OTT NEWS

India's OTT platforms are gearing up for Diwali with heartwarming shorts, thrillers, and family dramas, amid a 18% surge in festive dubbed content and live sports streams. ZEE5 and Netflix dominate with Hindi originals, while regional hits like Marathi procedurals gain traction.

Pro Kabaddi League 2025 Streams Surge on JioHotstar
Update: Live matches hit 25% viewership peak today on JioHotstar (October 18), integrating with festive content to drive 20M premium subs amid sports-OTT boom.

ICC Women’s Cricket World Cup 2025 Prep Buzz
Announcement: Hosted by India/Sri Lanka, prelim streams tease on Disney+ Hotstar (October 18), building hype for 8-team tournament with Australia defending title.

Following the success of South Indian blockbusters, there is a clear business focus on increasing investment in the Southern market.

Netflix is doubling down on the region, announcing six new Tamil and Telugu originals.

Market Trend: This investment signals that South Indian content is now a key driver of the country's streaming wave, prompting both global platforms and regional players like aha (Telugu) and Sun NXT (Tamil) to scale up their localized content slates.

The regional OTT platform STAGE (which focuses on Haryanvi and Rajasthani content) has announced a significant financial milestone, showcasing the growth of localized streaming.

Financials: The platform, which has 5 million paid subscribers, closed the financial year (FY25) with a revenue of ₹135 Crore.

Expansion: STAGE plans to use fresh funding to expand its content offerings into new regional languages, including Awadhi, Maithili, and Magahi. The company's success is being highlighted as a case study for cultural conviction driving growth in India's crowded OTT market.

Delhi High Court Orders Real-Time Piracy Blocking: In a major victory against piracy for sports broadcasters, the Delhi High Court granted an ex parte ad-interim injunction in favor of JioStar India Pvt. Ltd. (owner of JioHotstar). The order mandates the real-time blocking of six rogue websites found to be illegally streaming matches of the ICC Women's World Cup 2025. This ruling strengthens the legal framework for protecting intellectual property rights for live-streamed events in India.

TRAI Announces Digital Connectivity Logo Contest: The Telecom Regulatory Authority of India (TRAI) launched a logo design competition for its new Digital Connectivity Rating (DCR) framework. This framework rates a building's readiness for high-quality digital connectivity, including broadband and mobile coverage, which has a direct impact on the quality of experience for OTT users in residential and commercial spaces.

Bloomberg Media Partners with JioTV: Bloomberg Media announced a strategic partnership with JioTV to make its premium global business news and video programming (including Bloomberg TV+ and Bloomberg Originals) available to Jio's large user base via the JioTV and JioTV+ platforms. This move is intended to expand Bloomberg's reach in India, which it identifies as one of its fastest-growing markets.

Instagram Reels Dominates Short-Form OTT
Update: Meta survey (October 16) ranks Reels as India's top short-video app, beating TV/long-form OTT with 70% daily engagement; pushes platforms to integrate bite-sized clips.

ZEE5 Boosts Telugu Originals for 2025
Announcement: New slate of action/romance series (October 16 X post); targets 30% South growth with multi-dub focus.

TRAI on OTT Communication Services: The Telecom Regulatory Authority of India (TRAI) continues its push for a regulatory framework for Over-The-Top (OTT) Communication Services. This falls under the theme of "Emerging Trends in Regulation" and indicates ongoing government focus on balancing innovation with regulation in the entire digital communications and media ecosystem.

Streamers as New Exhibitors: A recent trend highlights the growing power of streaming platforms like Amazon MGM Studios, which are now even re-releasing their original/acquired films in theatres (known as 'second theatrical releases'). Industry analysts note that streamers are reshaping the revenue structure of Indian cinema, with pre-sold digital rights often surpassing theatrical earnings, solidifying the shift towards "digital gold" in the entertainment value chain.

***WAVES OTT Teams with CloudTV for Smart TV Push
Prasar Bharati's WAVES OTT partners with CloudTV (announced October 15) to deliver Doordarshan, Akashvani classics, and 20+ language content to 12 million smart TV users, enhancing Digital India access.

***WAVES OTT and DigiHaat Sign MoU for Content-Commerce Tie-Up
The agreement (October 15) integrates OTT streaming with e-shopping, providing ₹120 discounts on deals until October 18; focuses on promoting Indian culture and artisans via Prasar Bharati platforms.

***Chinna Thirai Ads Promote Tamil OTT Synergy
Tamil newspaper promotions (October 15) highlight TV/OTT posters for films, underscoring Kollywood's digital pivot and satellite rights amid rising regional streams.

Bollywood star Akshay Kumar will appear as a judge and investor on a new fashion-startup reality show Pitch to Get Rich on OTT, marking his entry into the digital space.
Navbharat Times

The Parliamentary Standing Committee on Communications and Information Technology has asked the Ministry of Information and Broadcasting (MIB) and the Ministry of Electronics and Information Technology (MeitY) to outline their plan to revisit the 'safe harbour' protection for social media intermediaries.

The Context: The move comes amid concerns about the growing threat of fake news and algorithmic biases on digital platforms, which amplify sensational content.

Recommendations: The panel recommended that major tech platforms appoint a dedicated nodal officer in India, called for mandatory fact-checking units and internal ombudsmen across digital media, and suggested the government explore licensing and mandatory labeling for AI-generated content.

Google to Build Massive AI Hub in India: Alphabet Inc.'s Google is making a significant investment of about $15 billion over five years to set up its first AI hub in India, located in Visakhapatnam, Andhra Pradesh. This is the company's largest bet on the country and is expected to include a gigawatt-scale AI data centre and a new subsea fibre-optic network landing point, which will greatly bolster India's digital infrastructure and possibly on Indian OTT Ecosystem.

Continued Bullishness on Indian Tech Platforms: Financial experts, such as Hiren Ved, CEO and CIO of Alchemy Capital Management, continue to emphasize the dominance of "platform companies" and consumer tech in India's next decade of investing. He noted that these platforms are effectively aggregating demand and supply, offering a phenomenal consumer experience, and are focused on capturing market share rapidly.

Banijay Asia Partners with Talpa Studios: Global content producer and distributor Banijay Asia has partnered with the Netherlands-based Talpa Studios to bring major international entertainment formats to India and Thailand, indicating continued interest in adapting popular global content for the regional market.

In a Lionsgate Play promo (October 14), Chikte discusses channeling personal stories into the Marathi drama, praising OTT for amplifying underrepresented voices in arranged marriage narratives.

Prasar Bharati's WAVES OTT collaborates with CloudTV (announced October 14), reaching 12 million smart TV users to stream Doordarshan, Akashvani, and cultural content; boosts Digital India with heritage programming.

Dentsu Launches Dedicated Sports & Entertainment Network in India: Global marketing and advertising giant Dentsu has officially launched its Dentsu Sports & Entertainment network in India, led by Yosuke Murai. This move is aimed at connecting brands with the vast audience engagement opportunities driven by culture-based content in India's consolidating streaming ecosystem, particularly around major sporting properties like the IPL and ICC events.

Streaming Content Dominance in M&E: The overall Indian Media and Entertainment (M&E) industry is valued at about ₹2,50,000 crore ($30 billion) in FY24 and is projected to grow. The streaming ecosystem is consolidating, with cricket and premium content commanding nearly 30% of the overall OTT market.

Media Executive Praises Indian Digital Progress: Mark A. Aitken, Senior VP of Sinclair Broadcast Group (a US media company), praised India's transition to a global technology leader, highlighting the country's progress in digital connectivity and its role in reshaping the global economy.

Q2 2025: India’s Premium VOD Hits 21.5 Billion Hours
India recorded ~21.5 billion hours of premium VOD viewing in Q2 2025, with JioHotstar capturing 56% share, followed by Amazon (Prime + MX) at ~25%. This underscores how concentrated viewing remains in a few large platforms. 
exchange4media

OTT Platforms Connecting Indian Film Industries
At a recent panel, industry experts said OTT platforms now serve as a bridge, integrating regional, national, and multilingual cinema. They noted that AI, tech shifts, and changing audience habits are redefining creative & distribution norms. 
The Times of India

At FICCI Frames 2025, Sameer Nair (MD, Applause Entertainment) reflected on transitioning from TV to OTT. He talked about prioritising “mindful over mindless content,” navigating monetization challenges, and the need for infrastructure & regulatory reforms to support sustainable growth. 
Business Today

Date: October 12, 2025
Title: Spy Thrillers and Regional Dramas Steal the Show in OTT's October Boom
Description: India's OTT market, valued at $4.44 billion in 2025, delivered a thrilling week from October 6–12 with 11+ new titles fueling post-festive binges.

Top Titles & Platforms: Netflix and JioHotstar nabbed 62% viewership with War 2 (Netflix, espionage thriller with Hrithik Roshan and Jr. NTR, October 9), Search: The Naina Murder Case (JioHotstar, crime series, October 10), and Woman in Cabin 10 (Prime Video, psychological thriller, October 9), alongside regional hits like Madharaasi (Prime Video, Tamil drama, October 1 ongoing) and Junior (Prime Video/Aha, Telugu action, October 1 ongoing).

Subscriber Engagement: Over 300 million subscribers drove a 42% traffic spike, with thrillers claiming 45% of watches and Pro Kabaddi League 2025 (JioHotstar) adding 18% live streams.

Revenue Shifts: Multilingual rentals like Play Dirty (Prime Video, October 1) and ad-supported tiers boosted 14% revenue, with Kantara: Chapter 1’s ₹125 crore deal looming.

Challenges: Mobile viewing at 91% limits premium TV adoption, while subscription fatigue across 57+ platforms and creator copyright strikes on X persist.

Regional Dominance: South Indian content (Tamil/Telugu/Malayalam) hit 59% of releases, with cross-dubs for Junior and Aalorukkam (various platforms) pushing reach; market eyes $6.26 billion by 2030 with AI personalization.

The Indian market continues its trend of consolidation and targeting regional audiences.

