ITV

Category: Over The Top Services

  • OTT, FAST, and freemium: Streamers sketch the new rules for India’s content boom

    OTT, FAST, and freemium: Streamers sketch the new rules for India’s content boom

    MUMBAI: In India’s digital bazaar, content might be king—but figuring out how to sell it is the real blood sport. At IndianTelevision.com’s 21 Video and Broadband Summit 2025, the panel “Streaming and Distribution: Serving the Right Mix” brought together a lively brigade of streaming leaders to unpack how OTT, aggregators, and even Doordarshan’s new digital avatars are reshaping content distribution for the next three years.

    Session chair IndianTelevision.com Group founder, chairman & editor in chief Anil Wanvari guided a sharp conversation with Amazon MX Player director & head of content Amogh Dusad, Chana Jor director & CEO Pratap Jain, Shemaroo COO – digital Saurabh Srivastava, Prasar Bharati deputy director general Amit Kumar, and Jojo App founder Dhruvin Shah on what the future of streaming might really look like—and it wasn’t all glamour and glossy originals.

    Shah said they started with an ad-supported (AVOD) model because jumping straight into subscriptions would have sunk them. “Even with bigger value propositions, if we had slapped a price tag on day one, I don’t think we would have been where we are,” he confessed. Today, Jojo boasts over 5.5–6 million downloads and an emerging subscription base, with one paid user for every three free users.

    Srivastava remained cautious. While Shemaroo has built a direct-to-consumer OTT business, he acknowledged syndication continues to outpace subscription revenues. “In India, what should happen and what is happening are two different things,” Srivastava said, backing AVOD and hybrid models for immediate scalability. About 70–75 per cent of Shemaroo’s OTT revenue today still flows from its D2C subscription play, with Gujarati and Hindi content split evenly.

    Jain described aggregation as a double-edged sword. “Yes, you can scale fast through partnerships, but your net ARPU drops,” he admitted. Still, Chana Jor, live on Watcho and Airtel , boasts 40,000 direct paying users and around 400,000 downloads.

    Kumar meanwhile shared how their ‘Waves’ OTT platform—spun off from Doordarshan—was engineered differently. “We avoided brand confusion by keeping Waves separate from DD and AIR,” he said. Targeting a freemium model, Waves already hit three million downloads with a bold aim of 10 million by year-end. Unique shows like Kisan Cricket League and Kheton ke Khiladi are designed to tap the farmer and rural youth demographic, blending sports, farming and ground-level engagement.

    Monetisation challenges loomed large. Kumar flagged low CPM rates in India, high ad-serving costs, and patchy ad inventory. He suggested innovations like offering micro-credits to users to ease small-ticket payments and boost transaction volumes in TVOD models.

    The panel agreed: Indians don’t mind watching ads—evidenced by YouTube’s Indian dominance and DTH models— but purely ad-funded OTT isn’t a silver bullet. Subscription and freemium hybrids are the future, with content quality and clever marketing crucial to success.

    In a land of one billion screens, it’s not the platform with the loudest ad campaign that wins. It’s the one that convinces a user to stay—and maybe, just maybe, pay.

  • Swift TV partners with JioStar to strengthen Content Portfolio with the Launch of Fully Faltoo and KaanPhod Music Channels

    Swift TV partners with JioStar to strengthen Content Portfolio with the Launch of Fully Faltoo and KaanPhod Music Channels

    MUMBAI: Swift TV, one of India’s fastest-growing Free Ad-Supported Streaming Television (FAST) platforms, has further expanded its content offering with the launch of two dynamic new channels — Fully Faltoo and KaanPhod Music.
    With this addition, Swift TV reinforces its commitment to providing a comprehensive and diverse entertainment experience, offering premium content free of cost to viewers across smartphones, Smart TVs, Fire Stick, and other connected devices.

