The Streaming Show – Détails, épisodes et analyse

What’s it like being an established actor in 2024? What’s it like navigating and bouncing between shows and films, platforms and mediums, theatrical and streaming? 

To shed light on just that, for the season finale of The Streaming Show podcast, I spoke to Jim Sarbh. It feels like the talented actor has been everywhere over the last few years. On streaming, we’ve seen him on popular shows like Four More Shots Please, the beloved Made In Heaven, and one of my favourites Rocket Boys for which he even bagged an international Emmy nomination. 

He also recently started his own YouTube series Crew Cut, which I strongly recommend, in which popular actors interview the storytellers and artists behind the scene about the craft of filmmaking. 

Jim spoke to me about the ongoing …often soul crushing conflict between an actor and artist wanting to do good work as against the constant calculations of playing the positioning and perception game. Along with the current slump and uncertainty within the film industry, flitting between Shakespeare and playing the villain in his first Telugu film, his thoughts on the talent management ecosystem and a whole lot more.

Is 2024 an exciting time to be a film editor? Going by the sheer volume of theatrical streaming releases, you'd think so. To break it down, I spoke to two of the busiest editors in town. In 2023 alone, prolific editor Nitin Baid had Sam Bahadur, Rocky Rani Ki Prem Kahaani, The Archies and Kho Gaye Hum Kahaan. Not to mention shows like Dahaad and Made In Heaven Season 2. Antara Lahiri is known for projects like Tooth Pari, Delhi Crime Season 2, Shakuntala Devi, Four More Shots Please and one of my favourites. Modern Love Mumbai. Aside from being an accomplished editor, Antara also runs an excellent YouTube channel called The Finest Cut With Antara Lahiri where she hosts insightful conversations with some of the finest editors in the business. It's highly recommended viewing. Together, the two spoke to me whether editors get their due, the most insane feedback they've got from platforms, the issues with how editors are paid and how much of their time goes into salvaging shoddy storytelling

When it comes to Indian Streaming, in terms of consistently great storytelling, there's little doubt that Amazon Prime Video rules the roost. Put simply,the streamer is home to most of our best shows.

From gloriously entertaining smash hits like Mirzapur to prestige shows like

Pushpavalli, Paatal Lok, Panchayat, The Family Man, Guilty Minds, Jubilee, Made In Heaven, Laakhon Mein Ek Season 2, Suzhal and I could literally go on.

But what is it specifically about how Amazon operates that allows it to be home to many of the best? What are they doing or not doing as compared to enable their impressive track record?

To break it down, Suchin spoke to Head of India Originals, Aparna Purohit.

We spoke about the Amazon secret sauce, why she's tired of being pitched different versions of Mirzapur, the challenges of nailing a second season, the need for more rockstar streaming executives, and the changes she'd like to see within the streaming landscape

Applause Entertainment is as big as any Indian studio making movies and shows for streaming, gets. In just over five years they've made 44 shows for almost every platform around. They're behind shows and remakes like Criminal Justice, The Indian Office, Rudra, City Of Dreams, and Tanaav. Not to mention one of my favorite comedies Humble Politician Nograj and their one prestige show Scam 1992.

The reason Suchin wanted to speak to Applause Entertainment CEO Sameer Nair was to discuss their unique business model. Applause doesn't just pitch the ideas of shows to platforms, they go off and shoot the entire season and pitch the ready series and license it to streamers for x number of years. The platform gets a ready show, but Applause owns the IP.

At a time when streamers in the US are dropping beloved shows from their platforms to save costs, the Applause model feels more intriguing. Especially for filmmakers who want to hold onto the IP of their ideas.

Sameer spoke to Suchin about the onslaught of remakes and Call my agent Bollywood, in particular, which he passionately defended. We also spoke about the pros and cons of licensing and why he isn't put off by the formula

One of the most exciting things about the streaming age is the sheer amount of acting talent we're inundated with week after week.

From exciting new actors that have exploded onto the scene to renowned actors finally getting their due in shows like Jamtara, Panchayat, Scam 1992, Paatal Lok, The Family Man, Delhi Crime, and Mirzapur to name but a few.

To examine just how much streaming has done for casting and vice versa, I sat down with two leading casting directors. Kavish Sinha has worked on shows such as Rocket Boys, Mumbai Diaries, Rudra, Avrodh and Undekhi, and Panchami Ghavri is behind the casting of series like Class, Mismatched and Masaba Masaba.

