Category: Over The Top Services

  • Nicole Clemens makes the prime time move to Amazon’s streaming empire

    Nicole Clemens makes the prime time move to Amazon’s streaming empire

    MUMBAI: Nicole Clemens has swapped Paramount’s fading star for Amazon’s prime position, landing the plum role of vice-president and head of international originals for Prime Video and Amazon MGM Studios. The appointment, effective 7 July, sees her trading one streaming giant’s troubles for another’s triumphs.

    Fresh from her stint as president of the now-defunct Paramount Television Studios—where she presided over hits like Tom Clancy’s Jack Ryan, Reacher, and Cross that ironically ended up on Prime Video—Clemens will now orchestrate Amazon’s content conquest across more than 20 territories. Rather like poacher turned gamekeeper, but with better streaming numbers.

    Prime Video International, vice-president Kelly Day  clearly couldn’t contain her glee: “Nicole is a highly respected and experienced media executive who will guide our future international originals slate as we invest for the long term.” Translation: she knows how to make shows that people actually watch.

    The timing couldn’t be more fortuitous. Prime Video’s international division has been on a right tear, churning out more than 140 original series and films across two dozen territories last year—their biggest haul yet. With over 200 million Prime members globally, there’s clearly an appetite for content that doesn’t involve subtitles reading “Netflix Original.”

    Clemens brings serious pedigree to the role. During her Paramount tenure, she shepherded everything from the Emmy-nominated Station Eleven to George Clooney’s Catch-22, plus the entire Star Trek universe for Paramount+. Before that, she spent five years as executive vice-president at FX Networks, overseeing crowd-pleasers like Atlanta and Snowfall.

    Her new empire will span teams across Europe, Latin America, and Asia Pacific, with regional heads including Javiera Balmaceda (Latin America, Canada, and Australia), Tara Erer (Northern Europe), and Nicole Morganti (Southern Europe) all reporting directly to her.

    Additionally, Nikhil Madhok, head of international originals for India, will continue reporting to Gaurav Gandhi, VP of Prime Video APAC and Mena, but will remain a part of Clemens’s leadership team. 

    Supporting the division are Marc Hausmaninger, head of content strategy for international originals, and Sam Semon, responsible for international business affairs. This expanded team underscores Prime Video’s commitment to tailoring content across regions, with Clemens at the helm steering the international creative and strategic direction.

    She’ll initially set up shop at Amazon MGM Studios’ Culver City headquarters before decamping to Prime Video’s London office—presumably for the superior biscuit selection.

    The appointment signals Amazon’s serious intent to challenge Netflix’s global dominance. With international hits like Germany’s Maxton Hall and Spain’s Red Queen already in the pipeline, Clemens will be tasked with ensuring Prime Video’s international slate remains anything but secondary viewing.

  • Stage gets Clear on PFT’s AI-powered  content management solution

    Stage gets Clear on PFT’s AI-powered content management solution

    MUMBAI:  Prime Focus Technologies (PFT), the muscle behind indigenous tech Clear and a global maven in AI-led media solutions, has inked a long-term pact with Stage —the homegrown OTT star championing regional India. The goal? To supercharge Stage’s content operations and serve up smart entertainment with a tech twist.

    With this tie-up, Stage will plug into PFT’s Clear media asset management (Mam) and Clear AI suite. Expect an overhaul of workflows, from AI-assisted post-production to intelligent tagging, slick compliance, natural language search, and turbo-charged team collaboration. In short: more brains, less brawn.

    “As our content library continues to grow, adopting a forward-looking Mam platform became crucial,” said  Stage co-founder Shashank Vaishnav. “With Clear and its integrated AI features, we gain the scalability and intelligence to enhance operational efficiency, improve metadata quality, and ensure quick access to the right content. We’re looking forward to the innovation and impact this partnership will bring.”

    PFT SVP & head of APAC Anupam Sharma added: “We’re thrilled to collaborate with Stage on this transformative journey/This agreement underscores the increasing demand for intelligent Mam systems that go beyond asset management—unlocking insights, accelerating workflows, and driving monetization through AI.”

    This alliance marks another feather in PFT’s APAC cap and underscores its growing grip on the media-tech landscape across borders.

    (Featured in the picture above Stage co-founder Shashank Vaishnav)

  • Criminal Justice scores a killer debut with record OTT opening

    Criminal Justice scores a killer debut with record OTT opening

    MUMBAI: It’s official, Criminal Justice: A Family Matter has taken the law into its own hands… and the top spot on India’s OTT charts. According to audience estimates for the week of May 26 to June 1, 2025, the gripping legal drama clocked an explosive 8.4 million viewers, making it the biggest OTT original opening of the year across pay and freemium platforms.