    Fully Faltoo, a brand under the JioStar umbrella, brings an exciting lineup of reality shows, comedy content, and youth-focused entertainment with shows like Roadies and Splitsvilla, Known for its distinct, vibrant tone, the channel is designed to cater to audiences seeking light-hearted and engaging content.

    KaanPhod Music emerges as a fresh destination for India’s growing indie music scene. With a strong focus on original music, emerging artists, and independent voices with the catalogue of Coke Studio and MTV Hustle, Kaan Phod Music adds a new dimension to Swift TV’s music offering, appealing to an evolving audience looking for diverse soundscapes beyond mainstream tracks.

    As part of the launch initiative, Swift TV collaborated with popular youth icon Rannvijay Singha for a digital campaign, where he introduced the platform’s offerings in a fun, relatable reel — highlighting Swift TV’s promise of free, seamless entertainment anytime, anywhere.

    Speaking on the new additions, Adarsh Chauhan, Head of Marketing at Swift TV, said, “We are pleased to welcome Fully Faltoo and Kaan Phod Music to the Swift TV platform. These channels not only enhance the variety and depth of our content library but also align with our vision of democratizing high-quality entertainment by making it accessible to all, without any subscription costs.”

    Swift TV now offers users access to 100+ live channels across genres including news, movies, sports, reality shows, music, and kids’ entertainment — continuing its journey of redefining the free streaming experience in India.
     

  • Adfluence makes a big data splash in the influencer marketing pool

    Adfluence makes a big data splash in the influencer marketing pool

    MUMBAI: In the ever-evolving world of digital-first strategies, influencer marketing is no longer just about charisma and clicks, it’s about cold, hard data. Enter Adfluence Hub, a platform that’s quietly transforming how brands collaborate with influencers by turning guesswork into precision-led campaigns.

    Designed as a one-stop shop for influencer marketing, Adfluence goes far beyond discovery tools. From competitor analysis and industry trends to SOV tracking and content QC, it wraps creativity in a data-driven blanket. Its AI-powered video quality control ensures that influencer content doesn’t just look pretty, it aligns with brand standards and keeps audiences glued to the screen.

    “At Adfluence Hub, we bridge the gap between creativity and data-driven marketing,” said Adfluence Hub co-founder Amev Burman. “Our platform enables brands to connect with their audiences more effectively, making influencer marketing seamless and effective.”

    Whether you’re a startup or a seasoned brand, Adfluence equips you with tools to analyse campaign performance, audience engagement, and overall impact helping you scale with clarity, not chaos. And for influencers, it’s a streamlined gateway to top-tier collaborations, sans the managerial headache.

    The platform’s Managed Services also offer full-scale campaign support from planning to execution making it a reliable growth partner for brands navigating the noisy digital space.

    Adfluence doesn’t just match brands with influencers. It fosters genuine relationships, curates content that resonates, and delivers metrics that matter proving that when data dances with creativity, marketing magic happens.
     

  • Streaming ahead of the curve with springserve’s ad tech revamp

    Streaming ahead of the curve with springserve’s ad tech revamp

    MUMBAI: Magnite is turning up the volume in the streaming ad world with the next-gen launch of its Springserve video platform, an upgraded OTT/CTV solution that fuses the precision of its award-winning ad server with the programmatic prowess of Magnite’s Streaming SSP. It’s a bold move aimed at simplifying ad delivery and maximising monetisation for major players like Disney, Roku, LG, Paramount, Samsung and Warner Bros. Discovery.

    Tailored for the evolving needs of global streaming giants, the platform now connecting buyers to 99 per cent of US streaming supply and has been validated by Jounce Media’s March 2025 Supply Path Benchmarking Report. For media owners, the new tech means smarter yield, streamlined workflows and real-time visibility across ad operations.

