iWorld

India’s Meta moment: Ad-free subscriptions coming soon?

Published

2 years ago

October 20, 2023

Mumbai: In the ever-evolving landscape of social media and tech giants, Mark Zuckerberg’s Meta, known for its flagship platforms Facebook, Instagram, and WhatsApp, is charting a new course. As the digital world seeks a balance between advertising revenue and user experience, Meta is considering a significant move that could reshape the way Indians interact with their beloved social networks. The company is exploring the possibility of introducing an ad-free subscription plan tailored for the Indian audience by 2024. This potential shift in strategy promises to offer users a new level of control over their online experience, while raising intriguing questions about the future of digital advertising and its impact on the social media landscape.

Here’s what industry experts have to say about the same:

5W1h co-founder and chief business officer Kunal Luhar

Meta’s decision to launch an ad-free subscription model is a smart move that tackles the changing digital world. It provides a different revenue stream, appealing to users who are increasingly concerned about data privacy and the intrusiveness of digital advertising. However, the success of this venture is dependent on a well-thought-out price strategy that strikes a balance between drawing a large user base willing to pay for an ad-free experience and not reducing ad revenue. Meta might cater to diverse user preferences and finances through segmentation, in which different subscription levels are offered. It is critical to effectively communicate the value proposition, emphasising a better user experience, increased privacy, and even exclusive services. Meta should also be prepared to iterate and update the model in response to user feedback and performance indicators.

Social Panga director – strategy & growth Manan Malik

India, at large, has always been a price-sensitive market. The adoption of new products and services have always been a result of changing trends, total disposal income, social status or perception, and lifestyle conveniences. One such example is how Spotify entered and penetrated India with their freemium model.

There’s no doubt that we are living in the age of information & content outburst, which impacts a user’s life at various stages and in various degrees, so there is definitely an opportunity for Meta in a mass market like India to test its ad-free subscription plan for its social media platforms. The user experience has been and will be of paramount importance to businesses, and there’s a good chance that Meta gains success with this new model, as decluttering one’s social space is the need of the hour.

However, it is also important to note that it will take time to gain momentum as users are used to an entirely free experience ever since the inception of these platforms.

Another important aspect to note is that how marketing strategy changes for advertisers on these platforms. In this regard, nothing much changes in the short-term and it also largely depends on platform to platform. For example, Facebook and Instagram have two very different sets of active user bases. But, in the long-run, advertisers would have to rethink their marketing strategies and make them razor-sharp in order to be present on the right channels for the right audiences.

While Meta, and other tech companies are making shifts to comply with regulatory and privacy policies, starting with European Union’s Digital Service Act, which is a good change in this dynamic and sensitive world of aggressive AI evolution, it is also important that such business models make users comfortable with their pricing strategies.

Thought Blurb Communications chief creative officer and managing director Vinod Kunj

The issue needs to be seen from two aspects. The consumer’s perspective, and the advertiser’s to understand the combined effect it has on the business. The stated purpose, of course, is to improve security for customer data and to verify accounts for brands and celebrities. Other entities like YouTube and X (formerly Twitter) have also launched variations on the same theme. All are experimenting with degrees of closure, pricing and algorithms.

For the consumer, it is quite simple. If you don’t like ads interrupting your viewing, by all means, buy a subscription. But as we have seen with the Internet before, that rarely works. When a dominant majority of consumers used to a free system are baited with a subscription, they rarely bite. Also, there is always a way to block ads that the consumer sees to train the algorithms into tighter and tighter nooses. I suspect the same will happen to Meta.

On the marketing side, there are three positive aspects. To begin with, customer data and its security are now entirely Meta’s problem. In case of a data breach, they can easily point the finger at Meta. Of course, that also makes them beholden to Meta to access their customers.

The second issue is verification. In the past, online troublemakers have been know to fake brand accounts and undermine the brand value and consumer confidence in a brand. I would highly recommend that a brand or celebrity invest in the blue tick mark to ensure their respectability. Also, it creates a legal framework in case of disinformation and other mischief that malcontents may attempt. This is doubly true for major celebrities who may want to protect themselves from identity theft and PR disasters.