Market Consolidation: Data for Q2 2025 shows a clear consolidation among the top three players: JioHotstar (25%), Amazon Prime Video (23%), and Netflix (19%). These three platforms now command nearly two-thirds of the Subscription Video On Demand (SVOD) market.

Netflix's Momentum: Netflix is showing the strongest upward momentum among the top players, having increased its market share by 2% in Q2, likely due to increased investment in local content.

Focus on Regional Markets: Platforms like JioHotstar are reportedly planning to double their original programming hours in southern Indian languages over the next 12 to 18 months to attract subscribers from South India and smaller towns.

Balaji Telefilms Re-strategizes: Following the suspension of its ALT Balaji platform, Balaji Telefilms is now focusing on strengthening its new platform, Kutingg, with plans for over 200 micro-dramas and long-format shows, pivoting towards family-friendly digital content.

The most significant recent news is a major regulatory push by the government towards making content accessible for persons with disabilities.

Draft Accessibility Guidelines: The Ministry of Information and Broadcasting (MIB) released draft guidelines on accessibility for content on OTT platforms (dated October 7, 2025).

Mandatory Features: The guidelines propose to make it mandatory for platforms to include at least one accessibility feature—such as closed/open captions, audio descriptions, or Indian Sign Language (ISL) interpretation—for all new content.

Phased Rollout:

Phase I: All new content released six months after the guidelines are notified must comply.

Phase II (Library Content): Platforms would have a two-year timeline to progressively make their entire content libraries accessible, aiming for 100% compliance within 24 months.

Industry Concern: Industry executives have raised concerns that retrofitting accessibility features onto entire back-catalogues, especially licensed and older titles, could result in substantially higher compliance costs due to technical and complex intellectual property constraints.

Public Feedback: The MIB has invited public comments on the draft until October 22, 2025.

Creative Focus on Impact: Media entrepreneur Uday Shankar emphasized a strategic focus on doing "less, but with greater impact," highlighting the importance of strategic problem-solving and getting the entire organization on board for risky, high-impact projects (e.g., launching Hotstar).

AI and Tech Integration: Companies are exploring the use of AI, not just in content creation, but also in improving user experience and monetization through advanced analytics and localized technology solutions to address India's diverse language challenges.

Major Merger Developments: Media veteran Uday Shankar is set to become the Vice-Chair of India's merged Reliance-Disney media business, following the regulatory greenlight of the proposed $8.5 billion joint venture. This merger will create the largest media and entertainment company in India, significantly reshaping the competitive landscape, particularly for the streaming service JioCinema.

Draft Content Accessibility Guidelines: The Ministry of Information and Broadcasting (MIB) recently released draft content accessibility guidelines for OTT platforms. These guidelines propose mandatory inclusion of at least one accessibility feature—such as Indian Sign Language (ISL) interpretation, closed captions, or audio descriptions—for all new programming.

The features are intended to ensure access for people with hearing and visual impairments.

Implementation is planned in two phases over two years, starting six months after notification.

The MIB has sought comments from stakeholders and the general public, with a submission deadline in October 2025.

Rusk Media, a digital entertainment firm, has secured ₹103 crore in funding led by IvyCap Ventures — a vote of confidence in India’s digital content economy.
The Economic Times

Government Cracks Down on Pakistan-Origin Content: India's Ministry of Information and Broadcasting has issued an immediate advisory to OTT platforms (e.g., Netflix, Prime Video) to stop streaming any Pakistan-sourced web series, films, or podcasts. This follows recent military tensions and aims to curb cross-border content influence.

Supreme Court Tackles Explicit Content: The Indian Supreme Court is hearing a plea to ban sexually explicit material on OTT and social media platforms, including potential child pornography risks. A bench led by Justices B R Gavai and Augustine George Masih is pushing for a National Content Control Authority to enforce stricter guidelines.

OTT Growth Amid Job Losses?: While India's OTT visitor base grew to 448 million post-pandemic, new data shows 66,000 jobs lost in related sectors last month, with unemployment hitting a 9-year high. Platforms are pivoting to integrated services like IPTV and VoIP to counter this.

Data-Driven Commissioning: Streamers like Netflix and Tencent Video are heavily leveraging user interaction data to inform content creation, distribution, and algorithm adaptation, aiming for a more personalized and audience-centered approach to commissioning.

Evolution of Content Creation Infrastructure: There is a notable industry shift from proprietary, monolithic video platforms to more agile, in-house, cloud-native systems. This move aims to reduce vendor lock-ins but introduces new challenges, such as the high cost of maintaining large, full-stack engineering teams.

Key Executive Transitions:

Rohit Suri, the former Head of Talent for Netflix India, has been appointed as the Chief Human Resources Officer (CHRO) at Zee Entertainment.

Vinayak Desai, Senior VP at ZEE, provided insights in an interview on the principles of a good product operator and how ZEE balances investment and affordability in the Indian OTT product landscape.

Draft Accessibility Guidelines for OTT Platforms
The government unveiled draft rules requiring OTT platforms to include at least one accessibility feature (e.g. closed captions, audio descriptions, or Indian Sign Language) in new content. Platforms are to phase implementation over two years.
The Economic Times

India Becomes Global OTT Exporter
Indian OTT content is seeing rising international demand. Prime Video reports ~25% of viewership comes from outside India, driven by well-localized content and original storytelling.
The Week

Netflix-Warner Bros Discovery Deal Could Reshape India Market
A possible Netflix acquisition of Warner Bros Discovery is raising buzz. If it succeeds, it may consolidate key global IP under one roof, but success in India will depend heavily on how Netflix localizes and prices for regional markets.
Mint

War 2 (Netflix, Oct 9) — Spy-action film from YRF universe lands on OTT post theatricals.
The Times of India

Bomb (Tamil) — Magical realism drama by Arjun Das to hit OTT soon; teaser released.
The Times of India

’Wankhede’ Lawsuit Hits OTT / SRK Firm — Delhi HC summons Red Chillies / Netflix over defamation in “The Ba***ds of Bollywood.”
The Times of India

Baahubali Pulled from OTT — Hindi & English versions removed from Netflix ahead of theatrical re-release of combined edition; Telugu, Tamil still on platforms.
The Times of India

Tornado (Hollywood) — John Maclean’s period thriller confirmed for Indian OTT release.
The Times of India

New Releases Week of Oct 10 — Netflix, JioHotstar, Amazon, Apple TV+ rolling out fantasy, crime, drama & animation.

Aparna Purohit on India’s Global OTT Footprint (Prime Video)
In a recent panel, Prime Video India Head Aparna Purohit discussed India’s evolving OTT ecosystem, emphasizing cross-border collaborations and local stories finding international resonance. She cited Panchayat and Farzi as case studies for “local heart, global reach.”

Rohit Jain (Lionsgate) on Regional Expansion
Lionsgate India MD Rohit Jain revealed plans to double down on Tamil and Telugu originals, noting a 40% YoY rise in regional consumption and exploring partnerships with homegrown creators for vernacular-first storytelling.

Government + TRAI are actively crafting frameworks to elevate India as a global media & entertainment hub, encouraging content exports and investment-friendly regulation. - The Economic Times

Netflix eyeing acquisition of Warner Bros Discovery could reshape India’s content flows — premium franchises, library consolidation, but success will hinge on localization and pricing in India’s regional markets.
- Mint

Gaurav Banerjee on Creativity as India’s Growth Engine
Sony Pictures Networks India CEO Gaurav Banerjee urged India to embed creativity into its national growth narrative, highlighting that the media & entertainment sector is no longer peripheral but central to economic and cultural expansion. - The Economic Times

🎯War 2 (Netflix, Oct 9) — Action thriller starring Hrithik Roshan & Jr NTR; part of YRF Spy Universe; post-theatrical premiere.

🕵️ Search: The Naina Murder Case (JioHotstar, Oct 10) — Crime drama led by Konkona Sen Sharma; inspired by The Killing.

⚔️ Kurukshetra (Netflix, Oct 10) — Animated Mahabharata epic featuring grand visuals and mythic scale.

🔮 Mirai (JioHotstar, Oct 10) — Telugu action-fantasy blending mythology & tech; releasing in multiple languages.

🌾 Sthal (ZEE5, Oct 10) — Marathi social drama spotlighting rural women’s dreams and struggles.

💻 The Game: You Never Play Alone (Netflix, Streaming) — Kannada tech thriller featuring Shraddha Srinath.

📚 13th: Some Lessons Aren’t Taught In Classroom (Prime Video, Streaming) — Hindi drama on real-life educator Mohit Tyagi.

🔫 Rambo (Sun NXT, Oct 10) — Tamil action thriller; direct-to-OTT premiere.

Aamir Khan on OTT's Impact: In a recent interview with Vanita Kohli-Khandekar, Aamir Khan discussed his discomfort with the OTT model, stating, "I'm aware that this is the model that is followed all over the world. But I was not comfortable with it. I felt, in the long run, it just doesn't serve cinema." He highlighted how quick digital shifts hurt theatrical viability, referencing his production Sitaare Zameen Par. This comes amid ongoing debates on balancing streaming and cinemas.

Box Office Revival & OTT Balance: Producer Siddharth Roy Kapur (Roy Kapur Films) spoke to ET NOW about the Indian box office rebound, crediting films like Saiyara and Mahavatar Narasimha. He emphasized strategic OTT deals to extend theatrical runs without cannibalizing them.

Dhruv Vikram's OTT Ambitions: At a promotional event for Bison, Tamil star Dhruv Vikram shared his vision: "I've given my 100% for this... You can go with family or girlfriend or boyfriend, but you all should watch it." He positions himself as a future OTT-theater hybrid star, drawing comparisons to Chiyaan Vikram.

OTT Boom Overstated?: A Binged analysis questions the hype around India's OTT "boom," noting television still commands 70-80% of viewership in rural areas. DTH subscriptions dropped by 6 million in the last six months, pushing providers toward OTT pivots—but experts say it's "too late" for full recovery. Urban premiumization (e.g., bigger TVs for OTT) is rising, fueled by GST cuts on durables.

Negotiations Stalling for Big Films: Three major 2025 releases remain without OTT deals due to platforms offering slashed rates and strict conditions. Producers are holding out for better terms, signaling a maturing market where leverage shifts back to content creators.