    “As the CTV space matures, there’s a significant opportunity to enhance the advertising process for media owners and buyers,” said Magnite president for revenue Sean Buckley. “We’re building this next generation of Spring Serve specifically to help our clients and partners stay ahead of these emerging opportunities. By unifying the programmatic layer as a complementary step in the buying process, not only does it give buyers greater transparency, predictability, and control over their ad placements, but it lays the foundation for more effective monetisation and yield management for media owners.”

    “Disney continues to expand our global streaming footprint in collaboration with Magnite—unlocking more premium inventory and making it even easier for advertisers to access our portfolio at scale,” said Disney SVP for addressable sales Jamie Power. “Together, we’re advancing a shared vision for innovation—one that prioritizes automation, flexibility, and smarter tools to help our partners drive meaningful impact in the live streaming space.”

    “Controlling demand sources and optimizing ad placements in real time is essential to our strategy,” said LG Ad Solutions SVP of operations Kelly McMahon. “SpringServe gives us the power to orchestrate everything in one platform balancing programmatic demand and direct deals more effectively, without compromising the viewer experience.”

    “Working with valuable partners like Magnite has enabled Paramount to further optimize our programmatic demand sources, driving greater efficiency and performance while preserving a seamless viewing experience for our audiences,” said Paramount SVP of partnerships Christopher Owen. “Continued advancements in programmatic play a meaningful role in our ongoing success both as a company and as part of the broader industry.”

    “Together with Magnite, we can create more opportunities for advertisers that offer platform transparency and flexibility across monetization, demand access, and user experience optimization,” said Roku SVP of global media revenue and growth Jay Askinasi. “SpringServe connects us more directly with DSPs, streamlining operations and augmenting revenue potential. This is an approach we believe will help attract greater advertising investment into the CTV ecosystem.”

    “Our long-standing partnership with Magnite has been instrumental in shaping our video monetization strategy, and we’re excited to partner with Magnite as they advance the SpringServe video platform,” said Warner Bros. Discovery SVP for revenue strategy and operations Jill Steinhauser. “We’re particularly looking forward to benefiting from the performance enhancements that enable faster ad loads and real-time pacing.”

    “Magnite helps fuel the premium, open internet,” said The Trade Desk SVP of inventory development Will Doherty. “Combined with tools like OpenPath, the next generation of SpringServe is accretive to advertisers and publishers and most importantly so consumers can continue to enjoy the content we all love like CTV, journalism and more.”

    “Magnite’s unified SpringServe platform offers significant clarity and cohesion in the streaming TV marketplace,” said Groupm US  chief media officer, Susan Schiekofer. “By providing deeper insight into the supply path and stronger alignment with premium inventory at scale, it empowers us to make smarter, faster buying decisions and ultimately deliver better outcomes for our clients.”

    “At OMG, we believe it’s a core right for advertisers to control and know where their ads deliver,” said Omnicom Media Group SVP of video and programmatic Ryan Eusanio. “Magnite’s SpringServe video platform helps us give our clients more control of their premium video strategy and enables better curation and targeting for campaigns.”

    The new SpringServe boasts a centralised deal dashboard, intelligent ad decisioning, automated routing for optimal ad delivery, and seamless integration with Magnite Access for data-driven targeting. It also simplifies operations with a revamped user interface and real-time reporting tools.

    As competition in CTV heats up, Magnite’s play positions it as the adtech partner of choice for streaming’s biggest names where precision meets premium, and innovation gets centre screen.

  • Watcho and RailWire team up to deliver broadband and binge in Bengal

    Watcho and RailWire team up to deliver broadband and binge in Bengal

    MUMBAI: In a move set to stir up the digital entertainment space, DishTV’s Watcho and RailTel’s broadband arm RailWire have announced a partnership to launch bundled internet and OTT subscriptions in West Bengal. The new service neatly combines RailWire’s trusted connectivity with Watcho’s bouquet of more than 13 popular OTT apps, aiming to offer regional viewers a single-subscription solution.