Finally, I see very few problems for marketing in this new regime. Subscriptions will be bought by a slim section of the user base. The largest section of customers will still be available to target. It’s entirely up to Meta to ensure that the interfaces are designed well enough not to irritate non-subscribers off their platforms.

Pulp Strategy founder and MD Ambika Sharma

Meta’s decision to introduce an ad-free subscription plan in India by 2024 is a positive move with the potential to create new revenue streams, attract fresh users, and enhance the overall user experience. The current success of Meta’s paid verification feature is notable, drawing in a substantial number of users, including businesses, celebrities, and influencers, thereby bolstering the authenticity and credibility of its platforms.

The success of the upcoming subscription model hinges on factors such as pricing, offered features, and an effective marketing strategy. Meta must meticulously address these elements to craft a subscription plan that resonates with Indian users. The recently launched paid communities and channels could significantly contribute to the subscription model’s success by offering users a more personalised and engaging experience, while also aiding Meta in understanding user needs for future product development.

The impact of the ad-free subscription plan on Meta’s advertising model is contingent on its success. Given that Meta presently derives the majority of its revenue from advertising, a successful subscription uptake may prompt the need for new revenue generation avenues. This could involve charging advertisers higher fees for more targeted advertising or innovating new advertising formats.

The acceptance of a paid, ad-free version by Indian users is uncertain, but several factors may contribute to its success. There is a growing demand for ad-free experiences, driven by concerns about data privacy and the proliferation of ads on social media platforms. Additionally, with the rising disposable incomes in India and Meta’s strong brand recognition, there is a likelihood that users may be willing to pay for a premium, ad-free experience.

It’s important to note that Meta is not the first to venture into ad-free subscriptions; Twitter and Reddit have long offered such plans. However, the success of these plans remains to be fully assessed. As Meta’s ad-free subscription plan is still in the early stages, details regarding cost and features are awaited. With further information, a more accurate evaluation of its potential success in India will be possible. Nevertheless, considering the outlined factors, the subscription plan holds promise for success in the Indian market.

ChtrSocial director Darshil Shah

India as a country is very subscription averse. Hence, it’s very less likely to bring a massive impact on the overall usage of the platform. We don’t expect more than 1% of the users to shift to the paid offering similar to what we saw on its competitor platforms like YouTube Premium.

That said, brands and businesses that depend highly on inorganic reach through Meta should definitely start thinking of the following to hedge their risk:

1. Organic Content Strategy: Facebook, Instagram and WhatsApp offer an enormous opportunity to brands for reaching their customers and other masses through the power of content. With reels that can be viewed by millions organically, it’s imperative that brands start leveraging the power of organic social.

2. Diversify their platform strategy: At the end of the day, social platforms are nothing but borrowed real estate for brands. One should always be cautious and not over-rely on any. It’s a wake-up call for such brands to diversify their online identity to more social platforms and some owned channels like email lists and private communities.

3. Influencer marketing: With the platform becoming more and more favorable to creators, the need to capitalise and innovate on influencer marketing will only increase.

Conclusion: At the end of the day India is a country that thrives on Jugaad. So whatever the result of Meta’s ad-free offering, it’ll be exciting to see how brands and marketers find innovative ways around it.

TheSmallBigIdea lead- performance marketing Sharath Madhavan

The introduction of an ad-free subscription plan by Meta for Facebook, Instagram, and WhatsApp in India could be a strategic move to cater to users who prefer an ad-free experience in exchange for a subscription fee. It may also be a response to user concerns about privacy and data usage, but the success of such a plan would depend on pricing, features, and how well it aligns with the preferences of Indian users. Diversifying revenue streams beyond advertising is a prudent move, and providing an ad-free experience allows the company to cater to users who prefer a cleaner interface without ads. Additionally, this move could address privacy concerns and monetize the preferences of users who value data privacy.