Together, the two spoke to Suchin about the importance of an actor's social media following, the scourge of influencers, how easy it is to sell a show of all newcomers, and the casting demands of platforms that annoy them the most.

There is no player within the Indian streaming landscape quite as prolific and distinctive as TVF (The Viral Fever). What started as a YouTube channel back in 2010 known for its skits and sketches, the company ventured into making shows on YouTube in 2016 with titles like Pitchers and Permanent Roommates. But, despite being the first movers in the digital space, they certainly didn't get left behind.

By 2019 they'd quickly snowballed into a storytelling machine with winning shows across platforms like Gullak, Kota Factory, Hostel Daze, and Panchayat.

To decode the TVF secret sauce, Suchin spoke to the Head of TVF Originals Shreyansh Pandey. They chatted about the mammoth success of Panchayat, how you maintain the level of intimacy in your stories when you're making so many at once, the curse of season 2, and the TVF template - the joke being that TVF will make a show for every academic syllabus out there. It's a formula they hope to soon break by stepping into the sci-fi space.

There’s arguably no better way to examine just how much the streaming era has disrupted the film industry than by talking to writers. So, Suchin spoke to two of the busiest ones around.

Sumit Purohit was the lead writer on the the smash hit Scam 1992 on SonyLIV. He’s also worked on Netflix murdery mystery series Aranyak and Amazon Prime Video’s Inside Edge - the first original series from an international streamer.

Nandini Gupta is one of the writers on Disney+Hotstar’s fever dream Saas Bahu Aur Flamingo. She’s also co-written Netflix’s Mismatched and Masaba Masaba. Together, the two spoke to Suchin about how much the life of a writer has changed in the last few years, why the system of crediting writers on shows is so frustrating and inconsistent, why screenwriters are often a soft target for critics, why earning a decent living sometimes means writing three shows at once and how they even have to fight to ensure they’re name appears on screen before Netflix’s infamous Skip Intro button.

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What’s it like running an Indian streaming platform? SonyLIV’s Head Of Content Saugata Mukherjee knows a thing or two about that. The platform was relaunched back in 2020, and in the three years since, has made a name for itself as the home of some of the finest storytelling on streaming with shows like Scam 1992, Tabbar, and Gullak. Even their originals that don’t entirely land, like Dr. Arora, Good Bad Girl, and Faadu, show a sense of promise, originality, and specificity.

Saugata sat down to speak to Suchin about the SonyLIV journey, why he’s tired of the factory line of gangster dramas, why the Hindi market for shows feels saturated, the platform’s shaky user interface, and what it is they’re doing differently that’s leading to shows that outshine many of their competitors.

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It feels like actor Shriya Pilgaonkar is everywhere. A streaming star if ever there was one, she's ideally placed to discuss what it's like navigating the OTT arena today, as an actor. Shriya's made a name for herself in multiple projects across platforms including Mirzapur on Amazon Prime Video, Taaza Khabar on Disney+Hotstar, The Broken News on ZEE5, and her finest work yet - as unshakeably righteous lawyer Kashaf Qazi in one of last year's best shows - Guilty Minds on Amazon Prime Video. Shriya sat down with film critic Suchin Mehrotra to discuss her journey, How much the platform matter when considering a role, pay disparity and the changes she'd like to see in the streaming space

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How do streaming shows and the producers behind them, make money? What does the streaming business model look like? If there are writers or cinematographers working in the streaming age, are they earning more today than they were 5 or 7 years ago? Here to demystify the numbers and shed light on the business of streaming is the producer, director, showrunner, and co-founder of Emmay Entertainment Nikkhil Advani. Aside from making beloved films such as Kal Ho Naa Ho and D-Day, Nikkhil has gone on to become one of the most prolific and significant voices in the world of streaming. In the last 3 years, Emmay Entertainment has made five shows for five different platforms including Hasmukh for Netflix, The Empire for Disnet+Hotstar, Mumbai Diaries for Amazon Prime Video and most notably two seasons of one of my favorites - Rocket Boys for SonyLIV. Nikkhil sat down with Suchin Mehrotra to break down the economics of streaming and talk stars, platforms, money, and why he wishes more streamers operated like Amazon.