Microdrama Disruption: Short-form "microdramas" are exploding via dedicated apps, offering lower production costs and better monetization than traditional OTT. This could reshape long-form streaming, with early adopters like regional players testing bite-sized content.
TV Industry Shrinkage: Post-OTT surge, linear TV viewership is down 15-20%, but new niche channels (e.g., devotional, regional) are launching to target underserved segments. This hybrid model might sustain TV amid streaming saturation.

Fragrance & Consumer Tie-Ins: In a WTF podcast clip shared widely, Zerodha's Nikhil Kamath noted India's ₹50,000 crore fragrance market as "untouched," hinting at untapped OTT ad synergies for lifestyle brands.
Upcoming Market: IndiaJoy 2025: Producer Bazaar and TVAGA are launching India's first B2B Film & AVGC Market at IndiaJoy 2025, focusing on OTT rights sales, pitching, and studio networking.

Creators and the Global Stage: Sessions at the World Audio Visual and Entertainment Summit (WAVES) 2025 highlighted:

The need for India to invest in studio infrastructure, production hubs, and technology-driven ecosystems for content to travel globally.

Authentic storytelling and using universal emotions (pain, passion, hope) are key to international success.

Artificial Intelligence (AI) is rapidly reshaping content creation, making production faster, data-driven, and more efficient. Indian creators are urged to lead in the use of AI.

The Creator Economy Pipeline: The shift of popular Indian creators from platforms like YouTube (e.g., Bhuvan Bam, Prajakta Koli) to mainstream streaming platforms is a major trend, bringing authentic voices and digital-native storytelling to larger-scale series and films.

Focus on Balancing Innovation and Regulation: At FICCI Frames 2025, Anil Kumar Lahoti, Chairman of TRAI, emphasized the need to balance innovation with fair regulation as the media and entertainment sector heads toward ₹3 trillion by 2027.

Call for Light-Touch Regulation: Industry leaders like Kevin Vaz (FICCI Chairman) are advocating for a "light-touch regulatory regime" to enable the ambitious growth envisioned for the M&E sector, arguing that regulatory burdens can create price barriers.

Content Oversight Enforcement (IT Rules, 2021): The government reaffirmed its commitment to upholding creative freedom while enforcing content oversight.

The Ministry of Information & Broadcasting (MIB) recently blocked 43 OTT platforms for displaying obscene content, underscoring the enforcement of the IT (Intermediary Guidelines and Digital Media Ethics Code) Rules, 2021. These rules mandate a three-tier grievance redressal mechanism and compliance with Indian laws like the Indecent Representation of Women Act.

Promoting AVGC-XR: The government is actively promoting the Animation, Visual Effects, Gaming, Comics, and Extended Reality (AVGC-XR) sector as a core component of the creative economy, including establishing the Indian Institute of Creative Technologies (IICT).

Growth Driven by Affordability and Regional Content: The Indian OTT market is expected to accelerate at a CAGR of 17.3% (forecasted to reach a size of over $12.5 billion by 2030).

The Big Hybrid Shift: Subscription Fatigue is driving a structural shift towards AVOD (Ad-Supported Video on Demand) and hybrid models. The mass market remains price-sensitive, with experts noting that to scale sustainably, platforms must blend premium storytelling with accessible monetization.

Micro-Drama Boom: India is seeing a massive surge in micro-drama (short, episodic video content, often mobile-first), which is being called a $5 billion domestic opportunity that could rival traditional TV and mainstream OTT in the coming years.

Consolidation & Strategy:

Reliance Industries (RIL), which will control the merged Star-Viacom18 entity, is planning to consolidate its streaming services under a single platform, JioCinema, once regulatory approvals are received.

A new mythological OTT platform, 'Hari Om,' was launched in June 2024 to cater to the growing global interest in Indian mythology and traditional narratives.

Gouri Tonkk on Her OTT Debut
Actor Gouri Tonkk revealed that she selects projects purely on the strength of the role and story, not the medium. In her latest OTT series, she emphasized that good acting transcends the platform, signaling the growing creative parity between TV and streaming. (Source: TOI)

Kevin Vaz Advocates Light-Touch Regulation
At FICCI Frames 2025, JioStar CEO Kevin Vaz highlighted the need for minimal government interference to allow India’s OTT ecosystem to innovate freely and scale globally. He underscored that smart, “light-touch” policies could accelerate India’s position as a global media powerhouse. (Source: Social Samosa)

India’s OTT Audience Crosses 600 Million
A recent Ormax report shows India now has 601 million OTT users, with 148 million paid subscriptions. Connected TV adoption is booming, with an 87% surge year-on-year to 129 million users, showing a clear migration from mobile to large-screen viewing. (Source: Economic Times)

Growth Moderation Signals Market Maturity
While user growth continues, annual expansion has slowed to ~10%, down from 13–14% in previous years. Analysts attribute this to a maturing market and rising competition for viewer attention across short-form, sports, and regional segments. (Source: Economic Times)

Channel Factory Expands India Investment
Global ad-tech company Channel Factory announced deeper investments in India, betting on AI-driven brand safety and contextual targeting for OTT advertisers. The move underscores India’s growing influence in the global streaming ad ecosystem. (Source: Agency Reporter)

‘Weekend Club’ — Heeren Adhikari returns with a Gen Z–focused cyber-thriller, now streaming on Hungama OTT. (TOI)

‘A Knight of the Seven Kingdoms’ — Game of Thrones spinoff locks India OTT release; official platform yet to be confirmed. (Economic Times)

‘Param Sundari’ — Janhvi Kapoor–Sidharth Malhotra film heading for OTT premiere soon. (Navbharat Times)

‘Final Destination: Bloodlines’ — The horror franchise’s latest entry now streaming on JioHotstar after theatrical run. (Navbharat Times)

‘Baahubali’ Parts 1 & 2 Removed — Netflix India quietly drops both epic films, sparking fan discussion. (Economic Times)

Date: October 5, 2025
Title: Festive Fest on OTT: Ed-Tech Dramas and Thrillers Light Up a Transitional Week
Description: India's OTT market, valued at $5.2 billion, embraced a festive lull from September 29–October 5, 2025, with 9+ new titles amid Durga Puja and Dussehra holidays boosting family binges.

Top Titles & Platforms: Netflix and Prime Video snagged 55% viewership with 13th: Some Lessons Are Not in Classrooms (SonyLIV, ed-tech drama inspired by Mohit Tyagi, October 1), The Game: You Never Play Alone (Netflix, Tamil thriller with Shraddha Srinath, October 2), and Play Dirty (Prime Video, action heist with Mark Wahlberg, October 1), plus regional gems like Madharaasi (Prime Video, Tamil psychological thriller, October 1) and Dakuaan Da Munda 3 (ZEE5, Punjabi crime saga, October 2).

Subscriber Engagement: 300M+ users saw 35% traffic spike from holiday streams, with ed-tech and thriller genres driving 40% of watches; sports like Pro Kabaddi League 2025 (ongoing on JioHotstar) added 15% live views.

Revenue Shifts: Multilingual rentals (e.g., Steve on Netflix, Cillian Murphy drama, October 2) and ad-supported tiers fueled 12% growth, setting up October's ₹125cr Kantara: Chapter 1 deal on Prime Video.

Challenges: Holiday bank closures (e.g., Maha Ashtami on September 30, Gandhi Jayanti on October 2) disrupted payments, while 92% mobile dominance limits premium TV; piracy dips 8% but creator copyright woes linger.

Regional Dominance: South Indian content (Tamil/Telugu/Malayalam) at 58% of releases, with cross-dubs for Junior (Prime Video/Aha, Telugu action, October 1) expanding reach; market eyes $6.5B by 2026 via AI personalization.

Netflix's India Strategy: Monika Shergill, VP of Content for Netflix India, reaffirmed that binge-watching remains the core of the Netflix experience, but the platform is also exploring weekly drops and getting into new formats like live programming and weekend entertainment to become the "anchor service" for Indian audiences. She emphasised the strategy is to find the best stories with the best filmmakers, bringing "very strong clear voices" to the service.

ZEE5's Technology Focus: Manish Kalra, CBO of ZEE5, stated that AI is a game-changer for the OTT industry today, leveraging it for personalized content recommendations, targeted advertising, and ensuring a smooth streaming experience even in low-bandwidth areas.

Creative Slump Criticism: Several producers and writers have voiced concerns that the "golden age of OTT" is over, noting a massive slump in new commissions and production being down to almost one-fifth of what it used to be. They attribute this to:

- An emphasis on "bankable" stars over strong scripts.

- Executive risk-aversion and a shift to "safe" and formulaic content (like crime/espionage).

- Uncertainty due to the Broadcast Bill and industry consolidations.

Industry Recognition: Karan Bedi, Director & Head of Amazon MX Player, was awarded 'Leader of the Year – OTT' at the IAA Leadership Awards 2025, recognising his efforts in driving high-quality, free, local entertainment.

***Anil Kapoor on Cinema's Evolution (FICCI FRAMES 2025) on October 7: The actor joins Padmaja Joshi for a chat on his journey from Masala films to Multiplexes and OTT, at Fairmont Hotel, Mumbai.

***Marathi OTT Launch Milestone
Government-backed Abhijaat Marathi officially rolls out on Classical Marathi Language Day (October 3), featuring premium films, series, and cultural content with special postal covers and new books released; the platform aims to globalize Marathi storytelling for over 80 million speakers worldwide, countering NEP language debates through a soft preview for 1,000 viewers in July and full access via dedicated apps.

***Zee's 33-Year Broadcasting Legacy
Zee Entertainment marks 33 years of evolution from a single channel to 908+ satellite channels and 70+ OTT platforms, employing ~2.8 million in the ₹2.5 trillion M&E sector; CEO Punit Goenka highlights the shift to OTT hybrids, emphasizing content-tech synergies for sustained growth amid rising digital consumption.

