Entertainment
From Studio to Stage: How Oh My Baby Became Sharon Shobana Vasudevan’s Most Celebrated Chapter YetMusic & Culture
There are moments in a creative career that arrive not with noise, but with quiet, undeniable confirmation. For Sharon Shobana Vasudevan — singer, songwriter, composer, producer, and Founder and CEO of Shooting Star Productions — that moment came when Oh My Baby was announced as the winner of the 3rd Place Best Album Award and the 1st Place Best Dancer Award at the Directors Club ‘Value 5’ Album Screening. It was, by any measure, a significant honour. But for those who have followed Sharon Shobana Vasudevan’s journey closely, it felt less like a surprise and more like an inevitability.
Every song begins somewhere before the studio. For Oh My Baby, it began with a feeling — the desire to create something that sat comfortably at the intersection of intimacy and scale. Sharon Shobana Vasudevan, who has spent years developing a creative voice that refuses easy categorisation, envisioned a track that could hold the warmth of folk, the sweep of cinematic composition, and the accessibility of romantic pop — all at once.
It was an ambitious brief. But ambition, for Sharon Shobana Vasudevan, has always been a starting point rather than a destination.
Working alongside co-composer and music director Nathanael Nilesh Raj, she began shaping the sonic landscape of the track — one that would eventually feature additional keys and rhythm programming by T. Darel Jerald Thomas, live instrumentation by Infinity Band — comprising Vimalaveeran and Sures Ravindran — and vocals performed by both Sridhar Sena and Sharon Shobana Vasudevan herself. The result was a track that felt, from the very first listen, like it had been built by people who genuinely cared about every layer of what they were making.
What separates a good song from a great production is almost always the accumulation of careful decisions made long after the composition is complete. Oh My Baby bears the fingerprints of that kind of attention throughout.
Recording took place across multiple sessions — at Atrium Sound Studio under sound engineer Ashish, and at Record Me Studio with Gunasekaran and Nathanael Nilesh Raj. Melodyne work was handled by Charan Kumar at DAW Records, while the mix and master — perhaps the most consequential final step in any production — was entrusted to A.M. Rahmathulla at AH Studios, whose work gave the track the clarity and warmth it needed to travel well across platforms.
For Sharon Shobana Vasudevan, whose background in business management has always informed the way she approaches creative projects, this level of production rigour was never incidental. It was the plan. Sharon Shobana Vasudevan has long understood that the gap between artistic intention and audience connection is frequently a craft problem — and that solving it requires both patience and precision.
Music, for Sharon Shobana Vasudevan, has never existed in isolation from its visual counterpart. Oh My Baby received its cinematic identity through the lens of director and DOP Jithesh C G, whose work on the official music video brought a richness of visual language that elevated the song into something genuinely immersive.
With art direction by Tittagudi Karthick Vasan and team, choreography by dance master Pramesh Dev, lead performances by Sabharish and Sharon Shobana Vasudevan herself, and editing by Srikanth Kanaparthi, the video became far more than a promotional piece. Colour graded by Siyayoudeen of Color Alchemist, it arrived as a fully realised visual statement — one that matched the emotional ambition of the song it accompanied.
The audience noticed.
Before awards committees convene, audiences vote in the only currency that truly matters: attention. And on that count, Oh My Baby made its case emphatically.
The song entered Spotify’s Local Pulse Chennai charts, placing within the top 5 — a meaningful achievement for an independent release in a city with one of India’s most competitive and discerning music audiences. On YouTube, the official music video surpassed 2 million views. Across streaming platforms — Spotify, Apple Music, Amazon Music, YouTube Music, JioSaavn, and Gaana — the track accumulated over 200,000 streams.
For a production released under Shooting Star Productions in association with Infinity Band, these figures told a story of genuine reach. This was not algorithmic luck or viral accident. It was a song that connected — and kept connecting.
When the Directors Club ‘Value 5’ Album Screening announced the results, Oh My Baby walked away not with one recognition but two — claiming 3rd Place for Best Album and 1st Place for Best Dancer.
The Best Album recognition placed the project among the finest independent creative productions evaluated at the screening — acknowledged by a community of directors, producers, and creative professionals who understand, from the inside, what it takes to make something genuinely worthy.
