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Nia Sharma rails at producers holding artists’ payment

The suicide of television actor Manmeet Grewal has laid bared the financial issues and struggles that a number of actors are facing amid the ongoing lockdown, especially the small screen actors who are generally paid three months after they have started working on a project.

Over the past few days, a number of television actors have come forward, accusing television producers of not clearing their dues on time. Popular actress Nia Sharma, who can be currently seen on Colors’ superhit show Naagin, says that she knows of several actors who are facing the issue of non-payment of dues.


Sharma took to her Instagram handle and shared an angry yet heartfelt social media post, highlighting the issue of non-payment in the television industry.  “If I start taking names of those struggling because of pending dues, the list will go on. Paying a few lakhs may take time, but imagine an actor I know has been struggling for months to get ₹70,000 payment. Every time he visits the producer’s office, he is given another date,” she says.

The actress goes on to reveal that she has at least six friends who are facing similar issues. Without revealing their names, Sharma informed that their cases are pending with Cine and TV Artistes’ Association (CINTAA).

“We often work for 16 to 22 hours a day, and we deserve better. We are not salaried, neither can we do more than one show at a time. So where do we earn from? So much is being talked about other issues, but there is not a word about those struggling in the TV industry,” shares the actress.

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5 mythological picks now streaming in the UK — and why they’re worth watching

Highlights:

  • Indian mythological titles are landing on global OTT services with better quality and reach.
  • Netflix leads the push with Kurukshetra and Mahavatar Narsimha.
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  • Regional stories and folklore films are expanding the genre.
  • 2025 marks the start of long-form mythological world-building on OTT.

There’s a quiet shift happening on streaming platforms this year. Indian mythological stories, once treated as children’s animation or festival reruns, have started landing on global services with serious ambition. These titles are travelling further than they ever have, including into the UK’s busy OTT space.

It’s about scale, quality, and the strange comfort of old stories in a digital world that changes too fast. And in a UK market dealing with subscription fatigue, anything fresh, strong, and rooted in clear storytelling gets noticed.

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