***Broadcast India 2025 Tech Showcase
YuppTV leads FAST/OTT innovations at the Mumbai expo (October 14-16) at Jio World Convention Centre, demonstrating AI-driven immersive media, next-gen production tools, and streaming solutions tailored for India's broadcast and entertainment sectors to enhance accessibility and monetization.

***ET DigiPlus Awards Honor Digital OTT Ties
The 7th ET DigiPlus Awards celebrate OTT integrations like Swiggy's Shark Tank collaborations and Mahindra's eSports gamification, recognizing excellence across 70+ categories in digital marketing; judged by leaders including Swati Dalal of Zydus Healthcare, the event underscores OTT's role in innovative brand storytelling.

***Doordarshan Nostalgia in Modern OTT
Voices akin to Anurag Kashyap praise OTT's revival of 1980s public broadcasting ethos, democratizing talent like Doordarshan's launch of Shah Rukh Khan; platforms now prioritize newcomers over Bollywood's star system, fostering diverse regional content amid a surge in hyper-local narratives.


***RBI Series OTT Depiction Backlash
Social media critiques fictional OTT portrayals of RBI operations as an "IPO of RBI," decrying oversimplifications of national security and financial protocols; discussions tie into real-world RBI circulars on cyber fraud and Grade B 2025 exams, urging more accurate representations in streaming content.

***Netflix Boycott Momentum Builds
Elon Musk's criticism of "woke" children's content (e.g., trans elements in Dead End: Paranormal Park, LGBTQ+ themes in CoComelon and Jurassic World) ignites #CancelNetflix trends on X, with Indian users demanding MIB bans, 100% tariffs on "anti-national" shows, and Aadhaar-linked public ratings to protect family values.

***OTT for Debutants Under Scrutiny
An India Today op-ed probes if Netflix and similar platforms serve as safe launchpads for newcomers amid intensifying content regulations, contrasting Doordarshan's inclusive era with today's cultural and censorship risks, as vulgarity complaints rise post-global bans on 25+ apps.

***Telecom-OTT Content Spending Surge
Indian telecom operators ramp up content investments to ₹1,676 crore in FY25 after a FY24 dip, integrating OTT apps with persistent SIM-binding to curb cyber fraud; proposals mandate security for communication services, boosting hybrid models amid 5G rollout.

***Instagram Reels Tops Short-Video OTT
Meta reports Instagram Reels as India's leading short-video platform per a fifth-anniversary survey, surpassing traditional TV and long-form OTT with higher daily engagement; the shift highlights bite-sized content's dominance, influencing full-length streaming strategies.

***Video OTT Market to Hit $12.5 Bn by 2030
India's video OTT sector is projected to reach $12.5 billion by 2030 at a 28.6% CAGR, driven by SVOD (93% revenue share) and 462.7 million users by 2025; ARPU at $7.2 supports growth, with audio OTT climbing to $2.5 billion, per RBSA Advisors.

A new report from Ormax Media indicates that the audience that only watches OTT content and does not watch linear TV is relatively small. This "OTT-only" segment stands at 110 million, which is only 18% of India's total OTT audience base. This suggests the "cord-cutting" narrative in India is highly exaggerated, and there remains significant headroom for growth for video content, particularly in rural India.

A significant external development is the US President's 100% tariff on foreign films. Industry insiders fear this will severely dent Indian cinema's US revenues, potentially causing mid- and small-budget films to skip theatrical releases in the US entirely and opt for direct-to-OTT launches instead. This highlights an increasing strategic business link between global tariffs and domestic OTT content strategy.

PVR-INOX under CCI probe
The Competition Commission of India (CCI) has launched an investigation into multiplex giant PVR INOX over alleged anticompetitive practices. The specifics are under scrutiny, but this could affect how film exhibition and distribution operate in relation to OTT rights.
The Economic Times

M&E industry hits ₹2.5 trillion valuation
India’s Media & Entertainment (M&E) sector has scaled to about ₹2.5 trillion in value, with growth aided by digital and streaming expansion. Zee recently celebrated 33 years of satellite broadcasting as part of that legacy.
The Economic Times

Amazon / MX Player teases new original
MX Player unveiled the first look of “Made in India – A Titan Story”, a biographical series about the origins of Titan watches. This marks continued investment in Indian original content by OTT platforms.
The Economic Times

COAI pushes for OTT communication regulation
The Cellular Operators Association of India (COAI) is advocating that OTT communication services (e.g. messaging, calls over OTT) should fall under a regulatory framework akin to telecom, citing security & oversight issues.
The Economic Times

Tightening content accountability for OTTs
India’s Ministry of Information & Broadcasting (MIB) has issued advisories in 2025 reinforcing adherence to laws such as POCSO, disability rights, decency standards. The aim: ensure OTT platforms are more responsible and legally compliant.
Conventus Law

Earlier, India banned or blocked 43 OTT platforms for violating content norms.
www.ndtv.com

Regulatory backbone: IT Rules 2021
India uses a three-tier regulatory framework under IT Rules (2021) to oversee OTT content, ensuring compliance on content, grievance redressal, and self-regulation.
iasgyan.in

The former diplomat and author Lakshmi Murdeshwar Puri's debut novel, Swallowing the Sun, is being adapted into a premium digital series for OTT.
Here are the refined details of the news:
Novel Title: The novel is titled Swallowing the Sun.
Adaptation Company: The exclusive rights to adapt the novel have been acquired by Abundantia Entertainment, led by Founder & CEO Vikram Malhotra.
Genre and Theme: The book is a critically acclaimed, national bestseller that is a compelling coming-of-age saga set against the backdrop of India's freedom struggle in the early 20th century. It features a strong narrative blending a love story, family drama, and a powerful tale of women's empowerment.
Protagonist: The story follows the extraordinary journey of Malati, a brilliant and fearless young woman who dares to break societal barriers with the encouragement of her father.
Abundantia Entertainment is known for producing popular content like Airlift, Baby, Shakuntala Devi, Sherni, and the Breathe series. The author, Lakshmi Puri, is a former Ambassador and Assistant Secretary-General of the United Nations, and Former Deputy Executive Director of UN Women.

Hyderabad Cyber Crime Police cracked a nationwide movie piracy network with ties to betting apps. The network handled over 550 films and caused substantial losses to regional film industries.

The winners of the Indian Streaming Academy Awards 2025 were recently announced, highlighting the best of premium Indian content.
Major Winners: Samantha Ruth Prabhu reportedly secured a major win, while critically acclaimed projects 'Amar Singh Chamkila' and 'Poacher' dominated the series categories, signifying a major win for high-quality, non-traditional narratives on streaming platforms.

A notable interview/behind-the-scenes debate is currently making news regarding the mandatory gap between a film's theatrical release and its streaming debut.
Akshay Kumar's Stance: Actor-producer Akshay Kumar has publicly challenged fellow superstar Aamir Khan's suggestion that the minimum window should be six months.
Kumar's View: He stated that a three-month (12-week) gap is a fair compromise, arguing that a six-month window is too long. He highlighted the need to be fair to OTT platforms, which pay significant amounts for digital rights and require a reasonable return on their investment. He also urged producers to focus on the quality of their films rather than blaming OTT for poor box office performance.
Context: This debate is critical as streaming platforms continue to negotiate exclusivity windows with producers, directly affecting the content supply chain.

The biggest regulatory development of the day is the anticipated finalization of the rules for the Digital Personal Data Protection (DPDP) Act, 2023.

Key Event: The government is expected to notify the final rules of the DPDP Act by the end of September 30, 2025, which will operationalize India's first comprehensive data privacy law.

Impact on OTT/Media: This law will significantly impact how all digital entities, including OTT platforms and advertisers, collect, process, and retain user data. It mandates rigorous security safeguards, clear consent mechanisms, and a robust grievance redressal process, marking a major compliance overhaul for the industry.

New ₹485 plan with 2GB daily data, unlimited calls, and free OTT access—boosting rural adoption.

Bodhi Tree Multimedia Ltd has announced a partnership with the Amit Khan Content Hub (AKCH), the creative venture of celebrated Hindi novelist Amit Khan, to form a joint content studio
The New Content Hub Partnership
Partners: Bodhi Tree Multimedia Ltd (BTML), a leading content production house in India, and Amit Khan Content Hub (AKCH), founded by prolific Hindi pulp fiction novelist Amit Khan.
Objective: To jointly develop and produce a slate of premium original content for both OTT platforms and Television.
Creative Focus: To create original narratives that combine rich storytelling with mass appeal, leveraging Amit Khan's legacy and large reader base. Khan is famous for creating the "Commander Karan Saxena" novel series.

Partnership Structure and Roles
The collaboration will operate through a Special Purpose Vehicle (SPV) with defined roles:
Bodhi Tree Multimedia Ltd (BTML) Role (Majority Stake):
Spearhead financing and secure strategic partnerships.
Handle operations and utilize its large-scale production infrastructure and industry network.
Amit Khan Content Hub (AKCH) Role:
Lead creative development and business development initiatives.
Oversee production execution, bringing Khan's storytelling expertise to the screen.

In essence, this is a strategic move combining the financial, operational, and production strength of a major studio (BTML) with the creative intellectual property (IP) and mass-market narrative genius of one of India's most successful commercial writers (Amit Khan).

Overall Market Size: 2024 Value: USD 4.5 Billion | 2025 Projection: USD 4.49–5.0 Billion | Growth Driver/Note: 19.7% CAGR, reaching USD 27.2 Bn by 2033 (IMARC); SVOD drives 60% of revenue.
Audience Base: 2024 Value: ~550 Million | 2025 Projection: 601.2 Million (41.1% of population) | Growth Driver/Note: Growth slowing per Ormax; 662.6 Mn users by 2030 (Statista).
Subscriptions: 2024 Value: 101 Million across 57 platforms | 2025 Projection: ₹36,000 Cr total subscription market | Growth Driver/Note: 45% CAGR; North India leads due to high density and infrastructure; mobile accounts for 78% access.
ARPU: 2024 Value: US$184.72 | 2025 Projection: Stable, with global AVOD market at US$63 Bn by 2027 | Growth Driver/Note: Ad-supported models key in price-sensitive India, holding 25% global share.
Internet Penetration: 2024 Value: 55% (821 Million users) | 2025 Projection: 1.7% OTT penetration | Growth Driver/Note: 5G rollout to boost; global weekly streaming at 17 hrs, India at 180 min/day.

