Latest news with #AyyanaMane
Mint
03-06-2025
- Entertainment
- Mint
The rise of small-town stories on OTT: Grassroots-themed shows are proving to be cost-effective, culturally rich
Much like the wave that took over Bollywood around the early 2010s, when movie plotlines shifted to small towns, original shows on video-streaming platforms too are being set in tier-two and tier-three locations. The trend may have started with shows such as Panchayat in April 2020. Now, it has spread as makers take shows to small, remote parts of the country, whether it is Punjab in Kohrra or the northeast in the latest season of Paatal Lok, cashing in on local dialects and talent. While the common perception is that OTT is an upmarket, metro phenomenon with limited viewership in smaller towns, executives said that in the effort to widen audience reach, writers and makers are setting stories in the hinterland, which makes it cost-effective to put together and allows for new faces and real locations. Even metro audiences increasingly seek rooted stories from beyond the cities. 'Culturally relevant storytelling helps audiences connect with their roots and see their lived realities on screen, which fosters deeper engagement," said Raghavendra Hunsur, chief content officer of ZEEL. Also Read | Regional OTTs bank on native loyalty as viewership lags behind foreign players While the metros account for a significant portion of OTT consumption, there's been a notable and steady rise in viewership in tier-two and tier-three cities, with a major portion of ZEE5's audience from these regions, Hunsur added, noting that such stories increasingly resonate with urban audiences as well. 'The emotional depth, sociocultural nuance, and grounded storytelling offer a refreshing break from the gloss of typical urban narratives," he pointed out. Titles such as Aindham Vedham, Sankranthiki Vasthunam, Ayyana Mane, Vikkatakavi: The Chronicles of Amaragiri and Bhaiyyaji are prime examples of stories set in small-town India streaming on ZEE5. Nostalgia, depth In the fast-paced urban life, stories set in small towns or rural settings bring a sense of nostalgia and depth, agreed Nitin Gupta, chief content officer at Chaupal, a platform specialising in Punjabi, Haryanvi and Bhojpuri content. The service's titles such as Shikaari and Zila Sangrur have drawn viewers with their raw portrayal of village life and culture. The upcoming Sarpanchi 2 and Shahi Majra 2 are built on the success of their first seasons. The early adopters for any medium, including OTT platforms, tend to come from larger cities, according to Arpit Mankar, head of non-Bollywood category at Shemaroo Entertainment Ltd. However, as these platforms expand, smaller towns catch up. 'We have seen this trend across Pay TV, FM radio, and even YouTube. This shift naturally drives a demand for more authentic, culturally resonant narratives that cater to a broader audience base," Mankar said. Also Read | Smaller OTT platforms cash in on regional movie acquisitions as bigger players go slow; build on originals He added that as a result, small-town stories have become a critical part of content strategy. They offer a chance to connect with diverse audiences by capturing the humour, aspirations, and unique struggles of everyday India. These stories resonate with audiences by reflecting local traditions and the universal experiences of small-town life. While metro-centric content is getting increasingly repetitive, looking and sounding the same, regional tales find more draw from the fact that many viewers who live in big cities come from smaller towns, producer and director Hemal A Thakkar said. 'OTTs are also looking to cater to the lowest common denominator now, which are not urban viewers. The stories have to be accessible to all," said filmmaker Siddharth P Malhotra, who directed the Netflix original Maharaj set in pre-Independence Bombay. Malhotra pointed to the success of rooted tales even on the big screen, be it Lapataa Ladies or films made in southern languages. A wider lens "The shift was long overdue. Audiences in smaller towns were always there—what was missing were stories that reflected their lives with honesty. As platforms began to realise that relatability often outshines gloss, the storytelling lens naturally widened," said Dhruvin Shah, founder and CEO of JOJO, a Gujarati-language platform. Platform executives and content creators emphasised that the metros are not the only OTT market anymore. Also Read | Overseas markets emerge as big opportunity for local streaming platforms as diaspora seeks more regional content Charu Malhotra, co-founder and managing director of Primus Partners, said from a production point of view, smaller towns offer lower costs, whether it is rentals, permits or crew accommodation. There is also a growing talent pool in these regions: actors, technicians and writers who understand the local texture better than anyone else. 'Beyond cost, there's a richness in talent that's often untapped. By working with local talent, we not only control budgets but also nurture a sustainable creative ecosystem. It's not just about saving money, it's about investing in grassroots storytelling, which in turn feeds the larger vision of creating inclusive, pan-Indian OTT content," said Kaushik Das, founder and CEO of AAO NXT, an Odia-language OTT platform.
