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Category: iWorld

  • India draws battle lines between esports and online gambling

    India draws battle lines between esports and online gambling

    MUMBAI: India’s Lok Sabha has passed the Promotion & Regulation of Online Gaming Bill 2025, creating a stark divide between legitimate esports, casual gaming  and what lawmakers term predatory gambling platforms. The legislation, which now heads to the Rajya Sabha, has split the gaming industry down the middle.

    Real-money gaming firms are crying foul, claiming the bill sounds their death knell. But esports pioneers are celebrating what they see as long-overdue recognition. Rajen Navani, chairman and managing director of JetLine group, says the cabinet’s approval “is a decisive step that separates esports and social video gaming from wagering-led real money gaming.”

     Minister of railways, information & broadcasting and electronics & information technology Ashwini Vaishnaw,  pulled no punches when tabling the bill. “Online money gaming firms are opaque in nature,” he told parliament. “There are multiple hazards linked to online money gaming. This also impacts national security such as money laundering and terror funding.”

    The minister drew a clear distinction between educational esports and what he characterised as destructive gambling platforms. “The government wants to support esports and casual games. We want to protect the interest of society,” Vaishnaw said, urging unanimous passage.

    The legislation establishes a central regulatory authority with Rs 50 crore in initial capital expenditure and Rs 20 crore in annual recurring costs. The watchdog will oversee compliance, shape policy and encourage innovation in legitimate gaming.

    Crucially, the bill formally recognises esports as competitive sport, promising government backing for training academies, research centres and technology platforms. Social and educational games will receive similar support, with built-in safeguards ensuring age-appropriate content.

    For Navani, who pioneered esports in India, the clarity provides “a strong tailwind” that should boost investment in tournaments, infrastructure and jobs. 

    Real-money gaming operators, however, face an uncertain future as regulators prepare to separate wheat from chaff in India’s booming digital gaming market.

  • India’s gaming giants face extinction as government prepares blanket ban

    India’s gaming giants face extinction as government prepares blanket ban

    MUMBAI: India’s booming online gaming sector is bracing for devastation after electronics and information technology minister Ashwini Vaishnaw introduced the Promotion and Regulation of Online Gaming Bill, 2025, in the Lok Sabha on Wednesday. The proposed legislation threatens to outlaw all real-money gaming platforms, regardless of whether they involve skill or chance—a move that could obliterate 86 per cent of the industry’s current revenue streams.

    The bill proposes harsh penalties for violators: up to three years imprisonment and fines of Rs 1 crore for operators, and two years jail plus Rs 50 lakh fines for advertisers. Banks and financial institutions facilitating transactions for money games face similar punishment. Repeat offenders could face between three and five years behind bars with higher fines.

    Market leaders including Dream11, Games24x7, Winzo, GamesKraft and My11Circle now face an existential crisis. India’s online gaming market, currently valued at $3.7 billion and projected to reach $9.1 billion by 2029, could see its financial lifeline severed overnight.

    The All India Gaming Federation, E-Gaming Federation and Federation of India Fantasy Sports have written jointly to home minister Amit Shah, warning that the legislation would “destroy over 200,000 jobs, result in over 400 companies shutting down, and weaken India’s position as a digital innovator.”

    The industry argues that legitimate platforms will be forced to close, pushing crores of users towards illegal matka networks, offshore gambling sites and unregulated operators. The sector has grown into a Rs 2 trillion industry, generating Rs 31,000 crore in annual revenue and over Rs 20,000 crore in taxes whilst expanding at 20 per cent compound annual growth rate.

    The bill defines an online money game as one where users pay fees or deposit money “in expectation of winning in return of money or other stake.” It explicitly excludes esports and online social games such as casual entertainment formats without monetary stakes. A proposed Online Gaming Authority would determine whether games qualify as money games and oversee the sector.

    MeitY secretary S Krishnan said the legislation aims to recognise the industry’s creative intent whilst restricting undesirable segments. The government cited instances of severe financial distress and suicides linked to online money gaming during cabinet deliberations, noting particular concerns about addiction among children and youth.

    The move represents a decisive shift from tax-and-regulate to prohibit-and-enforce. Authorities have already imposed a 28 per cent goods and services tax on gaming revenues since October 2023, followed by a 30 per cent tax on net winnings from FY 2024-25. Over 1,400 illegal betting and gambling sites have been blocked since 2022.

    Players themselves will not face criminalisation under the proposed law, being treated as victims rather than offenders. Free-to-play and subscription-based games where users pay fixed fees without wagering during gameplay will remain permissible.