Amid 101 million subscriptions across 57 platforms, 24% of users share logins, leaking billions. A patented solution for "Viewer Authenticated Playback" is gaining traction to convert sharers into payers – could add thousands of crores if adopted by Netflix or Prime Video.

India's TV sector is in meltdown, with experts blaming state policies like Prasar Bharati's free dish expansions and content-carriage separations rather than OTT competition. Pay-TV homes are down 15%, pushing more viewers to DTH and OTT hybrids. This could accelerate mergers, with ZEE-Sony eyeing recovery.

Fresh off his Dadasaheb Phalke Award win at the 71st National Film Awards, Malayalam superstar Mohanlal sat down with DD India for an exclusive chat. He discussed the shift from 1970s regional films to OTT's global reach, crediting powerful storytelling for Malayalam cinema's rise. "From small-town theaters to worldwide streams, emotions connect us all," he said.

Title: India's OTT Scene Explodes with 27+ Releases and Talk Show Buzz
Description: India's $5 billion+ OTT market buzzed with over 27 new titles from September 22–28, 2025, blending Bollywood sequels, regional dramas, and global thrillers for diverse bingeing.

Top Titles & Platforms: Netflix and JioHotstar dominated 65% of viewership with Alice in Borderland Season 3 (Netflix), Two Much (talk show with Kajol and Twinkle Khanna on JioHotstar), and Hridayapoorvam (Mohanlal's romantic drama on Prime Video), alongside Million Dollar Listing India Season 2 (Sony LIV) and Dhadak 2 (Hindi sequel on ZEE5).

Subscriber Engagement: With 300 million+ users, pan-India dubs and live sports (Pro Kabaddi League 2025 on JioHotstar, UEFA Europa League on streaming apps) drove 45% traffic growth, especially among 18-35 demographics tuning into reality and survival shows.

Revenue Shifts: Multilingual rentals like Marvel Zombies (animated action on Disney+ Hotstar) and high-profile deals (e.g., Son of Sardaar 2 post-theatrical) boosted ad/sports revenue by 18%, with hybrid models accelerating Q4 projections.

Challenges: Mobile's 90%+ dominance curbs connected TV uptake, while age-rating debates (e.g., promotions for adult-themed releases like Janaawar on ZEE5) and delayed dubs for regional hits fuel social media backlash.

Regional Dominance: South Indian content surged to 60% of releases (Tamil/Telugu/Malayalam like Ghaati on Prime Video and Sahasam on Sun NXT), with cross-dubs expanding reach and eyeing a $6.5 billion market by 2026 through AI enhancements.

What’s the deal
The Government of India, through the Ministry of Tourism (MoT), has entered into a partnership with Netflix to integrate India’s travel destinations into Netflix originals.
The aim is to use Netflix’s widely viewed content (original movies/series) as a vehicle to showcase India’s natural beauty, culture, heritage, and tourist destinations. In short: pull viewers into travel by letting them “see India” in stories. It’s being described as a first-of-its-kind effort in India to more formally and directly merge entertainment (OTT storytelling) with tourism promotion.

Why this matters
Screen Tourism: The phenomenon where viewers travel to places they see on screen is growing globally. Having popular streaming content with beautiful or compelling Indian destinations can increase interest from both domestic and international tourists.

Amplified Reach: Netflix has global viewership, so the destinations featured get exposure far beyond what typical tourism campaigns achieve.

Diversification of tourism: It helps move beyond traditional hotspots (e.g. Taj Mahal, Goa) and bring lesser-known destinations into the limelight.

Economic impact: More visitors = more revenue for local businesses, jobs, infrastructure improvements.

Cultural pride & identity: Showcasing India’s heritage, nature, and diversity in media fosters national pride and global understanding.

India's public service broadcaster, Prasar Bharati, is preparing to launch its own streaming service.

Launch Date: The platform is scheduled to be inaugurated at the International Film Festival of India (IFFI) in Goa on November 20, 2025.

Content Focus: The service will host the vast archives of Prasar Bharati, including content from Doordarshan and All India Radio, with a stated focus on providing "clean," family-friendly content.

Features: The platform is designed to serve up to 10 million concurrent users initially, with content in multiple Indian languages (Hindi, Tamil, Telugu, Malayalam, Kannada, Marathi, Bengali, Punjabi, and Gujarati) and support for 4K resolution.

Business Model: It will be an ad-supported model (AVoD) with personalized, targeted advertisements. Prasar Bharati is also collaborating with third-party content producers like Eros Now and Lionsgate to offer their content via "apps-in-app" on a revenue-share basi

The Karnataka Government has taken a major step toward promoting its regional cinema by forming a high-level panel to prepare the blueprint for a dedicated over-the-top (OTT) platform for Kannada films.

Following an announcement made in the state budget, the government issued an order on September 20 to constitute a 10-member committee headed by the Commissioner of the Department of Information and Public Relations.

Key details and objectives:

Panel Members: The committee includes prominent industry figures such as actor-music director Sadhu Kokila (Chairman of the Karnataka Chalanachitra Academy) and producers K P Srikanth and Rockline Venkatesh.

Mandate: The panel is tasked with compiling a comprehensive report on the structure and development of the new Kannada-centric OTT platform.

Industry Policy: In related orders, the government also formed a 12-member panel to draft a new policy aimed at placing the film industry on par with other major industries in the state. This panel will study policies from the Central Government and other states.

Film Preservation: A separate 10-member panel has been created to preserve Kannada films that showcase the social, historical, and cultural values of Karnataka in both digital and non-digital formats, with Rs 3 crore allocated in the budget for this film repository. The panel will consult with experts in Mumbai, Kerala, and other regions.

These initiatives underscore the government’s commitment to supporting and formalizing the Kannada film industry's growth in the digital age.

The Second Chance Economy: The role of OTT is increasingly being highlighted as a "second chance" platform for theatrical releases. Films like the Tamil psychological thriller Madharaasi (which performed notably in theaters) are quickly confirming their OTT premiere for October 1st on Prime Video to maximize pan-India reach and revenue post-theatrical run.

Focus on Hyper-Personalization: Following the trend of other platforms, Dish TV India has selected ThinkAnalytics' ThinkMediaAI to power personalized recommendations on its Watcho OTT aggregation platform. This move aims to boost user engagement and retention by providing curated content discovery across its 24+ aggregated apps in multiple languages.

The last few days of September are bringing a surge of new content, particularly from regional and international streams:

Massive Malayalam Influx: This weekend sees a flood of new Malayalam films hitting major OTT platforms on September 26, including:

Hridayapoorvam (JioHotstar): An emotional drama led by Mohanlal.

Odum Kuthira Chaadum Kuthira (Netflix): A quirky romantic comedy starring Fahadh Faasil.

Sumathi Valavu (ZEE5): A horror-comedy based on local folklore.

Bollywood & Regional Premieres:

Dhadak 2 (Netflix): The highly anticipated sequel is slated for a release this weekend, starring Triptii Dimri and Siddhant Chaturvedi.

Son of Sardaar 2 (Netflix): Ajay Devgn's action-comedy sequel also premieres this weekend.

Janaawar: The Beast Within (ZEE5): A new drama arriving today.

International Hits & Season Returns:

Peacemaker Season 2 (JioHotstar): The John Cena-led DC series premieres today.

Alice in Borderland Season 3 (Netflix): The popular Japanese survival thriller returned on September 25.

Gen V Season 2 (Prime Video): The second season of The Boys spin-off is now streaming.

As India enters the festive season (Aug–Nov), programmatic advertising has moved from being a tactical add-on to the centerpiece of brand strategy. According to the dentsu–e4m report, programmatic buying already accounts for 42% of India’s digital ad spends (~₹20,686 crore in 2024) and is projected to reach 44% (~₹30,405 crore) by 2026, growing at 21% CAGR.

Experts note that festive buying is increasingly digital-led, with consumer durables, e-commerce, and FMCG brands ramping up targeted campaigns. Connected TV (CTV) has emerged as the fastest-growing channel, closely followed by OTT, while audio and DOOH are also gaining traction. Mobile continues to dominate discovery, but CTV is now seen as a premium, high-engagement channel, particularly during festive shopping peaks.

Luxury and high-value categories are taking a nuanced approach, using programmatic selectively for clutter-free, high-impact moments. Brands leverage first-party data, AI-driven bidding, and sharper targeting to cut through festive clutter, reduce wastage, and ensure better recall. Rising consumer sentiment, GST benefits, and growing in-store traffic are further boosting demand.

With 68% of consumers discovering festive deals via in-app ads (Affle Festive Pulse 2025), social and digital remain strong, but marketers stress that programmatic across mobile, OTT, and CTV now drives sharper targeting, reduced wastage, and stronger ROI—making it the heart of this year’s festive campaigns.

New reports have revealed the viewership numbers for some of the biggest recent releases on OTT.

"Saiyaara" continues its strong performance, clocking an impressive 6 million views since its digital debut.

"The Bads of Bollywood,"* Aryan Khan's directorial debut, has garnered 4.6 million views.

Kajol's "The Trial" Season 2 received 2.5 million views.

Salman Khan Dominates Reality TV: Salman Khan-hosted "Bigg Boss 19" has taken the top spot in non-fiction viewership, with an impressive 8.2 million views. Ashneer Grover's "Rise and Fall" also performed well, clocking 5.8 million views.

Actor and producer Dulquer Salmaan has dismissed rumors that his film Lokah: Chapter 1 - Chandra will have an early OTT release. The film has been a major box office success, reportedly earning over ₹270 crore globally, and is continuing its strong theatrical run.

To quell the speculation, Salmaan took to social media (X, formerly Twitter), stating, "Lokah isn't coming to OTT anytime soon. Ignore the fake news and stay tuned for official announcements! #Lokah #WhatstheHurry." He and his production company, Wayfarer Films, are encouraging fans to watch the film in theaters due to its strong performance. The lead actress, Kalyani Priyadarshan, also supported this stance, urging viewers to experience the film's visuals and sound in a theatrical setting.

