Glory, the latest Netflix original series, has flawed, damaged people at its centre. There is also a murder-mystery that keeps the plot moving. However, it’s the element of action that actually works as the propeller for the show, says creator-director Karan Anshuman. Karan, who created the series in collaboration with Karmanya Ahuja says, “We wanted to do a sports drama while adding a murder mystery but also keeping up with the times in terms of how streaming has evolved in post-COVID scenario, where attention economy is a big thing. So, in Glory, every clue is unearthed by an action set piece. You are not examining things with a magnifying glass. Here, the challenge for the two protagonists is, who to beat up to get the next clue. That became the language of the show.”
Glory marks the second collaboration between Karan and Divyenndu, who previously worked together to deliver one of the most iconic characters in OTT space, Munna Bhaiyya in Mirzapur. In Glory, Divyenndu plays Dev, a man driven by brutal aggression who returns to his hometown to protect his family. On the surface, there might appear a lot of similarities between Mirzapur and Glory. However, both Divyenndu and Karan are quick to clarify that they couldn’t be more different from each other. Divyenndu elaborates, “Munna in Mirzapur comes from a certain privilege, while Dev is an outcast. Munna romanticises and enjoys the space he is in, while Dev detests the world here. Essentially, unlike Munna, Dev is a good person.”
The show’s world came as a surprise for Divyenndu. The Mirzapur actor, who hails from Delhi, explains, “I didn’t know Haryana is such a major hub for boxing. That felt very unreal; almost like a world, so close to us, is hiding in plain sight.” He also recalls being constantly surprised while he was reading the script, “Everytime you think you got it, a character arrives with a twist that completely changes your perspective. This cat-and-mouse chase aspect really surprised me.” On the other hand, the thriller marks a major shift for Pulkit Samrat, who has largely built his audience with the Fukrey franchise, besides other light-hearted entertainers. Does preparing for an intense role like Glory after a series of light-hearted roles become too difficult? Pulkit responds, “it would have been difficult if one doesn't have the right team to work with. However, I was blessed that we had the best team for Glory, and the best writing. Everything just fell into place, and I just had to be honest to what I am doing, and surrender to these people.” Pulkit also explains why imbibing his character Ravi’s internalised nature was particularly challenging for him. “There is physical transformation needed of course, but there are also many secrets to Ravi. He is going through a lot, but he is not impulsive or reactive. He handles situations in a different manner. I am not like that. Usually, I push the bad things under the carpet and move on. However, to play Ravi, I had to face those painful experiences and its emotional baggage, to understand that feeling. Playing this role has helped me grow on a personal level.”
This blend of genre and moods is undoubtedly the biggest strength of Glory, on a storytelling level. And yet, could it also possibly make it difficult for the show to stand out, in an age of over-crowded OTT platforms? Divyenndu and Pulkit remain confident about the show finding its audience. Divyenndu says, “I think people just want to watch something engaging, irrespective of the genre. Of course there will always be a niche for everything, but it is possible to have breakout hits. We are seeing more of this now. That's the beauty of OTT — in this whole bheed (crowd) of content, if the audience gets the fragrance of something new they will take notice of it.” Pulkit, meanwhile, believes in the power of word-of-mouth beyond social media discourse. “The positive views about a show don’t necessarily get shared online, but rather during your dinner conversations, office hours, that's where people share their excitement about something new which they watched and liked. So, I think every story just finds its audience,” he says.
Karan Anshuman acknowledges the impact of evolving trends and Gen Z’s watching patterns on how shows are being presently made. He elaborates, “I don’t know where we are in the cycle right now, but things are shifting. People have less patience now. It’s not like we can’t make 10-episode seasons anymore, but there cannot be many long shots; you have to cut quicker. Is this a good thing? I don’t know. I watched Jaws (1975) recently. It definitely stood the test of time for me, but will Gen Z or Gen Alpha audience be able to sit through it? I don't know.”
Is it essential for actors too, to keep in touch with changing trends? Divyenndu is a little less generous than Karan in his approach as a viewer. “There is so much content now, and something out there for everybody. Of course I watch different kinds of content. But I am not infected by micro-dramas yet,” he concludes.