The 1st Place Best Dancer Award delivered one of the evening’s most celebrated moments — honouring the choreographic vision of dance master Pramesh Dev and the on-screen performance of Sabharish, whose presence had anchored the song’s emotional and visual narrative from the very first frame.
For Sharon Shobana Vasudevan, the dual recognition held a particular emotional resonance.
“Announcing a happy announcement to everyone — my music video ‘Oh My Baby’ from the Directors Club ‘Value 5’ album screening has won the Best Album Award,” she shared — words that, in their simplicity, captured something true about the spirit in which the entire project had been made. This was never a song built for awards. It was built for people. The awards, in that sense, were the world confirming that the people had already decided.
Sharon Shobana Vasudevan has spent her career demonstrating that creative success and structural discipline are not opposing forces — they are, in fact, each other’s most reliable allies. Oh My Baby is perhaps the clearest expression yet of that philosophy in action.
It is a song conceived with emotional intelligence, executed with production rigour, delivered with visual ambition, and received with genuine public warmth. That it has now also been recognised formally — twice over — by one of the industry’s respected platforms is, for those who have watched Sharon Shobana Vasudevan build her career — from Singapore’s interschool singing competitions to Vasantham Star, from her first independent collaboration with acclaimed Malaysian rapper Psychomantra to the founding of Shooting Star Productions — entirely consistent with the arc she has always been on.
The music, as it always has been with Sharon Shobana Vasudevan, continues to speak for itself.
Entertainment
DC collects Rs 16.40 crore net in India in opening weekend
DC, starring Lokesh Kanagaraj and Wamiqa Gabbi, has collected Rs 16.40 crore net in India over its opening weekend.
DC has collected Rs 16.40 crore net in India over its opening three days at the box office.
The film took in Rs 4.40 crore net on its first day, Rs 7 crore on Saturday and Rs 5 crore on Sunday.
DC marks Lokesh Kanagaraj’s debut as a lead actor, playing Devadas opposite Wamiqa Gabbi and Sanjana Krishnamoorthy.
The film is directed by Arun Matheswaran and is loosely adapted from Sarat Chandra Chattopadhyay’s 1917 novel Devdas, recast as a Tamil-language romantic action thriller with a darker, contemporary setting.
DC is produced by Kalanithi Maran’s Sun Pictures and released in theatres on August 7 in Tamil, Telugu and Hindi versions.
The film’s steady weekend performance, following a strong opening, points to continued momentum in the days ahead.
The story follows Devadas and his companions as they work to protect an innocent family from police brutality while confronting a ruthless cop, blending action, crime and romance in a darker, contemporary setting.
Lokesh Kanagaraj is widely known as the director behind the Lokesh Cinematic Universe, a series of interconnected Tamil action films, making DC his first major outing in front of the camera as a lead performer.
Trade analysts are watching the film’s weekday performance closely, since a steady hold through the first working week typically determines whether a theatrical release can sustain a longer box office run.
DC is directed by Arun Matheswaran and is loosely adapted from Sarat Chandra Chattopadhyay’s 1917 novel Devdas, reworked as a Tamil-language romantic action thriller with a darker, contemporary setting.
The film marks Lokesh Kanagaraj’s acting debut, with the director-turned-actor playing the lead role of Devadas alongside Wamiqa Gabbi and Sanjana Krishnamoorthy.
DC is produced by Kalanithi Maran’s Sun Pictures and released in theatres on Friday, August 7, 2026, across Tamil, Telugu and Hindi versions.
The film also picked up overseas business through its opening weekend, with North America collections trending upward from around $121,000 on Friday to roughly $150,000 by Saturday.
Photo by Sriram Narasimhan, Silverscreen Media Inc., Wikimedia Commons, CC BY-SA 3.0
Entertainment
Two Seasons in Lucknow, One Bigger Stage Ahead: The Growth Plan Behind India’s Iconic Talent Show
Every multi-season television format faces the same underlying question after its early seasons: whether to stay rooted in the city where it began or expand toward a broader national footprint. India’s Iconic Talent Show, organized by Nice Film Production, has so far held its first two seasons in Lucknow, with Season 3 and further editions planned for the future, according to the organizers.