The Hindu
06-05-2025
- Entertainment
- The Hindu
Khushee Ravi on ‘Ayyana Mane': Thriller with a touch of supernatural
The web series, Ayyana Mane, starring Khushee Ravi, Akshya Nayak and Manasi Sudheer is written and directed by Ramesh Indira. 'I play an innocent girl, Jaaji, who marries Dushyantha (played by Akshya Nayak) to become part of the sprawling Ayyana Mane household,' says Khushee. 'Jaaji values traditions, family values but is also curious and starts digging into the family's past, which leads to many discoveries and the family's dark secrets come tumbling out. Will she get embroiled in the darkness she discovers or not forms the crux of the story.' Khushee, who has just returned to Bengaluru, post the completion of shooting is a known name in Kannada film and theatre circles. She also played the titular role in the 2020 Kannada film, Dia, and won accolades for portraying a brooding introvert. The film, released on digital platforms during the pandemic, was one of the most viewed films of the time. Khushee made her feature film debut with the Kannada film The Great Story of Sodabuddi, in 2016 and went on to act in films such as Spooky College, Nakshe, and the Telugu film, Pindam. Set in the 1990s, Ayyana Mane is shot in Chikamagalur and showcases local culture. Khushee describes Ayyana Mane as a mystery thriller with a touch of the paranormal. The six episode series is the first commissioned Kannada web series, Khushee says. 'Here is hoping that there will be many more.' Working with Ramesh Indira, whose name is synonymous with Kannada serials and cinema, Khushee says was a breeze. 'I always wanted to work with him as I was familiar with his work. Even if you are unprepared but know your lines, he will make sure to bring out the best in you.' It is great to work with a director who has absolute clarity about what they want from an actor, says Khushee. 'Ramesh's fame with Sapta Sagaradaache Ello, where he plays the antagonist,put him in the spotlight as an actor. I had seen his work as a director and a writer and now to see him on screen as an actor, was mind-boggling.' Ramesh being adept in all these roles, makes him a director par excellence, Khushee says. 'I was thrilled when he offered me the role in Ayyana Mane.' Ramesh's writing is strong, says Khushee. 'Women always take the centre stage in his stories, be it his films, serials or a web series, like Ayyana Mane.' Khushee, who still reels from the success of Dia, says, 'I owe everything to the film and its director, KS Ashoka. To be identified with a character portrayed on screen even after five years, only shows how much people have connected with the story.' However, Khushee says, 'It is time to keep that aside and create some new stories and characters with which I again hope to create the same impact. Dia is and will always remain special to me.' Khushee, who is working in other south Indian films, says every film industry is special. 'Each has its own strengths and plus points. The added edge in the Telugu film industry is that they spoil you rotten on sets.' Though today she is in the spotlight, Khushee is in no hurry to add numbers to her credit and looks for meaningful roles and powerful stories. This, she says, is because she comes from a theatre background. 'I trained under B Jayashree and worked with her in Spandana theatre group. Theatre changes you from inside and out. In the end, all that matters is stories, characters and their powerful portrayals on screen. I knew in my heart that I would not thrive in a nine-to-five job. I knew that acting is something I always wanted to pursue.' In cinema, she looks forward to the release of the Kannada film Full Meals and Son of Muthanna. Ayyana Mane is currently streaming on Zee5
Time of India
30-04-2025
- Entertainment
- Time of India
Our father gave unforgettable music to the industry; It's a privilege to enter kannada with Ayyana Mane; L.V. Vaidyanathan's sons Muthu and Ganesh on continuing their legacy
