Streaming six-month update: A rollercoaster ride of how long-format storytelling keeps losing its way only to keep finding it again!

As the streaming space swings between a return to nuanced storytelling and the rise of laundry-brainrot TV, the real question is should we recalibrate our expectations and accept this split reality?

One of the reasons why people keep saying cinema is in a dark phase with theatre numbers dwindling and audiences staying away is also because streaming has taken over. OTT is no longer just the alternative; for many, it’s the main event. It was always supposed to be that sweet in-between space that was somewhere between cinema’s larger-than-life narratives and TV’s emotional, soapy storytelling. A place where storytelling could thrive in its most nuanced form. And for a while, it really did feel like that as long-format series gave us stories that wouldn’t have fit anywhere else. But if last year was anything to go by, that golden promise seemed to be slipping. That excitement OTT once carried was starting to dim. Until this year kicked things back into motion with a bang.

Though if one was being truly honest from the get go, despite the challenges of the last year in the streaming space, expectations were still high. With Vikramaditya Motwane backing Black Warrant and the return of the much-anticipated Paatal Lok 2, the bar was already set. And both shows, released within a week of each other, delivered beyond expectation. Black Warrant quickly caught fire with everyone not just for its performances, but for the way it weaved a crime drama into a sharp, haunting social commentary. It reminded many of Mindhunter, but rooted itself firmly in the Indian prison-industrial complex. And Paatal Lok 2? It took Hathiram into the unfamiliar, uneasy terrain of Nagaland and unearthed something deeper than a case. It tapped into the moral decay of a fractured nation, transforming its cop saga about society’s invisibles into something far more layered and unsettling. For a moment, it felt like OTT storytelling was finding its soul again.

But the momentum wasn’t exactly smooth. There were a few shows that came in with noise and novelty like Bada Naam Karenge, directed by Gullak's Palash Vaswani and produced by Sooraj Barjatya, or Oops Ab Kya, the Indian adaptation of Jane the Virgin. On paper, they had all the ingredients to feel fresh. In execution, they fell short. In the same breath came Waking of a Nation, a docu-fiction style experiment by Ram Madhvani exploring conspiracy theories around Jallianwala Bagh, and Dupahiya, a spiritual sibling of Panchayat. Both had the potential to say something profound but lacked the grip and precision to make it land. They weren’t bad shows, they just needed a better hand at the wheel as the intent was strong but the storytelling needed more craft.

That said, two series stood out by doing exactly what they promised, Dabba Cartel and Ziddi Girls. Co-incidentally, both were women-led, and carried unique premises which they leaned into without hesitation. Dabba Cartel was set in the pharmaceutical underworld, where a group of older women navigated crime, sexism, and emotional neglect by the men around them. Ziddi Girls was a younger, rawer energy set in a college space where rebellion, sexuality, and identity intersected in a landscape dominated by male egos. Neither played it safe, and both delivered storytelling that matched their ambition with  lived-in detail and female makers backing them.

Also Read: Hindi cinema’s half-year mark: From macho myths to historical fiction and a flicker of hope!

Meanwhile, on the global stage, Indian audiences were diving into Adolescence, The White Lotus 3, Severance 2, and Black Mirror 7 discussing masculinity, minimalism, the future of AI, or solving The White Lotus' latest murder mystery. But back home, we were swinging between hits and half-baked ideas. Khakee: The Bengal Chapter ,the second installment in the Neeraj Pandey's crime world didn't even come close to hit the gritty mark its first season had set.  Gram Chikitsalay, from the TVF universe was charming but flawed and burdened under the weight of the massive success of Panchayat. And then there were surprises like Khauf, which creatively used horror to mirror the constant fear women live with, or Black, White & Gray- Love Kills, a mockumentary-style thriller that held up a mirror to our obsession with consuming crime stories like reality TV. This is proof that the pattern continued as some shows were thoughtful; others just background noise. 

Then came The Royals, a show that was less talked about for its plot and more for the wildly split reactions it triggered. Some people loved its soapy drama and leaned into the fun of it, while others questioned everything from the female lead to the depiction of Indian royalty itself. This became a perfect reminder that this is what streaming is now - half prestige, half popcorn. One moment you’re watching refined brilliance. Next, it’s pure second-screen comfort content. And honestly, that duality seems to be going nowhere because the demand is such. As the rollercoaster of streaming continued, we got KanKhajura, a stylised dark mystery with a strong premise and casting which didn’t hold up to its solid promise. Even Rana Naidu 2 didn’t recreate the magic that its predecessor did. But surprisingly, a small show like Lafangey quietly ended up making a mark with its grounded and heartful take on adulting that felt refreshing.

So yes, the long-format space is still finding its feet. It’s not as consistent as we once hoped, but it’s definitely not running out of steam either. The real challenge now isn’t just about whether film, TV, and OTT can coexist as distinct storytelling mediums - grand cinema, overtly dramatic television, and grounded streaming but whether, within OTT itself, there’s room for that split where there'll be stories we’ll remember, and stories we’ll half-watch and forget. And we should make our peace with that because when it’s good, streaming reminds us of its power to shape conversations, push boundaries, and reflect on who we are. And when it’s middling at best, well, at least we’ve got something to watch while doing laundry.

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