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Photo: Courtesy of Artistįor New Delhi/Mumbai-based digital creator duo Rush Twins (Prakrati and Srashti Kushwaha), June 29th was a gloomy day. In the wake of the TikTok ban, the most urgent question on the Rush Twins’ minds was, “What’s going to be next?”. Folks from all walks of life found a platform on the app that boasted users and engagement from tier I, II and III+ cities. Production, planning and budgets weren’t necessary prerequisites to creating content on TikTok aesthetic backgrounds and fancy equipment be damned. The most sought-after nooks on the app offered users short videos comprising English language training, musical jams, comedic shorts and slick dance choreography. From everyday people like Mamta Verma, Dinesh Pawar and Mr Faisu who, equipped with a camera smartphone in 4G India, found themselves catapulted to the pantheon of India’s leading digital creators, to Bollywood celebrities like Jacqueline Fernandez, Riteish Deshmukh and Madhuri Dixit, whose lip-sync and challenge videos took the Internet by storm, TikTok’s algorithm skyrocketed rookie, rising and recognized creators to global visibility. When TikTok launched in India in 2017, the short-video giant had managed to do what no other platform or app in the country had truly done before - eliminate the gatekeeper of content. India’s Short-Video Footprint: The Giant Boots of TikTok
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The genesis of every gain lies in a loss and a slew of old and new Indian short-video apps, now uncontested, began to truly test the field. With TikTok’s exit on June 29th, 2020, India’s 504M active Internet users found themselves in limbo as they searched for an app that could serve their creative and entertainment needs. This trend held strong up until the ban a 2020 report by data analytics firm App Annie reckoned that Indian users accounted for 48% (5.5 billion) of the hours spent on TikTok outside China. In 2016, when popular lip-sync platform Musical.ly had yet to be acquired by TikTok’s parent company ByteDance - which would happen in 2017 followed by a merger with TikTok in 2018 - a report by media company Vuclip found that short-form video content was being consumed by 85 percent of Indian viewers. The Chinese giant’s departure left a vacuum in India’s short-format content space where users had developed a voracious appetite for bite-sized videos. Citing concerns over sovereignty, integrity and defense of the country, as well as security of state, public order and privacy considerations, the government would go on to block 208 more apps (including clones) between July to December, 2020.
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*In light of India’s (ongoing) border tensions with China, the Ministry of Information Technology invoked section 69A to block 59 Chinese apps. Shortly after India’s infamous June 2020 TikTok ban*, the country’s social media landscape signaled an opportune moment for market players, existing and new, to capture the stage. It’s romantic/life advice that’s best taken with a pinch of salt, but it’s also one of the many popular videos powering Indian social media 2.0, a chapter that has witnessed the rise of homegrown short-video apps. “ Jeeb jalne pe chai nahi chhodi jaati, toh dil jalne pe ishq kahaan se chhod denge (Just as one doesn’t abandon a cup of tea that burns their tongue, so must heartbreak not stop one’s endeavor to love,)” performs digital creator Aisha Kashyap. This was followed by glamorous roles in the commercially successful ensemble-comedy Housefull 2 (2012) and the action thriller Race 2 (2013), which garnered her an IIFA Award for Best Supporting Actress nomination.The first video that pops up when I open Moj, one of the top five social apps on the Indian Google Play Store, is a clip of a girl intoning a Hindi couplet.
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Some of Jacqueline Fernandez hot pictures In 2009, she debuted with Aladin and since then has established a career in the Hindi film industry. Jacqueline Fernandez hot pictures, is a Sri Lankan actress, former model and the winner of the Miss Universe Sri Lanka pageant of 2006 who predominantly works in Hindi films.