The hauntingly beautiful theme of Malgudi Days continues to live rent-free in the hearts of millions, and behind that timeless melody was the genius of the late music maestro L. Vaidyanathan. Decades later, his sons, L.V. Muthu and Ganesh, are not just preserving their father's musical legacy but are also giving it a fresh lease of life in the digital era. In a fitting tribute, the duo has composed the music for Ayyana Mane, the first original Kannada web series by a major OTT platform. For Ganesh, this debut is emotional and momentous. 'It's a privilege to enter the Kannada industry with Ayyana Mane. Our father gave some unforgettable music to the industry in his time, and we're deeply humbled to be walking the path he laid for us,' Ganesh told ETimes. Talking about the composition style, Ganesh shared that the score of Ayyana Mane draws from a 'golden period' of Indian music, live instruments and rich traditional sounds dominate the soundtrack. 'We've used a blend of violin, flute, and nadaswaram to create an authentic atmosphere. There's a certain eeriness we wanted to capture in the story, and we've balanced it with deep emotional layers using the veena and violin. The makers have shot the visuals so brilliantly, it was inspiring to match that storytelling through music,' he added. The climax, in particular, was a creatively demanding space for the brothers. 'We love the climax a lot. It was one of the most challenging parts to compose because of the intense emotional graph. Every note had to echo the depth of the scene. We had to ensure the musical theme flowed seamlessly and enhanced the emotions. It's one of those moments where music truly speaks louder than words,' Ganesh reflected. For the sons of L. Vaidyanathan, Ayyana Mane is more than just a project, it's a bridge between eras. 'We want to honor our father's legacy and also carve our niche in the Kannada industry. This is just the beginning, and we're excited for the journey ahead,' Ganesh signed off. With such passion and pedigree, Ayyana Mane promises not just gripping storytelling but a soul-stirring musical experience.
New Indian Express
28-04-2025
- Entertainment
- New Indian Express
Ayyana Mane Series Review: A brooding thriller with the familiarity of TV soaps
A haunted house, a newlywed bride, and secrets that whisper through the walls— Ayyana Mane plays like a page straight out of a folklore that is stitched into a sleek six-episode mystery. Directed by Ramesh Indira and produced by Shruti Naidu, this brooding thriller walks a delicate tightrope between the familiar comforts of television and the creative liberties of streaming. Set in the lush, rain-washed 90s of Chikkamagaluru, Ayyana Mane begins with a hopeful newly-married woman Jaaji (Kushee Ravi) who steps into her husband Dushyantha's (Akshay Nayak) ancestral home—an almost too-quiet place shadowed by grief. Moments later, her father-in-law dies, and from that point on, the house seems to simmer with unease. Each creak in the floorboard and each sideways glance hints at something darker. It is at this point that another chilling discovery emerges—a trail of daughter-in-law deaths, stretching through generations. Cast: Kushee Ravi, Manashi Sudhir, Hitha Chandrashekar, Anirudh Acharya, Akshay Nayak, and Ramesh Indira Director: Ramesh Indira Streaming on: Zee5 The story unfolds in approximately 20 minute episodes, designed to hook viewers and not linger—a structural win. Each episode leaves you hanging just enough to hit the next episode button, and it is here that the show quietly flexes its format—a web series that chooses restraint over indulgence, rarely straying into filler or loud melodrama. Interestingly, Ayyana Mane also carries another label—it's Zee5's first original Kannada web series. While that's a notable move for regional content, it's also begs to ask a bold question: Can this series break away from the traditional TV template that has long defined Kannada storytelling? Can it claim the freshness that the OTT space offers? Ramesh Indira builds the mystery using an interesting blend of whodunnit and folk horror. The show taps into the cultural echoes of Daiva worship—a spiritual element that found wide popularity after Kantara. The mysterious Kondarayya, a spirit-like presence, becomes central to the narrative: is he a protector, or is his wrath behind the tragedy? The question lingers throughout, adding a folk-horror sheen to what is otherwise a grounded domestic thriller. Performance-wise, Kushee Ravi does most of the heavy lifting. Her character Jaaji is innocent but observant, fearful but never passive. It is through her eyes that we read many silences in the house— from her mother-in-law Nagalambike (Manasi Sudhir), the disturbed Charulatha, an unsettling cameo by Archana Kottige, and the uneasy Dushyantha, who is an emotionally opaque husband trying to shield secrets under the guise of tradition. Even director Ramesh Indira plays a role in the series. The other cast members—including Hitha Chandrashekar as Pushpavathi, Anirudh Acharya, and Akshay Nayak—bring depth without overplaying it, though some characters could have benefited from more nuanced development. Technically, the show is a quiet win. Rahul Roy's cinematography wraps the story in low-lit tension. There's no