First edition of the Best Web Series (OTT) Award

 The Information and Broadcasting Ministry has extended the date of submission of entries of the inaugural edition of the Best Web Series (OTT) Award from August 25 to 6pm on September 4 for online submissions, while the hardcopy of the series can be submitted by September 12, 2023.

In the event that September 12, 2023 is declared a holiday, the next working day will be considered as the final date for receipt of the application.

The decision to extend the date of submission was taken by the I&B Ministry with an effort to ensure that maximum number of Web Series’ can participate for the award which intends to recognise the creative prowess of the OTT platform which has grown manifold in the last two years.

An eminent jury, consisting of personalities from the entertainment industry, will choose the Best Web Series and the winner will be awarded Rs 10 lakh as cash prize, along with certificates at the 54th International Film Festival of India (IFFI).

To be eligible for the award, the web series has to be an originally created/shot series in any Indian language and has to be an original piece of work either commissioned or produced. Further, the series should have been co-produced, licensed, or acquired with the purpose of releasing ONLY on the OTT platform.

Also, to be eligible for the award, all episodes of the entry (web series/season), should have been released on an OTT platform from January 1, 2022, to December 31, 2022.

Further details of the eligibility for the awards is available on the websites of the Ministry of Information and Broadcasting, National Film Development Corporation (NFDC) and IFFI.

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Best Web Series (OTT) Award

 The Information and Broadcasting Ministry has today extended the last date of submission of entries of the inaugural edition of the Best Web Series (OTT) Award from August 25 to 6pm on September 4 for online submissions, while the hardcopy of the series can be submitted by September 12, 2023.

In the event that September 12, 2023 is declared a holiday, the next working day will be considered as the final date for receipt of the application.

The decision to extend the date of submission was taken by the Ministry with an effort to ensure that maximum number of Web Series’ can participate for the award that intends to recognise the creative prowess of the OTT platform which has grown manifold in the last two years.

An eminent jury, consisting of personalities from the entertainment industry, will choose the Best Web Series and the winner will be awarded Rs 10 lakh as cash prize, along with certificates at the 54th International Film Festival of India.

To be eligible for the award, the web series has to be an originally created/shot series in any Indian language and has to be an original piece of work either commissioned or produced. Further, the series should have been co-produced, licensed, or acquired with the purpose of releasing ONLY on the OTT platform.

Also, to be eligible for the award, all episodes of the entry (web series/season), should have been released on an OTT platform from January 1, 2022, to December 31, 2022.

Further details of the eligibility for the awards is available on the websites of the Ministry of Information and Broadcasting, National Film Development Corporation and IFFI.

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PANCHAYAT – A REVIEW

The 2020 comedy – drama, Hindi web series Panchayat is a social commentary on the prevailing system in most part of rural India. As the title, the plot revolves around a Pnnchayat office in a remote village called Phulera. Abhishek Tripathi is a fresh engineering graduate who didn’t got placement in his final year. As he got this job opportunity as the panchayat secretary, he decides to give an attempt, as there are no other options left after his graduation. The series opens with his arrival at Phulera and meets former village Sarpanch who is the husband of current village Sarpanch, the deputy sarpanch and his assistant. Through a series of funny episodes, the director shows the present condition of the panchayat office, the people and the ruling system. Jitendra is working to crack CAT so that he can switch his job. The first season of Panchayt consists of eight episodes named “Gram Panchayat Phulera”, “Bhootha ped”, “Chakke wali Kursi”, “Hamara Neta Kaisa Ho?”, “Computer Nahi Monitor”, “Bahot Hua Samman”, “Ladka Tez Hai Lekin”, and “Jab Jago Tabhi Seva”. Each episodes carry sarcastic portrayal of the Panchayat, such as the issue of solar plantation and the revolving chair. Sarpanch feels diminished in the eyes of villageres, because of not possessing a revolving chair like that of the secretary. A poorly phrased slogan for the family planning leads to a chain of events later.

The script, actors, characters and situations are well connected. The system of village politics, the low level corruption, simple lifestyle, the role of women in politics, kindheartedness of villagers are presented in a realistic manner. The present woman Panchayat secretary is the perfect example for the role of women in Indian politics. Even though she is a representative , as part of women reservation, the power is still in the hands of her husband. The performance of Jitendra Kumar, Neena Gupta, Raghubir Yadav and other artists made the series more realistic and gained many critical acclamation.

Watch “Sex Education” atleast once

“SEX EDUCATION” is a show on Netflix. Socially awkward high school student Otis may not have much experience in the lovemaking department, but he gets good guidance on the topic in his personal sex ed course — living with mom Jean, who is a sex therapist. Being surrounded by manuals, videos and tediously open conversations about sex, Otis has become a reluctant expert on the subject. When his classmates learn about his home life, Otis decides to use his insider knowledge to improve his status at school, so he teams with whip-smart bad girl Maeve to set up an underground sex therapy clinic to deal with their classmates’ problems. But through his analysis of teenage sexuality, Otis realizes that he may need some therapy of his own.

Every performer is wonderful, not least because the script is wonderful, playing the sex for laughs and the search for intimacy as something serious, good and noble. Not a single character is a cipher – even the smallest parts have a sketched backstory and some good gags. It’s all of a piece with the charm and generosity of spirit that suffuses the whole thing. Sex Education sets so many conventions cheerily but firmly aside that you feel like an entire forest of received wisdom is being clear-cut. Light floods in, new growth springs up. Such a sense of revelry and optimism abounds that you can feel it doing your heart and soul good as you watch. And all without missing a comic or emotional beat or deviating from its moral core, which urges us all to connect.

So welcome once more, Otis (and your newly excitable penis), Maeve with her troubles to seek, Jackson (Kedar Williams-Stirling) whose mental health plummets to new lows as his swimming career reaches new heights, Aimee through whose experience on a local bus the issue of sexual assault is channelled, and all the magnificent rest of you. Nobody does it better. In fact, nobody does anything quite like it at all.

Sex Education manages to achieve the best of both worlds; it’s a highly entertaining and often delightful binge watch that’s so good that the real world just melts away, but it’s also shockingly relatable and might wind up being a newfound source of hope to apply to real-world relationships.

First off, for those who might be in it for the sex, that’s definitely there. Frequent masterbation, fetishes, dirty talk, a variety of forms of experimentation – you name it, Sex Education probably has it. And the series rarely holds back when it comes to showing such acts. No, it doesn’t cross the line of its maturity rating by getting unnecessarily graphic, but it does make a point to lean into the grounded awkwardness one might experience when going into new sexual territory. Sex Education also rocks a playful tone with these scenes, successfully suggesting that there’s no reason to feel ashamed if you’ve found yourself in a similar predicament.

The show also doesn’t hold back when it comes to tackling weighty topics either. There’s an especially powerful episode about abortion early on in Season 1 that absolutely blew me away with how it took the time to make the experience so deeply personal for a number of characters, whether it’s someone who’s going through the procedure or the one who’ll be there to walk them home after. There’s also a sexual assault storyline in Season 2 that’s completely different from anything I’ve ever seen on screen before. Rather than limit that particular plot point to a select few episodes, it reverberates from Episode 3 on, taking the time to show the possible stages of experiencing such trauma and how one can come to terms with it.