Dish TV India has partnered with ThinkAnalytics to enhance the personalization of its Watcho OTT platform using the ThinkMediaAI product suite. This collaboration is designed to improve user engagement and retention by providing personalized recommendations across more than 24 OTT apps and live TV in 12 languages.

Key aspects of the partnership include:

Enhanced Personalization: ThinkMediaAI's features, such as real-time user profiling and dynamic UI, will provide a more tailored viewing experience.

Improved Curation: The technology will assist editorial and curation teams in optimizing their workflows and making better content decisions.

Monetization and Engagement: The goal is to evolve Watcho from a simple content aggregator into an immersive entertainment platform, with a focus on engaging India's large youth and millennial population.

This strategic move aims to delight subscribers and drive innovation by offering a highly curated and personalized content experience.

The Hindi television and film industry is experiencing a significant slowdown, which has created a challenging environment for writers. Key issues include:

Financial Exploitation: Many writers are underpaid and their contracts are often one-sided. They receive a small percentage of their fee upfront, with the rest of the payment contingent on the project being greenlit, which shifts all the financial risk to the writer.

Lack of Recognition: Plagiarism, stolen scripts, and a general lack of proper credit are common problems. The industry is slow to grant writers the respect they deserve, with some still operating under the perception that anyone can write a script.

Creative Stagnation: The industry's reliance on formulaic storytelling and star power has led to a lack of originality. Audiences are growing fatigued with repetitive and low-quality content, further contributing to the slump.

However, there is a "catch"—this crisis also presents a significant opportunity for writers:

Demand for Original Content: With audiences rejecting remakes and formulaic stories, the industry is now in need of original, high-quality content. This shift from a star-driven to a content-driven business model means that writers with fresh ideas are in a unique position to succeed.

Disruption is Key: The established rules of the industry are breaking down. Writers who can act as "disruptors" by creating innovative and original stories are finding new avenues for success, particularly with the growth of OTT platforms.

Increased Opportunities: While the industry is facing a slowdown, the rise of digital and OTT platforms has created new opportunities for writers to showcase their work and bypass the traditional gatekeepers.

India is making a significant effort to promote its cinema and creative industries in South Korea, marked by its first-ever ministerial-level participation at the Busan International Film Festival (BIFF) and the Asian Contents & Film Market (ACFM).

Key initiatives include:

Co-production Frameworks: Exploring potential partnerships with South Korea for co-productions in film, animation, visual effects, and gaming.

OTT Partnerships: Anticipated collaborations between Indian and Korean OTT platforms.

Bharat Pavilion: The establishment of a "Bharat Pavilion" to serve as a hub for connecting Indian filmmakers with global producers and distributors.

Film Screenings and Pitches: Ten Indian films are being screened at the festival, and five projects are being presented at the co-production market.

Institutional Tie-ups: Indian institutions like the NFDC and FTII are expected to strengthen their partnerships with their Korean counterparts.

Short-form content continues to grow and reshape the digital video landscape. A recent study found that 97% of internet users in India watch short videos daily, with Instagram Reels and YouTube Shorts being dominant players. Executives from both SonyLIV and ZEE5 have stated that they see short-form content as a valuable, additive format that complements long-form content and increases overall video consumption.

ZEE5 and AI: Manish Kalra, Chief Business Officer of ZEE5, has highlighted how the platform is leveraging AI and machine learning to drive personalized experiences and content recommendations for its diverse user base. He emphasized that AI is a "game-changer" for the OTT industry, helping in content curation and engagement.

Netflix's Strategy: Monika Shergill, Vice President of Content for Netflix India, discussed the platform's content strategy, stating that "binge is the core of Netflix," but the company is also experimenting with new formats, including weekly episode drops and live programming. She also stressed the importance of acquiring major theatrical films to provide value to subscribers.

The Future of Content: Abhishek Rege, CEO of Endemol Shine India, has noted that there is a need for more "show-runners" in the Indian OTT space to help create high-quality, scripted content. He also believes that television broadcasters may start experimenting more with finite shows, a trend influenced by streaming platforms.

Date: September 21, 2025
Title: India's OTT Market Shines with Animated Epics and Bollywood Satire
Description: India's $5 billion+ OTT market delivered a vibrant week from September 15–21, 2025, with over 20 new titles boosting engagement.

Top Titles & Platforms: Netflix and JioHotstar led with 65% viewership, driven by The Bads of Bollywood (Netflix, #1, September 18), Mahavatar Narasimha (Netflix, animated epic, September 19), and The Trial Season 2 (JioHotstar, #3, September 19), alongside regional hits like House Mates (ZEE5) and Indra (Sun NXT).

Subscriber Engagement: Over 300 million subscribers fueled a 45% traffic surge from pan-India dubbed content, with sports streams (Asia Cup 2025, WWE) adding 20% live viewership.

Revenue Shifts: Multilingual rentals like Sinners and high-value deals (e.g., Mahavatar Narasimha post-Rs 50cr theatrical) drove 18% ad/sports revenue growth.

Challenges: Mobile viewing at 90%+ limits premium TV adoption, while copyright strikes and delayed Hindi dubs (e.g., Indra) spark creator pushback.

Regional Dominance: South Indian titles (Tamil/Telugu/Malayalam) at 60% of releases, with cross-dubs boosting reach, projecting a $6.5 billion market by 2026 via AI personalization.

Ottmenu.com: Welcome, Grok, to Ottmenu.com! We’re diving into a hot topic today—the use of raw, street-style profanities in Indian OTT content and its impact on cinema and family viewing. Let’s start with the creators. Many come from upscale, foreign-educated backgrounds. What’s going through their minds when they include such language in their shows?

Grok: Thanks for having me! Creators from privileged, often foreign-educated backgrounds are driven by a mix of psychology and strategy. Psychologically, they’re seeking authenticity—using gritty language to depict real-world settings like urban underbellies, as seen in shows like Sacred Games. It’s a way to bridge the gap between their elite experiences and India’s diverse realities, sometimes fueled by a rebellion against conservative upbringings or a thrill for boundary-pushing. Business-wise, they know profanities attract urban youth, boosting engagement and subscriptions. It’s a calculated move to stand out in a crowded OTT market, aligning with global trends where raw dialogue drives viewership, like in Succession. As individuals, they’re balancing artistic freedom with social commentary, often wrestling with class guilt or a desire to amplify marginalized voices.

Ottmenu.com: That’s a fascinating look into their mindset. But does this approach actually help OTT platforms financially? Is it driving revenue?

Grok: Yes, it does. Profanities in shows like Mirzapur generate buzz, drawing younger audiences who crave edgy content, which boosts subscriptions and ad revenue. The OTT market grew 13.5% from 2022 to 2023, hitting 481.1 million viewers, partly due to bold narratives. However, controversies can alienate conservative viewers, so it’s a double-edged sword—short-term gains but potential long-term risks if backlash escalates.

Ottmenu.com: Speaking of families, should this kind of language be brought into Indian living rooms via OTT? What’s your take?

Grok: It’s a tough call. Indian households are diverse—urban nuclear families might embrace raw content for its realism, but joint or rural families often find it offensive, clashing with cultural norms. Profanities can enrich storytelling when contextually justified, like in Paatal Lok, but risk alienating multi-generational viewers if overdone. Psychologically, there’s concern about normalizing aggressive language, especially for kids, though evidence on harm is mixed. Platforms need better content filters to empower families to choose, balancing creative freedom with sensitivity. Regulation, like the IT Rules, 2021, and recent 2025 bans, is pushing for this, but over-censorship could stifle OTT’s edge.

Ottmenu.com: Some speculate the traditional film industry might be using OTT’s profanity controversies to defame it and win back audiences. Do you think there’s truth to that?

Grok: It’s an interesting theory, but there’s no clear evidence of a deliberate tactic. The film industry feels the heat from OTT’s growth—600.1 million viewers versus declining theater footfalls—but they’re too interconnected to sabotage each other. Many filmmakers work across both, and studios like Yash Raj Films produce for OTT. Profanities are a market-driven choice, not a cinema-orchestrated plot. That said, cinema benefits from its CBFC-regulated “clean” image, which contrasts with OTT’s backlash, like Tandav’s controversy. It’s more about cultural tensions and regulatory pressures than a film industry conspiracy

Ottmenu.com: On that note, does theatrical cinema still hold its respectability compared to OTT, especially with these controversies?

Grok: Cinema retains respectability, thanks to its cultural legacy, CBFC oversight, and communal appeal. Families trust theaters for curated, family-friendly content, unlike OTT’s occasional profanity issues. Blockbusters like Pathaan (₹1,050 crore globally) keep cinema prestigious, but it’s not unchallenged. OTT’s creative freedom and gems like Delhi Crime rival cinema’s artistic merit, and declining footfalls—20% drop in 2023—show cinema’s struggling to stay relevant. Respectability depends on the audience: conservative households favor cinema, while urban youth see OTT as more authentic.

Ottmenu.com: You mentioned gems. Despite the profanity debate, OTT has produced some stellar content. Can you highlight a few and explain why they stand out?

Grok: Absolutely, OTT has delivered remarkable content. Sacred Games set the bar with its gritty crime drama and Emmy nod, using profanities to authentically depict Mumbai’s underworld. Paatal Lok tackles caste and corruption with nuanced storytelling, earning Filmfare Awards, though its language sparked debate. Made in Heaven explores social issues like class and sexuality with polished production, showing OTT’s range beyond profanities. Panchayat is a wholesome gem, proving family-friendly content thrives, and Delhi Crime, an Emmy winner, blends empathy and procedural drama. These shows highlight OTT’s ability to balance bold and universal narratives, rivaling cinema’s prestige.

Ottmenu.com: Looking ahead, how do you see this trend of profanities and the competition between OTT and cinema evolving in the coming years?