    Customers can pick from three options: the RW Bangla Entry Pack (25 Mbps, 1.5 TB), the Super Pack (50 Mbps, 2 TB), or the Premium Pack (100 Mbps, 2.5 TB). Each comes with access to a line-up of top OTT platforms, including Hoichoi, ShemarooMe, Sanskar, FanCode, Discovery+, Hungama, and Watcho Exclusives—starting at just Rs 349 plus taxes.

     Dish TV India chief executive and executive director Manoj Dobhal said the partnership “brings together two trusted brands to deliver an all-in-one entertainment solution that is affordable and locally relevant.” He added, “We’re excited to launch this in West Bengal and confident it will meet the needs of consumers looking for simplicity, reliability and quality.”

    RailTel’s director (npm) Yashpal Singh Tomar said the tie-up reflects RailWire’s vision to enrich lives and bridge the digital divide in emerging regional markets. “This initiative enables us to provide not just connectivity but a complete entertainment ecosystem,” he noted.

    With RailTel’s optic fibre backbone spanning 62,000 route kilometres and a network of more than 11,000 local partners, this partnership aims to deliver seamless digital convenience to homes across tier 2 and tier 3 India, with further expansions in the pipeline.

  • Applause Entertainment jumps into kiddie toons with ApplaToon launch on YouTube

    Applause Entertainment jumps into kiddie toons with ApplaToon launch on YouTube

    MUMBAI: Applause Entertainment is taking a bold leap into the world of kids’ animation with the launch of its brand-new YouTube channel, ApplaToon. Kicking off this vibrant venture is Kiya & Kayaan, a sprightly new animated series based on the Amar Chitra Katha Junior Library — and it’s dropping just in time for summer holidays.

    Aimed at children aged 4 to 8, Kiya & Kayaan follows two curious siblings who stumble upon VR headsets and are transported to “Storyland” — a dazzling realm inspired by Indian mythology and folklore. There, they embark on whirlwind adventures, bump into mythical creatures, and pick up timeless lessons on courage, curiosity and kindness.

    The show, directed by Sanjeev Sahoo, is co-produced with Popcorn Animation Studio, Prayan Animation Studio, Living Pixels and Warnick Studios. It premieres 25 April, with new episodes airing every Tuesday and Friday.
    The launch comes as part of Applause’s landmark deal with Amar Chitra Katha, which grants the studio rights to adapt over 400 classic tales from the legendary comic book house. It marks the first time these cherished stories will leap off the page and into the YouTube generation’s favourite screen.

    Said Applause Entertainment managing director Sameer Nair: “With ApplaToon, we’re venturing into an entirely new creative space — kids animation and it’s both exciting and deeply purposeful. This is not just a new vertical for us; it’s a chance to shape young imaginations through powerful Indian storytelling. With Kiya & Kayaan, based on the timeless Amar Chitra Katha Junior Library, we’re bringing heritage to the here-and-now, combining technology, mythology, and heart. YouTube gives us the perfect playground to do this at scale, taking Indian stories to global audiences.”

    Amar Chitra Katha president & CEO Preeti Vyas:  “For decades, Amar Chitra Katha has introduced generations of readers to the richness of Indian heritage through its iconic comics. We’re thrilled to see our stories come alive in a new format with Kiya & Kayaan. Animation opens up magical new possibilities for children to engage with Indian mythology, folk tales, culture, history, and values. Our collaboration with Applause Entertainment is a step towards making timeless tales both accessible and  and exciting for today’s digital-first kids.”

    From myth to mouse click, ApplaToon hopes to enchant the next generation of digital-first kids — and give nostalgic parents something to cheer for too.

    Watch the trailer here: https://youtube.com/@applatoon?si=7DTW-qAIH-8U_hwL

  • Spotify plays a new tune with product marketing promotion

    Spotify plays a new tune with product marketing promotion

    MUMBAI: After orchestrating marketing symphonies at Spotify India for nearly four years, Pulkit Mathur has scored a promotion to head of product and growth marketing at the streaming behemoth. The appointment, which took effect in February 2025, elevates Mathur from his previous role as marketing manager, where he had been spinning strategies since August 2021.