Since launching in February 2025, the show has built its early identity around Lucknow specifically, even as its stated mission centers on providing artists opportunities at a national level. That combination — a nationally framed mission executed initially through a single regional home base — is a common pattern for new television formats, which frequently establish operational and production consistency in one city before expanding logistics to additional locations.
Why Starting Regional Before Scaling Nationally Makes Sense
Producing a television competition requires consistent production infrastructure, judging panels, and venue logistics, elements that are generally easier to establish reliably within a single city during a format’s early seasons before expanding to multiple production locations simultaneously. Lucknow’s role as the show’s initial home base likely reflects this practical production consideration, allowing Nice Film Production to refine the show’s format and execution before committing to the added complexity of producing seasons across multiple cities.
What Expansion Beyond Lucknow Would Require
Scaling a talent show format nationally generally involves expanding audition infrastructure across more states, coordinating a broader promotional footprint, and potentially producing finale events in different cities across successive seasons — each adding operational complexity beyond what a single-city production model requires. The organizers have described auditions as already spanning many states even while the finale has remained in Lucknow through the first two seasons, suggesting a phased expansion where audition reach grows before the production’s home base itself necessarily changes.
FAQ
Where has India’s Iconic Talent Show been held so far?
According to the organizers, Season 1 and Season 2 were both held in Lucknow, with Season 3 and future seasons planned.
Does the show only accept participants from Lucknow?
No — auditions are conducted across many states in India, according to Nice Film Production, even though the finale has been held in Lucknow to date.
Will future seasons expand beyond Lucknow?
Available information confirms further seasons are planned but does not specify whether future finales will move to additional cities.
As India’s Iconic Talent Show moves into its third season and beyond, how the platform balances its Lucknow production roots against its stated national ambitions will likely shape how effectively it can continue drawing participants and audience attention from across the country.
New talent show formats generally build audience trust gradually across their first several seasons, since a track record of successfully producing consistent, credible seasons matters as much to a format’s growth as any single season’s specific content, particularly for a show still establishing itself relative to more established national competitions.
Whether Season 3 remains in Lucknow or moves to a new city will likely serve as one of the clearer early signals of how Nice Film Production intends to balance production consistency against the broader national ambitions the show has stated as part of its founding mission.
Entertainment
Spider-Man: Brand New Day India total tops Rs 150 crore on Day 3
Spider-Man: Brand New Day’s India total topped Rs 150 crore net on Day 3, with collections up 35.3% to Rs 66.75 crore.
Spider-Man: Brand New Day’s India total topped the Rs 150 crore net mark on Day 3, with collections rising 35.3% over the previous day to Rs 66.75 crore, trade tracker Sacnilk reported on Sunday, August 2, 2026.
The film’s three-day net collection in India has reached Rs 176.70 crore, with the gross total at Rs 211.27 crore.
The film played across 17,703 shows on Saturday, with overall occupancy of 69.67%, rising to 76.67% for night shows and 75.56% for evening shows.
The English version brought in Rs 38.35 crore of the day’s collection, while the Hindi version added Rs 21.75 crore, showing continued demand across both versions.
A day-on-day rise on the first Saturday is uncommon for major releases, which typically see a dip after opening day before a weekend recovery.
Trade watchers are now watching Sunday’s collections closely, seen as the clearest early indicator of the film’s run through its first fortnight in India.
The film released in India a day ahead of its global rollout, opening across English, Hindi, Tamil, Telugu, Kannada and Malayalam versions to capture audiences across the country’s major language markets.
Multiplex chains in metro cities including Mumbai, Delhi and Bengaluru reported strong evening and night show attendance through the opening weekend, according to trade reports tracking the release.
The film’s English version continued to lead collections on Day 3 with Rs 38.35 crore, while the Hindi version added Rs 21.75 crore, reflecting strong multiplex demand across both language versions.
A day-on-day increase on the first Saturday is relatively uncommon for major releases, since most films see collections plateau or dip slightly after the opening-day surge before a typical weekend rebound.
The film also stars Zendaya and Sadie Sink reprising their roles alongside Tom Holland, with the returning cast continuing to be a key draw through the opening weekend.
Photo by Gage Skidmore, Wikimedia Commons, CC BY-SA 3.0
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