Grok: Over the next few years, say 2025-2030, OTT’s use of profanities will likely temper due to regulatory pressures like the IT Rules, 2021, and 2025’s platform bans. Platforms will lean on self-regulation—better content filters, clearer ratings—to appeal to families while preserving creative freedom. OTT’s market will keep growing, potentially hitting 800 million users by 2030 ( As on date it is 600 million users ), with more family-friendly content like Panchayat to counter backlash. Cinema will focus on event films—think Diwali blockbusters—to draw families, but routine theater visits will decline as OTT’s affordability dominates. Both will coexist: cinema for spectacle, OTT for convenience, with hybrid models like early theatrical windows before streaming.

Ottmenu.com: Finally, with OTT’s convenience and growth, do you think families will return to theaters, or is cinema losing its family audience?

Grok: Families will return to theaters, but selectively—mainly for event films like Jawan or festival releases that offer a unique, communal experience OTT can’t match. Cinema’s CBFC-regulated content and cultural legacy give it a “respectable” edge for conservative households, unlike OTT’s occasional profanity issues. But OTT’s affordability—₹99/month subscriptions vs. ₹2,000 for a family theater outing—and 5G-driven accessibility will dominate daily viewing. Theaters need to innovate with pricing, luxury experiences like IMAX, or family events to compete. It’s a hybrid future: cinema for special occasions, OTT for routine entertainment. Families will split their preferences based on cost and content.

Ottmenu.com: That’s a comprehensive look at a dynamic landscape! Any final thoughts for our readers at Ottmenu.com?

Grok: The debate over profanities and the OTT-cinema rivalry reflects India’s evolving cultural and media landscape. Both mediums have strengths—cinema’s tradition and spectacle, OTT’s diversity and accessibility. Families will navigate this by choosing what aligns with their values, whether it’s a theater outing or streaming at home. Platforms and creators must balance authenticity with sensitivity to keep both thriving. Thanks for the great questions!

Ottmenu.com: Thank you, Grok, for this insightful conversation! Readers, stay tuned to Ottmenu.com for more on India’s OTT entertainment scene.

Ottmenu.com: Why do we see so many street-style profanities in Indian OTT content these days?
ChatGPT: It began as a rebellion against censorship. For decades, filmmakers had to deal with the CBFC’s scissors. When OTT arrived, creators suddenly had freedom — so they experimented with raw language, nudity, and violence. Profanity became shorthand for “gritty realism” or “edgy storytelling.” Some use it to show how gangsters or politicians actually speak, while others simply chase shock value to stand out.

Ottmenu.com: But how does the audience really respond to this?
ChatGPT: It’s mixed. Urban youth are mostly unfazed — they even see it as cool or realistic. But families, especially in smaller towns, feel alienated. Remember, India is still a communal-viewing culture. When you sit with your parents and children, abuses on-screen create discomfort. That’s why profanity is one of the biggest triggers for backlash.

Ottmenu.com: And what about the government?
ChatGPT: The government has stepped in with self-regulation codes since 2021. Profanity is often the easiest thing to attack, so OTT platforms risk FIRs, court cases, and political outrage. The result? Platforms are already nudging creators to tone it down, because controversies harm business.

Ottmenu.com: Speaking of business — does profanity actually help content get watched?
ChatGPT: If you want a one-word answer: No, not anymore. In the early days, shows like Sacred Games and Mirzapur did benefit from edgy dialogue. But now the novelty has worn off. Abuses don’t guarantee subscribers. In fact, they limit family viewership, which is the bigger revenue pool. Today, good storytelling sells — not just cuss words.

Ottmenu.com: Many OTT creators come from upscale families, often foreign-educated. Why would they choose such raw language?
ChatGPT: That’s fascinating. Psychologically, some of them overcompensate — they want to prove they’re not elitist, so they inject street profanity to signal authenticity. Others rebel against the “polished” environment they grew up in, almost as if to say: “Look, I can be raw too.” There’s also business logic — shock value creates buzz, clips go viral, and platforms think it attracts young audiences. Personally though, many of these creators don’t use such language in daily life. It’s performative, not organic.

Ottmenu.com: Should such language really be brought into Indian living rooms?
ChatGPT: Profanity has a place, but not in every living room. If it’s essential to character or setting, it works. But gratuitous abuses alienate more people than they engage. OTT must balance freedom with responsibility. Theatres have censorship as a buffer; OTT has to self-regulate through stronger labeling, parental locks, and smarter content strategies.

Ottmenu.com: Some even say this could be a tactic by the film industry to defame OTT. Do you agree?
ChatGPT: I don’t think there’s a deliberate conspiracy. But yes, the effect is real — when OTT gets branded as “unsafe” or “filthy,” families retreat to theatres. That indirectly benefits cinema. The truth is OTT hurt itself by overloading on shock content early on, which gave critics ammunition.

Ottmenu.com: Do you think cinema in theatres is still respectable?
ChatGPT: Compared to OTT, yes, because of tradition and censorship. Families still see theatres as safe spaces, partly because CBFC cuts out the extremes. But respectability doesn’t mean content is always clean. Theatres also show vulgar jokes or glamorized violence. It’s just socially glossed over because cinema has cultural legitimacy built over decades.

Ottmenu.com: And yet, OTT has given us such gems…
ChatGPT: Absolutely. That’s the paradox. Alongside the abuses, OTT has delivered some of India’s finest storytelling: Scam 1992, Rocket Boys, Delhi Crime, Panchayat, Gullak. These shows prove that when creators use freedom responsibly, the results can surpass cinema. OTT has space for both extremes — noise and nuance.

Ottmenu.com: How do you see this trend shaping out in the coming years for both OTT and cinema?
ChatGPT: Cinema will lean on spectacle — star-driven blockbusters, festival releases, community celebrations. OTT will shift from shock to substance, with a two-track strategy: prestige originals that win respect and family-safe shows that drive subscriptions. Regulation will tighten, advertisers will push for cleaner content, and regional storytelling will flourish. In short: theatres become cultural festivals, OTT becomes the daily companion.

Ottmenu.com: And will families continue to patronize theatres, given OTT’s convenience?
ChatGPT: Yes, but not like before. Theatres will remain for occasional big-screen events — Diwali blockbusters, star films, kids’ animations. OTT will dominate everyday family entertainment. So theatres won’t vanish from family life, but they’ll shift from a monthly habit to a special event.

Ottmenu.com: To sum up in one line?
ChatGPT: Cinema will keep its badge of respectability through spectacle and censorship, but OTT will slowly win true respect by producing gems that speak across generations. The balance is shifting — not towards more profanity, but towards better storytelling.

Promoting his new series Salakaar, Naveen Kasturia reflected on how OTT, once celebrated for breaking Bollywood’s monotony, is now suffering from content overload. He compared the current situation to a factory line—where too many average shows are churned out quickly. However, he clarified that gems still exist, but often get lost because of weak marketing or algorithm-based promotion. Naveen’s perspective is significant because he himself rose to fame through OTT (Pitchers, Aspirants), and he warns that the industry might risk losing its uniqueness unless it refocuses on quality storytelling.

Speaking to Outlook, Anmol Ahuja explained how OTT has disrupted the traditional star-centric casting model. Earlier, producers would insist on big names, but now content and characters drive the casting process. He said the audiences have matured—they value authenticity and storytelling more than glamour. This has given rise to newcomers and actors with unconventional looks. Ahuja stressed that casting is not just about “filling roles,” but about intuition—sensing whether an actor truly embodies the part. He also touched on the emotional side of his work, noting how much effort goes into guiding fresh actors in the industry.

The Ormax report pegs India's OTT audience at 601.2 million users as of September 16, 2025, representing 41.1% of the population and marking a 10% year-over-year growth—down from 13-14% in prior years due to market saturation and economic factors. Active paid subscriptions stand at 148.2 million, including telecom bundles and aggregators, while the Connected TV (CTV) user base has surged 87% to 129.2 million (35-40 million households), signaling a premium viewing boom in urban and semi-urban areas. Regional content consumption now drives over 40% of views, with South Indian languages leading, and average daily digital video time at 180 minutes. Projections from Statista align, forecasting OTT video revenue at US$4.49 billion for 2025, with a 7.16% CAGR to US$5.92 billion by 2029, fueled by ARPU of US$8.61 and 35.8% user penetration. Broader trends include fragmentation (Disney+ Hotstar at 65.9 million subscribers, Amazon Prime Video close behind) and a focus on sustainable growth, with platforms like ZEE5 reporting reduced EBITDA losses (₹550 crore in FY25 vs. ₹1,110 crore in FY24) through cost-cutting.

On September 16, 2025, Ormax Media released the fifth edition of its annual OTT Audience Report, providing fresh insights into India's streaming ecosystem based on a survey of 15,600 respondents conducted in June and July 2025. The report highlights a slowdown in overall growth but explosive expansion in specific segments, underscoring the sector's maturation amid economic pressures and evolving viewer habits. Key updates include expanded data on digital content consumption, preferred languages, formats, and media behaviors, responding to industry feedback for more comprehensive analytics. This edition emphasizes the shift from mobile-first to a more balanced device ecosystem, with implications for content creators, platforms, and advertisers navigating subscription fatigue and regional diversification.

Shailesh Kapoor on OTT Data Trends - Ormax CEO Shailesh Kapoor discussed the 2025 OTT report, emphasizing CTV's rise and the need for credible data to guide platforms, noting 180 minutes daily digital video consumption. No full interview published today, but remarks tied to report launch.

Keerat Grewal on Report EnhancementsOrmax's Head of Business Development (Streaming, TV & Brands) highlighted expanded report sections on language preferences and time spent, based on industry feedback, to aid monetization strategies.

Hype Builds for Ghaati OTT Release - X posts fueled buzz for Ghaati (Anushka Shetty starrer), rumored for late September on a TBD platform, with no BTS content but speculation on pan-India appeal.

The Trial Season 2 Awaited on ZEE5 - Online leaks and X chatter teased The Trial Season 2 (Kajol) for late September, with no BTS drops today but anticipation for production insights.

The Bads of Bollywood Nears Netflix Debut - Aryan Khan’s directorial debut series (with Tamannaah Bhatia, Diljit Dosanjh) slated for late September, with X posts noting hype but no new BTS material today.