The Starter Labs (Zoo Media) co-founder Rehan Dadachanji

Meta’s contemplation of introducing an ad-free subscription plan for Facebook, Instagram, and WhatsApp in India by 2024 raises significant questions. While the concept of an ad-free experience has gained traction in Western markets, the dynamics in India are distinct. The market is witnessing a rapid surge in Meta’s ad revenues, and users in India have shown a higher tolerance for Meta’s ads compared to YouTube’s more intrusive advertising model.

Learning from YouTube’s experience, it’s evident that the Indian audience may be less inclined to subscribe for an ad-free experience, especially given the abundance of free services in the market. This resistance to additional subscriptions poses a unique challenge for Meta.

The move’s potential impact on advertisers is twofold. Advertisers might divert more spending towards other platforms, such as Google and emerging social networks.

In a bold prediction, Meta may reconsider its plans for ad-free platforms in India for 2024, as the market’s dynamics and user expectations present a complex landscape to navigate.

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iWorld

Cheekatilo shines in the dark with record debut on Prime Video

A crime thriller steps out of the shadows as Telugu storytelling claims centre stage.

Published

3 weeks ago

February 9, 2026

indiantelevision.com Team

MUMBAI: Sometimes, the darkest stories travel the farthest. Prime Video’s latest Telugu original Cheekatilo has done exactly that, clocking a record-breaking launch week and emerging as the most-streamed south original movie on the platform during its debut period.

Premiering worldwide on January 23, the edge-of-the-seat crime suspense trended at the top through its opening weekend and reached viewers across 89 per cent of India’s pin codes, underlining its rare ability to cut across regions, languages and viewing habits. The performance marks a significant milestone for Prime Video’s south originals slate, reflecting the rising national appetite for tightly written, character-driven narratives.

Beyond the numbers, Cheekatilo’s success highlights a broader shift in audience preferences. The strong engagement around the film points to the growing demand for female-led storytelling, with viewers gravitating towards grounded, intense narratives rooted in real-world settings. The film’s national traction reinforces the idea that language is no longer a barrier when the story holds its nerve.

Prime Video India director and head of originals Nikhil Madhok said the response to Cheekatilo reflects the momentum of South Originals and the increasing resonance of bold, genre-driven stories. He noted that the film’s gripping narrative and performances kept audiences hooked from start to finish, strengthening Prime Video’s positioning as a destination for distinctive storytelling with cultural authenticity.

Directed by Sharan Kopishetty and produced by D. Suresh Babu under the Suresh Productions banner, Cheekatilo is written by Chandra Pemmaraju and Kopishetty. The film stars Sobhita Dhulipala as Sandhya, alongside Viswadev Rachakonda, with Chaitanya Visalakshmi, Esha Chawla, Jhansi, Aamani and Vadlamani Srinivas in pivotal roles.

Set against the urban pulse of Hyderabad, the film adds another strong chapter to Prime Video’s expanding catalogue of south originals. With its launch-week dominance and widespread reach, Cheekatilo proves that when storytelling hits the right note, even the darkest tales can command the brightest spotlight.

Gaming

Checkmate Goes Digital as Chess Joins Esports Nations Cup 2026

From boards to bytes, chess readies for a nation-first showdown in Riyadh.

Published

3 weeks ago

February 9, 2026

indiantelevision.com Team

MUMBAI: When pawns meet power plays, the game changes. Chess, the world’s oldest mind sport, is officially stepping deeper into the digital arena after the Esports World Cup Foundation confirmed it as one of 16 titles at the inaugural Esports Nations Cup 2026, set to unfold in Riyadh from 2 to 29 November.

For a game synonymous with quiet halls and ticking clocks, this is a bold move. Chess at ENC 2026 promises scale, spectacle and serious competition, fielding an unprecedented 128 players and opening the board to fresh talent and underrepresented nations as the sport’s esports evolution gathers pace.

The chess competition will run from November 2 to November 8, culminating in a playoff final. The opening phase features 128 players split into 16 round-robin groups of eight, with the top four from each group advancing.

That leaves 64 players battling it out in a single-elimination playoff bracket. Early rounds will be best-of-two, while the quarterfinals onward step up to best-of-four encounters. Deadlocks will be settled via Armageddon tie-breakers, and all matches will be played in a Rapid 10+0 format, designed for speed, tension and drama.