    Industry insiders warn the legislation could violate constitutional principles whilst strengthening illegal offshore operators—described as “one of the biggest national security threats to the country today.” India’s gamer base has grown from 360 million in 2020 to over 500 million in 2024, with foreign direct investment in the sector crossing Rs 25,000 crore by June 2022.

    The Lok Sabha session was adjourned until 2pm shortly after the bill’s introduction amid opposition protests, leaving the industry’s fate hanging in the balance.

  • Malayalam medical drama Pharma to premiere on JioHotstar

    Malayalam medical drama Pharma to premiere on JioHotstar

    MUMBAI: Malayalam star Nivin Pauly is set to headline Pharma, his first streaming series, which will soon premiere on JioHotstar. Inspired by true events, the medical drama charts the turbulent life of K. P. Vinod, a pharmaceutical sales rep.

    The show also marks the comeback of Hindi cinema  veteran Rajit Kapur to Malayalam cinema after 10 years. Directed by P. R. Arun and produced by Krishnan Sethukumar under the Moviee Mill banner, Pharma boasts a strong ensemble with Binu Pappu, Narain, Muthumani, Shruti Ramachandran, Veena Nandakumar and Aalekh Kapoor.

    Cinematographer Abinandhan Ramanujam and editor Sreejith Sarang bring a polished visual style to the series, promising viewers a taut, immersive ride.

     

  • Samsung TV Plus adds four ETV network Telugu channels

    Samsung TV Plus adds four ETV network Telugu channels

    GURUGRAM:  Samsung TV Plus has nabbed four channels from Eenadu Television, one of India’s oldest broadcasters, as the free streaming service pushes deeper into regional markets. The deal brings ETV News, ETV Josh, ETV Music and ETV Comedy to Samsung’s platform, which now boasts over 150 channels.

    The partnership marks a shrewd play for the south Indian market, where Telugu content commands fierce loyalty. ETV network has been churning out news, music and entertainment for two decades, building a devoted following across diverse demographics.

    “We aim to unlock the potential of the South Market and enhance access to the latest content from the world of Telugu entertainment,” said Samsung TV Plus southeast Asia general manager business development Kunal Mehta.

    Eenadu TV chief executive K Bapineedu called the tie-up “a significant step in our digital journey” as connected TV adoption accelerates across India. The executive emphasised ETV’s “content-first strategy” of constantly testing and refining offerings to match shifting viewer tastes.

    The move reinforces Samsung TV Plus’s strategy of democratising premium content through its ad-supported model. By combining ETV’s regional storytelling prowess with Samsung’s technological reach, the partnership could set the template for how traditional broadcasters navigate India’s rapidly evolving streaming landscape.

    For Samsung, the deal strengthens its hand against rivals like JioTV and Airtel Xstream as the battle for India’s streaming eyeballs intensifies.

  • India bans online betting as gaming crackdown intensifies

    India bans online betting as gaming crackdown intensifies

    MUMBAI: India’s cabinet approved sweeping legislation on Tuesday that will make online betting a criminal offence, dealing a severe blow to the country’s booming digital gaming sector. The Online Gaming Bill, set to be introduced in parliament on Wednesday, represents the government’s most aggressive move yet to regulate an industry projected to reach $9.1 billion by 2029.

    Under the new law, banks and financial institutions will be barred from processing payments for real-money gaming platforms, effectively choking off funding to betting operations. The legislation also prohibits advertisements promoting monetary gaming whilst encouraging skill-based games and e-sports.

    The crackdown follows a surge in fraud cases linked to offshore betting platforms and their celebrity endorsers. Unauthorised betting already carries penalties of up to seven years in prison under existing criminal provisions, but the new bill strengthens enforcement mechanisms and expands the scope of punishable offences.

    Real-money games currently account for 86 per cent of revenues in India’s online gaming market, valued at $3.7 billion in 2024. The sector has been under increasing scrutiny since the government imposed a 28 per cent goods and services tax in October 2023, followed by a 30 per cent levy on net winnings.

    The ministry of electronics and information technology is expected to serve as the central regulator, with powers to block unregistered or illegal gaming sites. Since 2022, authorities have already blocked more than 1,400 betting and gambling websites.

    The legislation aims to create uniform regulations across states whilst preserving their constitutional authority over gambling matters. The government has issued advisories warning parents and teachers about gaming addiction, whilst broadcasters must now carry disclaimers about financial risks in gaming advertisements.
    Industry observers warn the ban could drive the sector underground, potentially exposing users to greater fraud risks. However, officials argue the measures are essential to protect consumers from addiction and financial exploitation in an increasingly unregulated digital landscape.