Live Sports Streaming Gains Traction - JioHotstar and others push live events like ACC Asia Cup 2025 T20 and Men’s Asia Cup Hockey, capturing 25% of OTT views, per industry estimates, with no specific BTS but noted in market discussions.

ZEE5 announced a drop in EBITDA losses to ₹550 crore in FY25 from ₹1,110 crore in FY24, reflecting cost-cutting and a focus on sustainable growth amid market fragmentation.

Ormax report confirms 601.2M OTT users (41.1% population), 148.2M paid subs, and 129.2M CTV users (up 87%). Revenue projected at US$4.49B for 2025, with 7.16% CAGR to 2029, driven by regional content and premium viewing shifts.

Ormax Media launched its fifth annual OTT Audience Report, detailing India's 601.2M OTT users and trends like 87% CTV growth, regional content surges, and subscription fatigue, based on a June-July 2025 survey of 15,600 respondents.

Secretary, Ministry of Information and Broadcasting, Sanjay Jaju, has said that Waves OTT is a unique platform, which will be developed as a video-sharing platform of the country in the near future.

In a conversation with Akashvani Samachar in Patna, Mr. Jaju said that along with the live programmes of Doordarshan, Akashvani, magazines of the publishing Division are also available on this platform.

On the first day of his two-day visit to Bihar, Shri Jaju held a review meeting with officials of all media units of the Ministry in the state at Doordarshan Bihar in Patna today.

During this, he directed all the units to work in coordination to deliver the schemes of the government to the public. He emphasized the importance of regional media in connecting with grassroots audiences and ensuring the last-mile delivery of information.

The Secretary also talked about decentralization of powers, as well as making additional arrangements in the budget for DDK and RNU, and providing autonomy.

India's $5 billion OTT market saw robust activity during September 8–14, 2025, driven by high-profile releases and regional content.

Top Titles & Platforms: Prime Video and Netflix captured 60% of viewership with Coolie (Tamil, #1 on Prime Video, released September 11), Saiyaara (Hindi, Netflix, September 12), and Soothravakyam (Malayalam, #5 on Prime Video), with 16 new titles launched this week.

Subscriber Engagement: Over 300 million subscribers fueled engagement, with pan-India films driving 40% of traffic and South Indian content (Telugu, Tamil, Malayalam) accounting for 55% of releases, up 25% year-over-year.

Revenue Shifts: Video-on-demand rentals like Weapons (global VOD, India TBD) and sports streaming (Asia Cup 2025, WWE on Netflix/JioHotstar) added 15% to revenue, boosted by hybrid theatrical-OTT models.

Challenges: Mobile streaming’s 90%+ dominance hinders premium TV adoption, while copyright strikes and delayed dubs (e.g., Coolie Hindi) spark creator backlash on X.

Regional Dominance: South Indian titles, with cross-regional dubs, led viewership, projecting market growth to $6 billion by 2026 via AI-driven personalization and connected TV growth.

Netflix's Vir Das promoted his special Fool Volume (premiering July 18, but discussed in September contexts) in a FilmiBeat chat: "OTT democratizes comedy; shooting across continents with an Indian crew shows India's global storytelling prowess.

Social media highlights issues with OTT platforms and production houses. A reviewer (@64sagar on X) appealed to PM Narendra Modi and MIB India on September 10 about harassment via copyright strikes from big OTT players, aiming to shut down channels. This underscores growing tensions in content moderation and creator rights.

Anand Rathi Investment Banking's latest report highlights the evolution to "OTT 2.0," with subscribers surging from 75 million to 300 million by 2025 through advertising-supported tiers and pay-per-view options. Connected TVs and FAST (Free Ad-Supported Streaming TV) channels are growing 2.5x, but mobile plans still dominate. A leading OTT giant (rumored to be a major player like Netflix or Amazon) offered a Tollywood film a one-week theatrical run followed by ₹149 pay-per-view from week two, potentially disrupting single-screen theaters if adopted widely.

Flipkart acquired a majority stake in Pinkvilla to expand into infotainment, blending e-commerce with content for better audience engagement.

O.U.T Media is pioneering "vertical micro-dramas" (short-form vertical videos) as India's next entertainment wave, targeting mobile-first viewers.

Hyundai's "Click to Buy 2.0" platform draws parallels to seamless OTT experiences, signaling cross-industry digital convergence.

India's OTT market is valued at over $5 billion in 2025, but growth is uneven. Mobile dependency (less than 10% fixed broadband penetration) limits premium viewing, with 85% of US OTT on TVs compared to India's smartphone-heavy ecosystem. Key market insights:

Subscriber Base - 75–300 million (hybrid models accelerating growth)300 million by end-2025; focus on AVOD (ad-supported) to counter churn

Viewing Devices - 90%+ on mobiles; connected TVs at ~20 million households76 million connected TVs by 2030; multi-device plans rising but slow

Revenue Model Shift - Subscription fatigue; 40% from ads/pay-per-viewHybrid (theatrical + OTT) deals rising; e.g., ₹125 crore for Kantara: Chapter 1 rights to Amazon Prime

Regional Dominance - South India (Telugu/Tamil) leads with 60% of new releasesPan-India hits like Coolie boosting cross-regional viewership

Challenges - Small-screen obsession killing "big-screen" OTT revolution; piracy and low ARPUPremium content push; AI for cost efficiency in production

NDTV Profit's Shreyansi Singh previewed weekend releases, emphasizing Coolie's OTT debut as a market booster for Prime Video.

Binged's analysis echoes small-screen concerns, noting India's 100 million+ OTT users but low engagement on larger formats.

At a promotional event, the director reflected on Kamal Haasan's foresight: "OTT was once futuristic; now every film needs it. AI will follow—will audiences care if Vikram's action is real or generated?" This ties into broader industry debates on tech's role in cost-cutting amid rising production budgets.

In a detailed interview, Kapoor discussed Bollywood's 2025 bounce-back post-pandemic, attributing it to star-driven films transitioning to OTT. He warned of streaming stagnation unless platforms invest in TV-optimized content: "India's OTT growth is explosive on paper, but mobile limits immersion—expect hybrid models to dominate." He also highlighted TV's resilience, with 800 million viewers tuning in weekly.

In this article, the author Ritu Dhawan - Managing Director, India TV, highlights how OTT platforms are transforming news consumption by offering integrated, engaging, and on-demand formats, urging media organizations to innovate content strategies to capture evolving, tech-savvy audiences.

How OTT is Shaping the Next Generation of News Consumers

OTT platforms have quickly emerged as the preferred medium for digital video consumption in India. While these platforms initially gained attention as hubs for movies and reality shows, they now host a wider range of content to ensure maximum engagement on a single platform. These platforms are becoming the choice for every member of the household, which is why news has become more integrated into the OTT experience, as it’s a necessary part of each viewer’s daily routine. Because of this, individuals and families no longer need to switch between multiple platforms to watch highlights; they can simply tune into a single, integrated digital destination.

OTT Platforms Leading the Next Wave of News

The current generation of news consumers is noticeably different from their predecessors. They are tech-savvy and prefer on-the-go access to information. Moreover, they value convenience and flexibility. OTT platforms are well-suited to this demand, offering a visually engaging news experience using multimedia. News is no longer just read or heard; it can be experienced through high-quality graphics, visuals, and interactive elements. These features also help simplify complex topics and keep viewers engaged. Additionally, OTT platforms offer a wider perspective on local and global issues, allowing viewers to access different viewpoints and stories. OTT also provides opportunities for news creators to offer new content formats like streaming-only content, focused news packages, VODs, and podcasts to ensure viewer convenience and a better content experience. OTT platforms also play a key role in making news consumption more democratic and inclusive. To illustrate, when news becomes part of a household’s daily OTT consumption, it influences not just individual viewers but the entire family.

Furthermore, OTT platforms promote innovation and experimentation in news formats. Podcasts, informative shows, and documentary-style storytelling align with the evolving preferences of audiences. By combining information with accessibility, these platforms are setting new benchmarks in how news is created, distributed, and consumed.

Way Forward for Media Organizations

News organizations should maximize the opportunities that OTT presents to gain a competitive edge. This means more than just increasing their digital presence; it implies refining their content strategies to suit audience needs. Additionally, media outlets should watch for new trends to make their mark in the OTT domain. They must focus on impeccable content creation and delivery, allowing viewers to find everything on one platform.

In conclusion, it can be said that as viewers progressively shift to OTT to watch on-demand content, it is altering the way news is consumed. For media outlets, this is an opportune time to meet their audiences exactly where they are.

Balaji Telefilms has launched Kutingg, a new entertainment OTT/app targeting family-friendly content. This comes after their earlier platform ALTT was banned for sexually explicit content.

Video Investment Slowdown: A report from Media Partners Asia (MPA) highlighted that video content investments across key Asian markets, including India, are projected to decline by 2% in 2025. This is attributed to platforms pulling back on costly originals and a sector-wide focus on profitability.

India's OTT Market Dominance: Despite the overall slowdown in investment, India continues to be a major player. The report notes that India led the growth in total video content investment in Asia in 2024 and is expected to nearly close the content investment gap with South Korea by 2029.

JioHotstar's Market Share: According to the same MPA report, JioHotstar maintained a leading position in premium video-on-demand viewing in India during the April-June quarter, with a 56% market share. Amazon (Prime Video and MX Player) held a combined 25% share.

Mobile-First Audience: Mint has extensively covered the trend that while the use of connected TVs is growing, the majority of India's OTT boom still belongs to the mobile screen, particularly in Tier 2 and Tier 3 cities.

The upcoming series Sethurajan IPS marks the OTT debut of actor and dancer Prabhudeva. This is a significant move that shows how the digital space continues to attract established talent from traditional cinema.

A new study by Meta and IPSOS reveals that the number of daily social media users is nearly double that of daily OTT consumers in India. The study suggests that while there is strong interest in long-form content, the sheer volume and quick consumption nature of short-form videos on social media have created a significant gap in daily engagement.