    Before joining the Swedish streaming service, Mathur spent over five years at Tata Sky Ltd, where he climbed the ranks from area sales manager to senior brand manager. His tenure at the satellite television provider saw him conducting successful campaigns that struck a chord with regional audiences.

    The marketing virtuoso also collaborated with Ogilvy to redefine Tata Sky’s brand purpose and worked with research teams to establish creative testing methods, including the use of neuroscience.

    Mathur’s earlier career movements included stints at Hero MotoCorp Ltd, where he served as assistant manager and graduate engineering trainee, as well as brief interludes at Unilever as a management intern and at the ColorssFoundation for community development work

  • Netflix shrugs off downturn fears as ad tech rollout bears fruit

    Netflix shrugs off downturn fears as ad tech rollout bears fruit

    MUMBAI: Netflix executives are feeling rather chirpier about their prospects, even as storm clouds gather over the global economy. During their Q1 2025 earnings call, co-CEOs Ted Sarandos and Greg Peters dismissed concerns about consumer belt-tightening, insisting that home entertainment has historically been “resilient” during lean times.

    “Entertainment historically has been pretty resilient in tougher economic times,” Peters told analysts. “Netflix specifically also has been generally quite resilient, and we haven’t seen any major impacts during those tougher times.”

    The streaming behemoth is ploughing ahead with its advertising ambitions, having just rolled out its proprietary ad tech platform in Canada and the US, with plans to expand to its remaining 10 ad markets in the coming months. Peters confidently predicted the company would “roughly double” its advertising revenue in 2025.
    “We aren’t currently seeing any signs of softness from our direct interactions with buyers,” he said. “Actually, to the opposite, we’re seeing some positive indicators from clients as we approach our upfront event.”

    The firm’s first-party ad tech platform is already yielding dividends, offering “more flexibility for advertisers” and “fewer activation hurdles,” according to Peters. In the US, Netflix has significantly expanded its targeting capabilities based on “life stage, interest, viewing mood” and third-party data.

    Sarandos reiterated that the company’s live strategy extends beyond sports, though he confirmed Netflix will broadcast a second NFL Christmas Day game in December 2025. The company will also stream the Taylor-Serrano boxing rematch in July, following on from the Tyson-Paul fight that generated substantial buzz.

    When questioned about potentially competing head-to-head with YouTube in short-form content, Peters struck a pragmatic tone: “We think the biggest opportunity we’ve got is actually going after the roughly 80% share of TV time that neither Netflix nor YouTube have today.”

    Meanwhile, chief financial officer Spence Neumann assured investors that excess cash flow would predominantly be returned to shareholders through buybacks, absent any “meaningful M&A.” The company maintains its full-year operating margin guidance of 29 per cent.

  • Netflix steams ahead with blockbuster Q1 as profits pop; Reed Hastings moves to non-exec chair

    Netflix steams ahead with blockbuster Q1 as profits pop; Reed Hastings moves to non-exec chair

    MUMBAI: Netflix smashed expectations in its first quarter of 2025, raking in $10.54bn in revenue—up nearly 13 per cent from last year—as the streaming titan shifts the spotlight from subscriber counts to cold, hard cash.
    The platform’s earnings per share soared to $6.61, comfortably beating Wall Street’s forecast of $5.71, while net income hit $2.89bn, up from $2.33bn a year ago. Operating income leapt 27 per cent to $3.35bn, pushing the margin up to 31.7 per cent.

    This was Netflix’s first earnings show without revealing its subscriber count, a move designed to pivot focus onto financial muscle and engagement rather than the once-sacrosanct user numbers. With pricing bumped up in key markets and a small but growing ad business, the company managed to woo both viewers and investors alike.