    The numbers don’t just hold court, they rule. This marks the best opening for any original on JioStar (previously Disney+ Hotstar and JioCinema) since January 2023, making it a rare case of a sequel delivering more punch than its predecessors.

    Backed by a tight script, returning fan-favourite characters, and a family-centric twist on its signature justice narrative, the show has managed to strike the perfect balance between suspense and sentiment. And clearly, audiences across India are here for it.

    In a landscape brimming with crime thrillers and family dramas, Criminal Justice: A Family Matter has carved out its niche by fusing both genres with legal intrigue and numbers suggest the strategy is working. With 8.4 million Indians tuning in to at least one episode, it’s not just a courtroom drama; it’s a cultural phenomenon in the making.

    Gavel down, this verdict is unanimous: Criminal Justice is 2025’s hottest trial yet.

  • Netflix taps Toaster to hype global launch of its all-new TV interface in cinematic flair

    Netflix taps Toaster to hype global launch of its all-new TV interface in cinematic flair

    MUMBAI: If scrolling through endless titles has left your thumb sore and your brain fogged, Netflix just hit play on your salvation. The streaming giant has overhauled its TV interface and tapped creative agency Toaster to give the global launch the same drama and delight as its top-rated series.

    Instead of a by-the-numbers product explainer, Toaster served up a 60-second cinematic teaser channeling the emotion of binge-worthy storytelling. The spot, which is being shared across media and social platforms, walks viewers through the revamped experience that boasts simpler navigation, smarter recommendations, and an AI engine that reads you better than your best friend.

    Netflix’s refreshed interface, now rolling out globally, features persistent shortcuts for search, shows, movies, games, and a personalised “My Netflix” hub. As users browse, real-time recommendation rows update on the go, tailored to their habits. Title cards now highlight not just the synopsis and run time, but whether it’s award-winning, trending in the top 10, or helmed by a notable director.

    Toaster’s campaign leans into the streamer’s brand essence—making viewers feel something—and applies it to its own platform refresh. According to the agency, the goal was to invoke the same anticipation and emotion people feel when a new series drops.

    “Collaborating with Netflix on the launch of their new TV experience was an absolute privilege. This was a momentous milestone for their product, and we were honoured to support the campaign from the ground up. We’re incredibly proud to have played a part in bringing this to life”, said Toaster US MD Susannah Bard.

    Netflix’s product marketing manager Paul Lee added, “We thank Toaster tremendously for all the work in getting us here. We couldn’t have done it without the team’s support”.

    The new TV interface, already rolling out since early May, represents Netflix’s answer to content overload—designing a smarter, faster, and more intuitive content discovery journey.

  • India’s music royalties hit the high notes with Rs 700 crore windfall

    India’s music royalties hit the high notes with Rs 700 crore windfall

    MUMBAI: India’s  music scene is singing a very different tune these days—one that sounds suspiciously like cash registers ringing. Music royalty collections in India have struck a crescendo at Rs 700 crore in 2024, surging 42 per cent year-on-year and quadrupling over five years in a performance that would make even Indian cinema proud.

    The star of this financial symphony? Streaming platforms, which have transformed from industry pariahs into the golden goose laying digital eggs. India’s global ranking for creators’ collections has leapt from a modest thirty seventh position in 2019 to twenty third in 2023, according to the International Confederation of Societies of Authors and Composers (CISAC) in its latest annual report.
    Royalty collectionsBut before the champagne corks start popping in recording studios across the subcontinent, there’s a sobering reality check. Despite the impressive crescendo, India’s royalty collections remain woefully below potential for a market of this magnitude—a case of having the orchestra but missing half the instruments.

    The culprit? Indians’ stubborn reluctance to pay for premium music streaming services. While platforms like Spotify, JioSaavn and Gaana are desperately trying to wean users off their freebie addiction with subscription models—backed by music labels like Saregama—the conversion rate remains sluggish.

    Adding to creators’ woes is the dismal performance of non-digital revenue streams, which continue to hit bum notes. CISAC has been working overtime with the Indian Performing Rights Society (IPRS) to bring global standards to governance, licensing and royalty distribution—essentially teaching old dogs new digital tricks.

    The organisations have crafted a fresh action plan for FY25, designed to explore untapped market potential and identify business opportunities. The blueprint targets improved collections from local digital services whilst diversifying revenue streams beyond the usual suspects.

    With India’s creative economy finally finding its rhythm, the question isn’t whether the music will stop—it’s how loud the next movement will be.

  • Scroll no more RunnTV streams ahead in instant entertainment game

    Scroll no more RunnTV streams ahead in instant entertainment game

    MUMBAI: Stuck in scroll purgatory again? RunnTV says it’s time to run from decision fatigue and straight into effortless binge mode. In a world where OTT fatigue is real and growing, RunnTV is ditching the dilemma with a cheeky new campaign that asks the eternal question: “Kab tak karoge scroll?”