National pride is front and centre. Of the 128 slots, 64 players will receive direct invitations based on Champions Chess Tour rankings, limited to one per nation. Another 56 players will qualify through regional online qualifiers, while eight wildcard spots round out the field.

Qualifiers will be hosted by Chess.com across seven regions, including Middle East + India + Central Asia, with two qualifier windows in June 2026. Each country can field a maximum of two players, ensuring both depth and diversity across the draw.

Chess already tasted esports stardom at the 2025 Esports World Cup, where 20 nations were represented and the intensity surprised even purists. The event ended with Magnus Carlsen lifting the title for Team Liquid, sealing chess’s credentials as a natural fit for high-stakes digital competition.

India’s top-ranked player Arjun Erigaisi called the experience “unlike any chess tournament I’ve played before”, adding that the energy of the esports stage is drawing new audiences into the game.

For commentators and fans alike, the shift to a nation-based format raises the stakes. Chessbase India co-founder Sagar Shah likened the moment to the excitement of the Chess Olympiad, while grandmaster and broadcaster Tania Sachdev said the national format adds “pride, pressure and passion” that pulls viewers in deeper.

From silent calculation to roaring crowds, chess at the Esports Nations Cup 2026 is less about moving pieces and more about moving perceptions. Checkmate, it seems, has gone fully digital.

iWorld

Paid panic: how paid posts sparked a child-safety scare in Delhi and Mumbai

Published

3 weeks ago

February 7, 2026

indiantelevision.com Team

A wave of panic swept through Delhi and Mumbai over the past week as viral social media posts claimed a sudden spike in missing and kidnapped children. The alarm bells proved false. Both cities’ police forces issued categorical denials, pointing fingers at paid promotion and rumour-mongering designed to create public hysteria. The twist: fingers are now pointing at Yash Raj Films, accused of orchestrating the scare as guerrilla marketing for Mardaani 3, its upcoming vigilante thriller about child trafficking.

The episode lays bare a darker truth about India’s social media ecosystem. With smartphone penetration soaring and screen time at record highs, paid promotion tools have become weapons of mass hysteria. A few thousand rupees can boost a post to millions of eyeballs within hours. When that post plays on primal fears like child safety, verification becomes an afterthought. Users share first, question later. The result: manufactured crises that feel real until authorities scramble to debunk them.

Delhi Police took to Instagram 23 hours ago with a blunt message: “After following a few leads, we discovered that the hype around the surge in missing girls in Delhi is being pushed through paid promotion. Creating panic for monetary gains won’t be tolerated, and we’ll take strict action against such individuals.” The post, captioned “Facts matter, Fear doesn’t”, made clear the force’s irritation at being dragged into what it views as a manufactured crisis.

Mumbai Police followed suit, issuing a statement denying claims of kidnappings. “Certain social media handles are misrepresenting data and indulging in rumour-mongering regarding cases of missing and kidnapped children. We categorically deny these claims,” the force wrote. It added that FIRs were being registered against those “deliberately spreading false information and creating public panic.”

The misinformation spread with startling effectiveness. Popular Instagram and Twitter accounts, some with hundreds of thousands of followers, shared alarming statistics and anecdotal reports of vanished children, tagging police handles and demanding action. The posts gained traction quickly, amplified by concerned parents and activists. Only when both police forces traced the origin of the claims did the facade crumble: many of the viral posts were boosted through paid promotion, a telltale sign of coordinated astroturfing rather than organic concern.

Enter Yash Raj Films, the 50-year-old production house behind the Mardaani franchise. The series, starring Rani Mukerji as a no-nonsense cop battling human trafficking rings, has built its brand on gritty, socially conscious thrillers. Mardaani 3 is in production, and online chatter swiftly connected the dots between the missing persons panic and the film’s subject matter. Accusations flew: had YRF seeded fake stories to drum up buzz for its vigilante cop sequel?

YRF issued a furious rebuttal. “Yash Raj Films is a 50-year-old company founded on the core principles of being highly ethical and transparent,” a spokesperson said. “We strongly deny the accusations floating on social media that Mardaani 3’s promotional campaign has deliberately sensationalised a sensitive issue like this and we have immense trust in our authorities that they will share all facts and truths in due course of time.”

