Hindi
(S)excitingly entertaining
MUMBAI: Kyaa Super Kool Hai Hum is a sex comedy: all the gags and innuendoes in the film are about sex. A generation back, it would have been termed vulgar but it is considered quite acceptable by moviegoers now. The film makes no pretence of a story of any kind and depends mainly on its dialogue and suggestive actions.
Tusshar Kapoor and Riteish Deshmukh are buddies and roommates in Mumbai. While Tusshar dreams of becoming a film star, Riteish is a DJ and aspires to cut his own disc someday. Tusshar meets his love, Neha Sharma, who has the habit of travelling ticketless in a city bus even as her car follows. On one such adventure of hers, when asked to show her ticket by the checker, Tusshar stands by her. For Tusshar love has already happened but Neha Sharma is put off by his continuous calls and stalking. For the convenience of the script, Riteish happens to fall for Neha Sharma‘s best friend, Sara Jane Dias.
Riteish owns a pug named Suckru, which is his main source of income. The pug is lent out for mating and the monies thus earned keep the duo going. All that Riteish has to do is play some fast music which arouses his dog into a sexual frenzy. The jokes are mainly plays on words, like Tusshar is Adi and his answer to Devdas is him, Adi-Das. He is being screen-tested by Rohit Shetty (guest role) for his next film, Chinghum. Neha Sharma‘s favourite TV show is ‘Bade Achhe Lagte Hai‘ and references to other film titles in a funny way. Tusshar also models for a teleshopping firm and sells remedies for constipation and whitening creams. To Tusshar‘s boast that he has one thing that girls don‘t, the girl‘s reply to him is, ‘they do, it vibrates and is battery operated‘. That is the flavour of this film.
Finally, when Sharma agrees to meet Tusshar, he puts a diamond ring on her finger; no matter that it is their first date. Sharma has had enough of him and, with her friend Dias, heads for Goa. It is time for some picturesque visuals and also to introduce two more funny men: Anupam Kher who is Dias‘ father, and Chunky Pandey, a municipality dog catcher turned conman Baba 3G. Anupam Kher is Baba 3G‘s disciple. The Baba relieves him of his riches on regular bases. He has palmed off a bitch, a pug again, to Anupam Kher convincing him she is his mother from last birth.
It so happens that the ring Tusshar presented to Sharma was made from a diamond worth five lakh that Ritiesh had lovingly put on Suckru‘s collar. The ring has to be retrieved from Sharma; excuse enough for the boys also to land up in Goa. More craziness of the corny kind follows. The girls have decided to pretend to be a couple to help Sharma keep Tusshar off. Chasing Dias, Riteish ends up in a gay club whose owner, Howard Rosemeyer, gets the hots for him instantly.
Anupam Kher‘s hobby is to collect film memorabilia of a peculiar kind. He has the tiny blouse Vidya Balan supposedly wore in The Dirty Picture, the soap Ramu Kaka used in Sholay, the sperm bottles used in Vicky Donour and so on! In fact, anything to do with sex and the film makes sure it is used as a part of its gags: there is sex talk, gay sex, lesbian sex, doggy style sex and what have you!
Kyaa Super Kool Hai Hum may not have much of a story but the script has been smartly put together for all the sex gags to be incorporated some of which again are well worked out. Music does not have much scope in the scheme of things here but the film has a couple of passable numbers. Direction is good and in control of what is at hand. This is not really a performance film since dialogue does the entertaining. What is left to actors is mostly buffoonery and Tusshar Kapoor, Riteish Deshmukh and Anupam Kher all do well with some contribution from Chunky Pandey and others. Of the girls, Sara Jane Dias is more expressive while Neha Sharma is okay.
Kya Super Kool Hai Hum may be crude but it does the job of entertaining and having opened to good response, it should sail safe with its investment at the end of week one.
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.
