant viewership, reaching audiences across generations and geographies with remarkable consistency. At Shemaroo Entertainment, this is reflected in our film library shaped over decades as part of a long association with Indian entertainment. From classics such as Amar Akbar Anthony to much-loved entertainers like Jab We Met, Welcome, Dhamaal, Phir Hera Pheri, Dhol, Golmaal, and Bhagam Bhag, many of these titles continue finding new audiences while retaining their place in popular memory. Their enduring appeal reflects how culturally resonant stories can continue creating value over time. Similarly, FAST channels have created curated, always-on environments where catalogue content can continue to thrive through star-led and genre-based programming.
This multi-platform approach has very well transformed films into long-tail IP assets which are capable of generating recurring revenue across advertising, subscription, and syndication models.
The evolution of audience behavior is equally important. Nowadays, it’s more important to find what’s more relative than what’s recent as viewers are more influenced by mood, memories, and algorithmic suggestions than by release schedules. Even if a movie was released decades ago, it can trend alongside a newly released movie, if surfaced in the right context. Thoughtful packaging, whether through festival-based playlists, actor-driven collections, or genre clusters, allows catalogue content to remain dynamic and continuously discoverable. Shemaroo Entertainment has built extensive film libraries over decades and its focus has mostly been on recontextualizing content for the consumption of newer environments. This process doesn’t just include digitization and restoration, but also re-packaging of films as per platforms.
Syndication itself has evolved into a key growth driver. In perspective, when looking at the domestic market, curated content packages continue to find strong demand across broadcast and digital platforms. Meanwhile, in the international market, especially in markets like Middle East, North America and Southeast Asia, the appetite for Indian content is opening up new monetization avenues. Here, the ability to package and position catalogue content effectively becomes as important as the content itself.
Importantly, the need to re-package catalogue content does not diminish the role of new content. In fact, originals and fresh IP are essential to sustaining the long-term value of a film library because they act as discovery engines that bring audiences into the ecosystem, while catalogue content drives depth, retention, and repeat engagement.
This interplay between the “new” and the “known” is what defines a robust content strategy today. While new films generate spikes in consumption, catalogue titles offer familiarity and comfort. These are factors that are increasingly valuable in an era of content abundance and decision fatigue. This is also shaping our strategy, drawing value from both a deep catalogue assets and a growing focus on original IPs to strengthen long-term audience engagement and build more predictable revenue streams.
There is growing recognition that long-term value in entertainment will be shaped not only by how intelligently existing content continues to live, travel and find relevance, but also by how consistently new stories are created to renew that ecosystem. In that sense, film libraries and original IP are not parallel bets, but reinforcing engines of growth. For media companies, the opportunity lies in making these two forces work together, because that is increasingly where more resilient and predictable businesses are being shaped.
Note: The views expressed in this article are solely the author’s and do not necessarily reflect our own.
