Hindi
Amid pandemic scare, ‘Godzilla vs Kong’ enjoys dream box-office run
NEW DELHI: Adam Wingard's Godzilla vs Kong was one of the most-anticipated films of the year, though with many big-budget movies getting pushed back due to the pandemic, stakeholders were jittery if the monster action flick would come to cinemas. However, the movie had its international theatrical release on 24 March 2021. Amid the Covid2019 scare, the film was warmly welcomed by audiences all across the globe, and viewers praised Legendary Pictures for expanding its 'Monsterverse' with another epic outing.
Godzilla vs Kong creating a storm globally
Even though the film had its international release on 24 March, Godzilla vs Kong hit cinemas in the US on 31 March. On the second weekend, the film topped the US domestic box office by collecting $13.4 million, thus bringing the monster mashup's stateside haul to $69.5 million, an impressive figure in the midst of a global pandemic.
On the first weekend, Godzilla vs Kong collected $32.2 million at the domestic box office. Industry experts consider this figure phenomenal as the film had a simultaneous OTT release on HBO Max.
According to a report published in Reuters, Godzilla vs Kong is now the top-grossing film of the pandemic era, bypassing Christopher Nolan’s science fiction action thriller Tenet, which grossed $58.4 million at the US box office. Ilya Naishuller's action thriller Nobody starring Bob Odenkirk is also enjoying a decent theatrical run, with $15.6 million in collections at the US box office after three weeks of release.
Godzilla vs Kong makes waves at Indian box-office
Even though the country is battling a second Covid wave, Godzilla vs Kong is making bank at the Indian box-office as well. In the initial days of its release, most of the multiplexes in India that screened Godzilla vs Kong recorded an attendance of 30 to 35 per cent. Even though the exact collection figures of the monster movie in India are not available, industry experts reveal that the film is already a profitable venture for distributors.
Elara Capital vice president & research analyst (media & consumer discretionary) Karan Taurani noted that the success of Godzilla vs Kong hints at the fact that audiences will visit theatres to watch movies that demand a theatrical watch.
"OTT releases are the necessity of the current scenario. But at the same time, audiences are not hesitant to visit theatres to enjoy movies that demand a theatrical watch. Consider the example of Godzilla vs Kong. The film which offers a visual extravaganza is enjoying a spectacular run at the Indian box-office. If big movies like these continue hitting the theatres, it will surely revive the exhibition industry in India," said Taurani.
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.