    The digital-first push, launched across platforms, taps into a pain point that every streamer knows too well wasting minutes (sometimes hours) scrolling for something to watch, only to give up or rewatch the same old comfort show. The campaign’s ad films nail the mood: a remote-flipping viewer visibly exhausted by choice paralysis, a mobile scroller stuck in a never-ending loop both rescued by one smart switch to RunnTV.

    As India’s first independent FAST (Free Ad-supported Streaming TV) platform, RunnTV delivers lean-back, linear entertainment without the hassle of choosing. No subscriptions. No painful decisions. No more doomscrolling. Just tap in and zone out.

    The platform features a curated mix of live TV-style channels from movies, music, short films, and kids content to news and infotainment. RunnTV also auto-personalises your viewing experience based on your habits adjusting language, sequencing and channel preferences all while you watch.

    “We wanted to show people what they feel daily,” says the RunnTV marketing team. “The average user spends over 20 minutes daily just trying to decide what to watch. RunnTV is the antidote to that fatigue.”

    The campaign positions RunnTV not just as another app, but as a refreshing fix in an overcrowded OTT landscape. Whether you’re a casual viewer, serial scroller or a full-blown binge beast the message is clear: skip the search, ride the Runn.

    Available across TV and mobile, RunnTV doesn’t require a login but recommends one for a more customised feed. And with its no-subscription, ad-supported model, it’s aiming squarely at OTT-weary users across India who just want to watch something anything now.

    So, next time you find yourself endlessly scrolling through thumbnails, remember: entertainment shouldn’t feel like work. With RunnTV, it’s one tap and done.

  • Spain’s pirate party: nearly half of OTT viewers sail the high seas of illegal streaming

    Spain’s pirate party: nearly half of OTT viewers sail the high seas of illegal streaming

    MUMBAI:  While the Motion Pictures Association (MPA)  loves pointing fingers at India for its piracy woes, they may want to swivel their gaze towards Europe. New data from consultancy firm GECA reveals that a staggering 47.4 per cent of OTT viewers in Spain are tucking into pirated content—no paid subscription in sight.

    The pirate’s treasure chest? Movies top the loot list at 32.8 per cent, followed closely by TV series (30.6 per cent) and sports (18.4 per cent).

    The biggest buccaneers are aged 18–24, followed by the slightly older but no less rebellious 25–34 crew. Even the silver surfers are getting their share—piracy among the 55+ age group has jumped 4.5 points, now clocking in at 32.6 per cent.

    Notably, piracy among 25–34-year-olds surged 5.2 points, hinting at an underground boom even among the prime-income streamers. Whether it’s a protest against high prices or just a thrill of the steal, one thing’s clear—Spain’s illegal streaming scene is alive, well, and growing.

  • Hellaro finds its hindi voice and beats the drum for freedom

    Hellaro finds its hindi voice and beats the drum for freedom

    MUMBAI: Who says revolutions can’t begin with a dhol beat? Shemaroome is striking a powerful chord with the Hindi release of Hellaro, the first-ever Gujarati film to win the National Award for Best Feature Film. By dubbing the landmark film for Hindi-speaking audiences, the platform is turning up the volume on stories that celebrate silent strength and cultural rebellion across borders and beyond language.

    Directed by Abhishek Shah, Hellaro isn’t just a period drama set in the scorching salt flats of Kutch, it’s a fiery feminist anthem disguised as a folk tale. The film follows a group of women from a repressive village whose monotonous lives are disrupted when a drummer appears from the desert. What begins as stolen dance sessions away from watchful eyes spirals into a full-blown revolt not with weapons, but with rhythm, resilience, and raw courage.

    The ensemble cast including Shraddha Dangar, Kaushambi Bhatt, Niilam Paanchal, and Brinda Trivedi brings an electric energy to the screen. So compelling were their performances that 13 lead actresses received a Special Jury Award, a rare collective honour that underscored the film’s commitment to sisterhood over stardom.

    Sharing her thoughts on the film’s Hindi release, actress Shraddha Dangar said, “Hellaro has always been more than just a film, it’s a reflection of unheard voices and untold stories that exist in the quiet corners of our society. Bringing it to life meant building a world from the ground up, both emotionally and physically, in the heart of the desert. Now, with its Hindi release on ShemarooMe, I’m deeply moved that this story can reach a broader audience globally. I hope it stirs something in every viewer questions, courage, and above all, a deeper understanding of what it means to be free.”

    More than just a nod to cultural representation, this move by Shemaroome is part of a broader push to bridge the linguistic divide in Indian entertainment. By making powerful regional cinema accessible in Hindi, platforms like ShemarooMe are letting stories dance freely across state lines and into the hearts of millions.

    Hellaro is now streaming in both Hindi and Gujarati exclusively on Shemaroome because freedom, like music, should never be lost in translation.
     