  • Gaming veteran Rahul Razdan launches Giga to blur entertainment boundaries

    Gaming veteran Rahul Razdan launches Giga to blur entertainment boundaries

    MUMBAI: Rahul Razdan, the architect behind some of India’s most audacious digital ventures, has emerged from Reliance Jio’s corridors to launch Giga, his latest gambit to reshape gaming and entertainment. The 51-year-old, who spent nearly a decade building JioChat into a multimedia powerhouse, now promises to deploy artificial intelligence to revolutionise how humans engage with games.

    Razdan’s pedigree reads like a who’s who of India’s digital transformation. As president of Tencent’s Indian operations between 2012 and 2014, he orchestrated WeChat’s meteoric rise, briefly dethroning established messaging giants. The app’s coup de grâce came via an audacious marketing blitz featuring Bollywood stars and a record-breaking QR code cake made from 7,500 individual cakes.

    His tenure at Jio proved equally theatrical. JioChat became the first app to bear the Jio brand, even predating the network itself. Under his stewardship, the platform birthed India’s pioneering vertical video ecosystem and hosted the award-winning KBC Play Along game, where users played alongside television’s prime-time quiz show in real time.

    Before his corporate conquests, Razdan co-founded ibibo.com, crafting what he claims was India’s first internet business with multiple revenue streams firmly embedded. The venture, backed by South Africa’s Naspers and China’s Tencent, pioneered social gaming with local flavour and real-money integration.

    Giga’s cryptic website teases that “the 400 pound gorilla is coming soon,” offering little beyond Razdan’s promise to blur traditional entertainment boundaries. His track record suggests punters should pay attention. After all, this is the same executive who recently pivoted to filmmaking at 51, producing an award-winning animated short that swept international festivals from London to Buenos Aires.

    Armed with degrees from the School of Planning and Architecture and IIM Indore, plus two decades navigating India’s digital rapids, Razdan appears intent on proving that gaming’s next act has only just begun.

  • IAMAI hails piracy task force as shot in the arm for creative economy

    IAMAI hails piracy task force as shot in the arm for creative economy

    MUMBAI: The Internet and Mobile Association of India (IAMAI) has cheered the ministry of information and broadcasting’s (MIB’s) decision to set up a dedicated task force to tackle the scourge of online piracy, calling it a long-overdue step to protect the country’s creative economy.

    IAMAI’s digital entertainment committee said the initiative would help turn the tough provisions of the Cinematograph Amendment Act 2023 into action on the ground. The law introduced steep penalties for piracy and empowered authorities to crack down on illegal recordings and transmissions.

    A 2024 “Rob Report”, published by EY and IAMAI, estimated that India’s entertainment sector—spanning OTT platforms and cinemas—loses Rs 224 bn annually to piracy, with 51 per cent of consumers admitting to watching pirated content. It urged stronger enforcement, fairer pricing and more innovative distribution models.

    JioStar chief executive and chair of the digital entertainment committe Kiran Mani said IAMAI’s role in the task force would channel industry expertise into “decisive measures that safeguard our creative economy and fuel long-term growth.”

    Inshorts a co-founder & chief executive and co-chair of the committee  Deepit Purkayastha called piracy “one of the biggest hurdles” for the industry, adding that the task force was a chance to “set the stage for a stronger and more trusted entertainment industry.”

    With a task force in place, the law tightened and industry voices aligned, India’s media and entertainment sector is finally poised to fight piracy with more than words.

    (The picture shown above is just a representation of the task force and does not purport to depict either Shastri Bhawan or the industry executives who are part of the task force)

  • Korea’s VoD market tops $1.1 bn as Netflix stays ahead, TVING–Wavve plot fightback

    Korea’s VoD market tops $1.1 bn as Netflix stays ahead, TVING–Wavve plot fightback

    SEOUL: South Korea’s premium video-on-demand market hit $1.1 billion (€0.94 billion) in the first half of 2025, with paid SVoD subscriptions climbing to 24.5 million after 1.5 million net additions, according to data from ampd, the measurement arm of Media Partners Asia (MPA).

    Growth was led by scale players and turbocharged by connected TV measurement, introduced in the second quarter. This added roughly 35 per cent more monthly active users per platform and nearly doubled measured viewing hours to 1.2 billion.

