Skip to content
Search

Latest Stories

“OTT is the future,” says Pankaj Tripathi

While several well-established actors continue taking the plunge into the ever-expanding digital world, there are still many who want to restrict themselves to the 70 mm screen. Immensely talented actor Pankaj Tripathi never cared about the screen size. What always mattered to him was content and the conviction of the maker.

“For him, the content’s merit and the power of the stories were always the key. He cared little if it was for a play, a short film, a feature movie, a blockbuster venture or an OTT show. And during lockdown, he has realised how being platform agnostic has helped him reach far and wide with the masses. Right now, with the ongoing lockdown, the only works that are reaching the audience are the shows on OTT and he is grateful that he made the jump to streaming platforms in time,” says a source.

Tripathi, who was most recently seen in Extraction on Netflix, says, “Actors need to be fluid. They can’t suffer from mental blocks. For them, the only thing that should matter is how good a story is, who the colleagues are and the conviction of the makers. Today, I feel grateful that I have done web shows that are keeping people entertained in these difficult times. So many fans are rediscovering my old works - Sacred Games, Mirzapur and Criminal Justice - and are messaging their feedback. It feels heartening to see the response. The audience is ready for good content and I reiterate my belief, the universe conspires to ensure good shows meet its audience. OTT is the future and actors need to warm up to the new normal.”

On the work front, Pankaj Tripathi will next be seen in such projects as Gunjan Saxena: The Kargil Girl, Sandeep Aur Pinky Faraar, 83, Ludo, Romeo and Mumbai Saga.

More For You

The Mummy

Relies on body horror, sound design and shock value over spectacle

X/ DiscussingFilm

How Lee Cronin’s 'The Mummy' turns a classic adventure into a domestic horror

Highlights

  • Moves away from the adventure tone of The Mummy (1999) into possession-led horror
  • Shifts the setting from desert tombs to a family home in Albuquerque
  • Focuses on parental fear and a “returned” child rather than treasure hunting
  • Relies on body horror, sound design and shock value over spectacle
  • Critics call it bold and unsettling, but uneven in storytelling

From desert spectacle to domestic dread

For decades, The Mummy has been tied to adventure, romance and spectacle, most famously in The Mummy (1999). That version thrived on sweeping desert landscapes, archaeological intrigue and a sense of escapism.

Lee Cronin takes a sharply different route. His reworking strips away the sense of adventure and relocates the horror into the home. The story still begins in Egypt, anchored by an ancient sarcophagus, but quickly shifts to the United States, where the real tension unfolds inside a family house.

Keep ReadingShow less