    Shares gained around three per cent in after-hours trading, closing Thursday at a sizzling $973. Netflix also doubled down on its full-year revenue forecast of $43.5bn–$44.5bn, projecting a 15 per cent year-on-year lift for Q2, with a beefier operating margin of 33 per cent.

    By region, the US and Canada contributed $4.62bn (up 9 per cent), EMEA rose 15 per cent to $3.41bn, Latin America clocked $1.26bn (up 8 per cent), while Asia Pacific surged 23 per cent to hit the same $1.26bn mark.
    On the content front, the UK’s moody miniseries Adolescence got a nod for driving eyeballs, alongside action flicks Back in Action, Ad Vitam and Counterattack. WWE’s Monday Night Raw also proved a global hit, cracking the streamer’s weekly top 10 since its January debut.

    The company launched its in-house ad tech platform in the US in April, touting it as a foundation for “enhanced targeting, snazzier formats and programmatic wizardry” in the quarters ahead.

    While economic clouds hover—thanks to tariff turmoil under President Trump 2.0—co-chief executive Greg Peters struck a bullish tone.

    “Based on what we are seeing by actually operating the business right now, there’s nothing really significant to note. We also take some comfort that entertainment historically has been pretty resilient in tougher economic times. Netflix, specifically, also, has been generally quite resilient. We haven’t seen any major impacts during those tougher times, albeit over a much shorter history,”  he said, adding that Netflix’s cheaper ad tier gives it added economic resilience.

    The earnings bonanza was capped off with a curtain call from co-founder Reed Hastings, who stepped down as executive chairman to become a non-executive chair—marking the end of an era for the man who helped binge-watching go mainstream.

    And just to keep Wall Street happy, Netflix threw in some shareholder candy too—buying back 3.7 million shares for $3.5bn and paying down $800m in debt. Still, with $15.1bn in debt on the books and $7.2bn in the bank, the company isn’t quite ready to roll the end credits.

  • Citadel Indian & Italian spinoffs axed as Amazon rewrites its spy game

    Citadel Indian & Italian spinoffs axed as Amazon rewrites its spy game

    MUMBAI: Amazon has pulled the plug on Citadel: Honey Bunny and Citadel: Diana, the much-hyped Indian and Italian offshoots of its globe-trotting spy saga. Instead, those “successful and widely enjoyed international chapters” will be stitched into season two of the main series, Citadel, which is now set to drop globally in Q2 of 2026.

    That’s the word from Amazon MGM Studios television head Vernon Sanders,  who promised an “exhilarating” return. “With high-stakes storytelling, new additions to our amazing cast and bold, cinematic ambition,” he said, “season two will deepen the emotional journeys of Nadia, Mason and Orlick against the relentless force that is Manticore.”

    Translation? The spinoffs are toast, and Amazon’s once-grand plan to build a Bond-style franchise without Bond is looking like an expensive misfire.

    The cancellation comes on the heels of Jennifer Salke’s exit from the studio. Salke, who first pitched the sprawling espionage epic to Joe and Anthony Russo, dreamt up Citadel as a prestige powerhouse for Prime Video—an interconnected universe with local-language series spanning continents. What she got instead: ballooning budgets, reshoots galore and a reported $300m price tag for season one.

    Still, Citadel got renewed before its April 2023 premiere. But season two was quietly delayed after Amazon brass were said to be “unhappy” with early footage. Now, storylines from Honey Bunny and Diana—which, despite being ratings hits in India and Italy, respectively—will be merged into the mothership’s narrative.

    The new season picks up a month after the first ended: the spies are underground, hunted by Manticore, and pulled back into action to stop Brazilian billionaire Paulo Braga from unleashing a world-ending device, courtesy of Citadel’s own Bernard Orlick.

    So yes, the spies are still in the game. But Amazon’s dream of a global franchise? That’s very much under review.