iWorld
Netflix’s ‘Indian Matchmaking’ shows content is the best marketing tool for OTT platforms
KOLKATA: A week after Netflix dropped Indian Matchmaking, Mumbai-based matchmaker Sima Taparia had her face splashed on memes and posts on social media. Unlike its reality TV breakout hits Love Is Blind and Too Hot To Handle, Indian Matchmaking does not show a liberal dating culture setup or deep connection of love. Instead, it promotes the Indian arranged marriage trope.
Media, content creators and millennials across the globe have expressed their views and written official reviews about the latest trending show. While some think we can’t hide bitter truths for long, some are of the view that Netflix should not have promoted such a tainted social system. The appearance of colourism and casteism has made it receive a fair amount of backlash.
“While the show normalises patriarchy and racism, the reason why we are hooked (including those of us who are outraged by it), from my observation, is because Indian Matchmaking gives us an opportunity to project our ideals and ‘wokeness’ on the back of the show. Screenshotting problematic statements and uploading it on my Instagram stories is a part of my ‘full watching experience,’” says Dentsu Webchutney creative director Binaifer Dulani.
The trend again establishes a cliched notion that content is the biggest marketing tool for OTT platforms. The appealing shows broaden the appeal of the platform and help to grow a diversified following. And obviously, content travels globally. The show was not an Indian original from Netflix but it has received a great response from the country. As on Thursday morning, it was trending as the number one show in the country. Oddly, its local originals have not been able to create any buzz lately.
“For an OTT player, there are two kinds of products, the tech platform and the content it hosts. And irrespective of the business category, the rules stay the same. No matter how buzzworthy the marketing campaign is, if the product lives up to it, it takes it notches higher. The show almost immediately opened up an undercurrent of conversation and everyone wants to be in on the memes they scroll past. This need for belongingness is a big driver for subscriptions. And a good marketing strategy would only add to it by evolving and capitalising on this wave,” Dulani adds.
“As the OTT market matures, we would begin to see genre-specific specialised platforms emerge, and so a distinct image. However, as of now most OTT platforms are generic entertainment service providers with content driving their imagery. New content campaigns become their marketing drive to recruit new subscribers and segments,” says Brand-nomics managing director Viren Razdan.
The audience has always perceived Netflix as a progressive, socially-aware platform and the platform has always been aware of its take on sensitive issues.
Dulani adds, “Funnily enough, Netflix has managed to create this persona where you feel it thinks like you and is secretly laughing at some of the catchphrases with you (in spite of the ‘Netflix, what is this trash’ comments). Perhaps because Netflix manages to play the role of creator and spectator seamlessly. Through its owned content on social, it’s part of the Indian Matchmaking meme culture, like the rest of the internet.”
“However, I feel that all content creators, advertisers and OTT platforms should further content that shows a world that’s more equal and questions problematic norms rather than glamorising them. I strongly believe that time and money should be invested in the pursuit of that versus clickbait. We carry this responsibility together,” she points out.
Razdan says that in the new scenario, with movie halls going out of the social scene for a while, new releases lining up on OTT platforms are going to create the new blockbuster labels of content viewing.
For now, Indian Matchmaking, though not made in India, has created all sorts of criticism on social media and has only served to spread the name of Netflix. Despite the negative comments, it could work well in getting more subscribers as Netflix targets India with new lower-priced plans.
iWorld
Subedaar puts Indian original cinema on the global map with record-breaking Prime Video debut
MUMBAI: Prime Video has a runaway hit on its hands. Subedaar, the gritty action drama starring Anil Kapoor, has stormed to become the most-watched Indian original movie on the platform in its opening weekend, cracking the Top 10 across 31 countries and landing in 91 per cent of India’s pin codes within days of its March 5 premiere.
The film, a visceral, emotionally-charged story of a retired soldier, Subedaar Arjun Maurya, wrestling with civilian life amid crime and corruption, has struck a nerve. Directed by Suresh Triveni and co-starring Radhikka Madan, Mona Singh, Saurabh Shukla, Aditya Rawal, Faisal Malik, and Khushboo Sundar, the film is already being hailed as a showcase for what Indian original storytelling can achieve on the world stage.
“Subedaar’s success is a reflection of the growing scale and global resonance of Indian storytelling,” said Nikhil Madhok, director and head of originals at Prime Video India. “The film’s emotional narrative, its rooted portrayal of a soldier confronting his toughest battles beyond the battlefield, has struck a chord. Anil Kapoor delivers an acting masterclass, while Suresh Triveni’s solid direction and great performances from the ensemble cast have resulted in love and appreciation from customers across the world.”
Kapoor, 62, has been here before, but rarely at this altitude. Written by Triveni and Prajwal Chandrashekar, with dialogues by Triveni, Saurabh Dwivedi, and Chandrashekar, the film is a production by Opening Image Films in association with Anil Kapoor Film & Communication Network (AKFCN), produced by Vikram Malhotra, Kapoor, and Triveni.
Subedaar streams exclusively on Prime Video in Hindi, Tamil, and Telugu across India, and in over 240 countries and territories worldwide.
For Prime Video, the numbers tell the real story: one weekend, one film, a global footprint, and a very loud signal that Indian original cinema is no longer just travelling well. It’s arriving.