    Netflix retained the crown with 8.2 million subscribers and 47 per cent of premium VoD viewership, fuelled by Squid Game season three, a steady pipeline of licensed films, and its Naver Plus tie-up offering the ad-supported standard plan free to members. TVing posted the biggest net gains thanks to a low-priced ad tier, drama and variety hits, and live sport. Coupang Play grew with a free ad-supported tier and its Sports Pass, while June’s TVING–Wavve merger sets up a 9.2 million-subscriber challenger to Netflix by year-end.
     

    Premium VoD viewership by content type“Korea’s premium VoD sector is consolidating around a handful of scaled leaders,” said MPA executive director Vivek Couto. “Local storytelling remains the foundation of engagement and monetisation, while CTV is unlocking new audiences and advertising opportunities.”

    Local content dominated, accounting for 86 per cent of all viewing hours in Q2, led by dramas (48 per cent) and variety/reality shows (27 per cent). US films were the largest foreign category at just six per cent.

    “K-dramas, comedy and variety shows drive cross-platform reach,” said MPA and ampd  lead analyst Dhivya T. “Ad tiers are now central to subscriber growth, especially in urban and price-sensitive segments.”

  • Global appetite for K-content surges as TV commissions slump

    Global appetite for K-content surges as TV commissions slump

    MUMBAI: Audiences worldwide are consuming more South Korean content than ever, but the number of new TV commissions is shrinking, according to research from Ampere Analysis.

    Volume of skorean titles available on SVodThe share of international viewers who say they watch Korean series or films “sometimes” or “very often” rose from 22 per cent in early 2020 to 35 per cent in the first quarter of 2025. The supply of K-content on global streaming platforms grew 55 per cent between 2021 and 2024.

    Yet commissions are falling fast. Ampere reports that overall South Korean TV commissions dropped 20 per cent between the first halves of 2023 and 2025. Global streamers slashed their orders by 43 per cent, while local players cut back 20 per cent as they struggle with rising production costs. Scripted projects—the crown jewel of Korea’s global success—took the biggest hit, with commissions down 39 per cent.

    Volume of SKOrean titles commissionedNetflix is the outlier. It has kept commissioning volumes steady and accounts for 88 per cent of global SVoD announcements in South Korea this year. But even it has shifted emphasis from scripted to unscripted originals, part of a broader industry pivot towards acquisitions and cheaper formats.

    “Despite continued demand for K-content, TV show commissions from local and global players have declined,” said Mariana Enriquez Denton Bustinza, analyst at Ampere. “This leaves the export market open for South Korean commissioners, especially as Netflix considers introducing caps on actors’ fees.”

    For Korea’s content makers, the paradox is clear: global demand is booming, but the economics of production and shifting streamer strategies risk leaving fewer shows for audiences hungry for more.

  • Disney hires Netflix executive to turbocharge Asia streaming push

    Disney hires Netflix executive to turbocharge Asia streaming push

    MUMBAI: His is a familiar face to Indian music and streaming industry professionals. We are talking about Tony Zameczkowski who used to jet his way to India often first as the executive in charge of YouTube’s music vertical and then as Netflix vice-president and co-head Asia Pacific. 

    Now Zameczkowski  has hopped aboard Disney to spearhead its streaming ambitions across Asia-Pacific, as the entertainment giant seeks to capitalise on the region’s enormous growth potential. His designation: senior vice-president and general manager for direct-to-consumer operations across the region. The appointment signals Disney’s determination to accelerate Disney+ growth in markets where streaming adoption continues to surge.

    Reporting to APAC president Luke Kang and Disney Entertainment’s direct-to-consumer president Joe Earley, Zameczkowski will oversee the expansion of Disney+ across a region that company executives describe as brimming with “immense growth opportunities.”

    His arrival comes as Disney+ builds momentum following ESPN’s successful launch in Australia and New Zealand, alongside a growing slate of local originals from Korea, Japan and Australia. The second series of Japanese live-action thriller Gannibal became the platform’s most-viewed premiere in the second quarter and its fastest title to reach one million streaming hours.

    The streaming wars in Asia-Pacific show no signs of cooling, with local players and global giants alike vying for market share in countries where mobile-first consumption and rising disposable incomes are reshaping entertainment habits.

    Zameczkowski, who previously held roles at Victorious and Warner Bros International Television before his Netflix and YouTube stint, says he has “always admired Disney’s unmatched leadership in the entertainment space and its ability to remain modern and relevant to consumers.”

    New APAC originals including Tempest, Disney Twisted Wonderland: The Animation” and Cat’s Eye are set to debut on Disney+ in coming months as the company doubles down on local content production—a strategy that has proven crucial for streaming success across diverse Asian markets.