overuse of flashy lighting or dramatic music—instead, the mood and atmosphere is lifted through meticulous restraint. Chikkamagaluru isn't glorified either. It feels lived in, slightly cold, almost like the house is breathing along with the story. And yet, for all its craft and effort, Ayyana Mane can't completely shrug off its television roots. The storytelling dips into familiar zones—the overprotective mother, the emotionally distant husband, kitchen scenes loaded with tension, and red herrings that feel a bit too convenient. There's also the case of themes that are touched but not explored— trauma, mental illness, grief, and gender politics—all are hinted at but left underdeveloped. The plot's biggest twists lean toward safety, and while they hold your attention, they don't exactly shake you. What starts as a potentially rich psychological mystery, slowly settles into a more straightforward whodunnit. However, what works in Ayyana Mane is its intention. It doesn't want to be loud. It doesn't want to stretch forever. And even when it plays safe, it's trying to deliver a better product than what Kannada TV viewers have been fed for decades. That in itself deserves some credit. If you're someone used to Kannada television, this might feel like a much-needed upgrade—minus the over-the-top performances, and deafening music. If you're a regular OTT viewer, it's a decent weekend watch — one that brings a whiff of homegrown storytelling, even if it's not entirely pathbreaking. Ayyana Mane is a modestly gripping, atmospherically told series. It doesn't push boundaries, but it doesn't embarrass either. It's a welcome step into original Kannada storytelling. For viewers, it's a reminder that sometimes, even a house full of ghosts can feel strangely familiar.
Hindustan Times
27-04-2025
- Entertainment
- Hindustan Times
Ayyana Mane review: A tale of mysterious deaths, superstitions, and gods let down by poor writing
The OTT space has seen a paucity of Kannada content and the new web series Ayyana Mane, helmed by television veteran Ramesh Indira and produced by his wife Shruti Naidu, is an attempt to set a new trend in this space. The six-episode series, which dropped on Zee5 on April 25, revolves around Jaaji (Kushee Ravi), who gets married to Dushyanth (Akshay Nayak) and moves to his family home- Ayyana Mane. As soon as Jaaji sets foot into her husband's ancestral home, Ayyane Mane, her father-in-law drops dead. While a frightened Jaaji believes she is bringing bad luck to the house, her mother-in-law, husband and brothers-in-law convince her otherwise. Not only does she find strange occurrences in the house, but she also finds that the people in the household also act strangely, arousing her suspicion that all is not well. She soon learns of the mysterious deaths of the other daughters-in-law along with the odd significance of the family deity and certain family beliefs. All these push Jaaji to fear that she could be next in line. Though her husband tells her that she doesn't need to be frightened, Jaaji's mother-in-law Nagamma (Manasi Sudhir) compels her to remain quiet about the goings-on in the house. What is really happening in Ayyana Mane? Who is behind these deaths? Will Jaaji be killed? Given that director Ramesh Indira is known for his Kannada serials, Ayyana Mane also follows a similar soap opera template and not an OTT series format. What is supposed to be a gripping mystery thriller is slow and lacks the sinister atmospheric theme one would expect in such a series. There are a few red herrings thrown to put numerous people under suspicion, but they are neither convincing nor authentic. Even the reasons as to why the killings are being committed are also not compelling enough. Themes like family gods and rituals, and superstitions in rural areas have been explored in Ayyana Mane, but it's all at a very superficial level, unfortunately. Thus, the screenplay doesn't flow smoothly, and it becomes tedious midway. Kannada actor Kushee Ravi anchors the series and essays the innocent-yet-curious, frightened-yet-courageous Jaaji with ease. Since Ayyana Mane is like a regular TV soap, the role would have been a cakewalk for her. Manasi Sudhir has an important role and is convincing while the others are par for the course. Technically, the cinematography by Rahul Roy stands out as do the costumes by Shilpa Hegde, especially the choice of sarees for the women. The BGM by LV Muthu Ganesh, son of L Vaidyanathan, elevates the scenes as well. On the whole, Ayyana Mane has an interesting premise but this tale of mysterious deaths, superstitions and gods is let down by poor writing.