  • Streaming queen climbs the ladder at Zee5

    Streaming queen climbs the ladder at Zee5

    MUMBAI:  In the dog-eat-dog world of Indian streaming, few have climbed the corporate ladder with quite the same gusto as Kaveri Das. The business head of Zee5 Hindi has turned customer retention into an art form, wielding micro-cohort strategies like a digital Michelangelo.

    Das’s journey reads like a clever roster in strategic positioning. After cutting her teeth as a software engineer at Mahindra Satyam back in 2006, she pivoted to the telco trenches at Idea Cellular, where she spent four years mastering the dark arts of customer lifecycle management. A brief stint at Tata Sky as senior manager of subscriber marketing followed, before she landed at Zee5 in 2015 – just as India’s streaming wars were heating up.

    Her ascent at the Zee Entertainment subsidiary has been nothing short of spectacular. From customer lifecycle management head in 2015, Das clawed her way to corporate strategy lead by 2019, before a curious 18-month detour to Onnivation as vice-president of growth and strategy. But like a boomerang with ambition, she returned to Zee5 in late 2022 with grander titles and weightier responsibilities.

    The timing couldn’t be more crucial. India’s over-the-top video market is experiencing growing pains, with players from Netflix to JioHotstar locked in an expensive game of content chicken. Das’s expertise in building “robust processes” and converting casual viewers into loyal subscribers could prove the difference between streaming success and digital oblivion.

    Her latest promotion to Zee5 Hindi business head in April suggests the company is doubling down on her proven formula of strategic thinking meets operational excellence. In an industry where customer acquisition costs are soaring and attention spans are shrinking, Das appears to have cracked the code on keeping viewers hooked.

    Not bad for someone who started her career debugging code rather than decoding consumer behaviour.

  • Digital i report: Streamers ditch originality for the comfort of repeats

    Digital i report: Streamers ditch originality for the comfort of repeats

    MUMBAI: The golden age of eak TV is officially over, and streamers are reaching for the remote to change channels back to safety. According to Digital i’s latest report, Are You Still Watching?, the number of original series launched across Netflix, Disney+, Max and Prime Video has plummeted from 395 in 2022 to just 279 in 2024—a brutal 29 per cent drop that signals the end of the industry’s spend-happy commissioning spree. Producers have been talking about this in whispers in streamers office corridors, but now data has backed what was being speculated about  as a fact. 

    Franchise power

    The shift is as dramatic as it is telling. For the first time since streaming became king, licensed content has overtaken original programming in viewing share, with audiences voting with their eyeballs for the familiar over the fresh. The data shows this crossover happened in Q3 2023, marking a watershed moment for an industry built on the promise of endless new content.

    What’s driving this nostalgia kick?

    Viewers are apparently more interested in rewatching Grey’s Anatomy for the umpteenth time than diving into yet another dystopian thriller. The medical drama alone racked up more than two billion global viewing hours in 2024, whilst House M.D. continues to diagnose audience boredom with reliable regularity.

    This retreat to the familiar isn’t just about comfort viewing—it’s cold, hard economics. Original content costs a fortune and carries enormous risk, whilst proven library titles offer predictable returns. Streamers, facing mounting pressure from investors and increasingly choosy subscribers, are discovering that sometimes the best new content is actually very old content.
     

    Original IPs slowing down

    Netflix, however, remains the rebel in this conformist crowd. Of its top 25 most-viewed titles in 2024, 14 were based on original concepts—more than any other service. Whilst competitors are playing it safe, Netflix is still betting big on fresh ideas, suggesting the streaming giant believes originality remains its secret weapon for global domination.

    The industry’s new obsession with data is reshaping what gets made and what gets axed. Completion rates have emerged as the ultimate judge and jury, with Amazon’s video game adaptation Fallout boasting a stellar 67 per cent completion rate that helped secure its success. Netflix’s The Gentlemen earned renewal with a respectable 61 per cent, whilst the mythology-themed Kaos was cancelled after managing only 47 per cent—a harsh reminder that in streaming, finishing is everything.

    The data reveals another trend: shorter is sweeter. Season ones with three to six  episodes achieved average completion rates of 48 per cent, whilst bloated 11-15 episode seasons managed a measly 26 per cent. In an attention economy, brevity isn’t just the soul of wit—it’s the key to renewal.

    This recalibration reflects a maturing industry learning to balance creative ambition with commercial reality. The battle for viewer attention has evolved into a war for consistent, measurable engagement. Streamers are discovering that keeping audiences watching is harder than getting them to start, and that sometimes the most innovative strategy is knowing when not to innovate at all.

    As the dust settles on peak TV’s decline, one thing is clear: in the streaming wars, nostalgia isn’t just a marketing tool—it’s becoming the ultimate weapon.