The denial is categorical, but scepticism lingers. Guerrilla marketing, viral hoaxes masquerading as public service announcements, manipulated data: these are not unheard of in Bollywood’s playbook, though rarely deployed on such a sensitive issue. Child safety is a third rail; exploiting it for box office returns crosses a line even by the industry’s elastic ethical standards.

Yet the evidence tying YRF directly to the posts remains circumstantial. No smoking gun links the production house to the paid promotions flagged by police. What is clear is that someone paid to amplify posts about missing children at precisely the moment a film about missing children was in the public eye. Whether that someone was a rogue marketing agency, an overzealous publicist, or a bad actor with no YRF connection remains murky.

The fallout is reputational. YRF, which has cultivated a family-friendly, socially responsible image across five decades, now finds itself defending against accusations of weaponising child safety fears. The Mardaani franchise, built on the premise of protecting the vulnerable, risks being tarred as exploitative. Rani Mukerji, the face of the series, has yet to comment.

For Delhi and Mumbai police, the episode is a reminder of social media’s double-edged sword. The platforms amplify genuine crises but also manufacture fake ones with alarming ease. Paid promotion tools, designed to help legitimate businesses reach audiences, can just as easily turbocharge hoaxes. Distinguishing signal from noise requires resources and speed that overstretched forces often lack.

India’s social media consumption has exploded. The average urban user now spends over four hours daily on platforms, doom-scrolling through an endless feed of news, gossip and outrage. Algorithms prioritise engagement over accuracy, pushing emotionally charged content to the top. A post about missing children triggers immediate shares; a dry police denial struggles for traction. By the time fact-checkers mobilise, the lie has circled the country thrice.

Paid promotion supercharges this dynamic. For as little as Rs2,000, anyone can boost a post to lakhs of users, targeting specific demographics and geographies. The tools are legitimate, used daily by small businesses and political campaigns. But in the wrong hands, they become misinformation missiles. A fabricated crisis about child kidnappings, amplified by paid reach, looks indistinguishable from organic concern. Users see friends sharing it, assume it must be true, and hit repost. The cascade is self-reinforcing.

The broader pattern is troubling. Misinformation thrives on emotional triggers: fear for children, distrust of institutions, calls to action. A viral post claiming kidnappings demands immediate sharing; verifying it feels like wasted time when lives might be at stake. By the time authorities debunk the claims, the damage is done. Panic has spread, trust in institutions has eroded, and the original purveyors of the hoax have vanished into the digital ether.

This is the new normal. Every week brings a fresh panic: contaminated food, imminent disasters, communal violence rumours. Most prove baseless. Yet each one finds traction because social media rewards speed over truth. The infrastructure designed to connect people now excels at frightening them. Platforms profit from the chaos; advertisers pay for eyeballs regardless of whether the content is fact or fiction. The incentives are perverse, and there is no fix in sight.

Whether YRF is guilty or merely collateral damage in a misinformation campaign will depend on what authorities uncover in their investigations. The production house insists it has “immense trust” that police will reveal the truth. If that truth exonerates YRF, the studio will still carry the stain of association. If it implicates them, Mardaani 3 will enter cinemas under a cloud that no amount of box office success can dispel.

For now, the message from both police forces is unambiguous: there is no surge in missing children, the panic was engineered, and those responsible will face consequences. Parents can exhale. Social media users might want to pause before hitting share. And Bollywood’s marketers, ethical or otherwise, have been put on notice: weaponising fear for profit will not go unpunished.

Paid promotion supercharges this dynamic. For as little as Rs 2,000, anyone can boost a post to lakhs of users, targeting specific demographics and geographies. The tools are legitimate, used daily by small businesses and political campaigns. But in the wrong hands, they become misinformation missiles. A fabricated crisis about child kidnappings, amplified by paid reach, looks indistinguishable from organic concern. Users see friends sharing it, assume it must be true, and hit repost. The cascade is self-reinforcing.