Netflix has reported a whopping 16 million subscriber surge since the coronavirus lockdowns around the world have compelled people to stay indoors, with its original series, Tiger King, being the most watched program, rounding up almost 35 million viewers alone in its first week of release.
Other streaming services such as Amazon Prime and Disney Plus also continue to see a monumental increase in subscriptions, as quarantined entertainment aficionados remain devoted to their unending binging.
As avid devotees of the “streaming party” bandwagon, and with the ease of being able to watch any and every new release, people are participating in global premieres of television dramas and sitcoms, enduring sleepless night after night, binging until the break of dawn.
Sobbing our tired eyes out at Korean dramas whilst keeping them fixated on the English subtitles, conditioned to laugh out loud at three in the morning, during the umpteenth re-watch of Friends.
This colonization of our viewing pleasures, an entertainment-filled one at that, is a force to be reckoned with, a force in fact, that keeps some of us, if not all, from reveling in the glory of our own homemade treasures, our Bangla telefilms.
From the brilliant Humayun Ahmed directed, widely beloved Aaj Robibaar (1999), the humble excellence that is Urey Jay Bok Pokkhi (2005-2006) to the eccentric love story of Karam (2007) with the gifted Mostofa Sarwar Farooki at its helm and the popular, wholesome family drama Housefull (2008) directed by Iftekhar Fahmi and Redowan Rony, Bangla telefilms have set remarkable standards in the South Asian entertainment industry.
The virtuosity of these short films and 20 minute dramas continues to captivate their viewers and watchers, with their uncomplicated yet engaging storylines, unforgettable characters, scenic settings, memorable dialogues, and a special relevance that beholders are instantly infatuated with.
Whilst the ones mentioned are from a decade or more ago, they still hold up in their mastery and pertinence. Just like worldwide sensation Friends does, our telefilms too, remain flawless despite their release dates. Although, the quality has somewhat declined and the hunger for telefilms has, in fact, subsided.
There have been reports in recent years that artists are not treated well, that there is little to no room for an actor recognized for his or her typecast role, to diversify their range. Artists are not given their due credit or chances to challenge themselves. This is unfortunate as the level of talent and proficiency that is present in our industry is remarkable and comparable to world class standards.
Well, it is up to us, the people, pundits of refined tastes in all things entertainment, to demand quality over quantity. Then maybe, we could restore our telefilms to their previous glory, but before that can happen, we need to take notice of that glory in the first place.
The new generation should familiarize themselves with the beauty of Bangla telefilms.
We could start by binging them, and that will not even cost a dime as there is a wide array of complete versions of Bangladeshi natoks on YouTube.
Whether they start with shows starring the popular and beloved Abul Hayat or revel in the effortless comic timing and versatility of Mosharraf Karim, the Bangla telefilms have time and time again shown their amazing potential in leaving indelible marks in the hearts of their viewers and audience.
So how about in the remainder of our quarantine days, we stream our precious Bangla telefilms and let Netflix chill for a bit?
Iffat Farook is a student of English.
