News Headline

The catalyst for change in India’s storytelling ecosystem

Published

3 years ago

April 14, 2023

Mumbai: The art of storytelling is one of the key factors that is giving rise to OTT platforms in India. Thanks to streaming services, the makers can now put forward their raw thoughts in the most natural ways. This Is possible due to the viewership in OTT platforms that provides a wide range of content to choose from. The Future of Video India event aims to address the change in India’s storytelling ecosystem.

Vanita Kohli Khandekar, Consulting Editor, Business Standard in conversation with Sushant Sreeram – Country Director, Prime Video, India on the rise of OTT content in India at the AVIA – Future of Video India Summit.

On where is Amazon Prime Video being positioned today

It’s an interesting parable of us being the heroes and heroines in the story of taking Indian entertainment globally. And if I were to extend that, I would say I think we are the act of scene one.

We have been in India for six and a half years and we are still relatively young, we have discovered the customer and the Indian customer has some amazingly delightful intricate nuances in what they see from online streaming entertainment. There are similarities to other forms of entertainment consumption, but at the same time, they are dissimilar. So six and a half years can feel like a lot. I mean, we have launched more than 40 local originals. Launched more than 60 direct service movies, and we have licensed movies, but all of that put together still feels like just getting started.

On the reach of content globally

Almost all of our original and local content is launched in more than 240 countries and territories and they get a global reach. And that’s actually one of the things that makes us really compelling for creators because they find a global audience. Take the example of ‘Farzi,’ as you mentioned, and I personally love it, too. At the first launch weekend of the show, not only was it an amazing success in India, customers loved it, but it actually entered the top trending title lists in more than 10 countries worldwide. We are talking about the US, UK, United Arab Emirates, Australia, Singapore, Malaysia, and New Zealand. I think that’s actually one of the big parts of what makes it a bigger proposition and really exciting for the partners that do other licensing. I think we do provide a global reach, but the exact number of countries varies depending on the other distribution agreements. I can give an example, the movie Jai Bheem. It was actually rated on IMDb as the number-one Indian film in 2021. It was launched on Prime Video and it was streamed by customers in India and overseas. That’s the kind of reach that it got.

On the type of stories that work in the Indian market

I want to target that Indian sensibility because the thing about India is that it is so delightfully diverse, that it’s actually not one homogeneous set of sensibility. It’s not just about languages, one of the first things that we really discovered is, that there is massive heterogeneity when you look at Indian entertainment whether it is language, genres and things like that, but also the nature of stories that really are local. So the first thing that we sort of discovered pretty early on and we really doubled down on it was in telling stories that are incredibly authentic. I mean, look at ‘Suzhal,’ for example. It was the first long-form scripted Tamil original show, it absolutely stays true to the locale. It stays true to the milieu in that it is located and appeals to an Indian sensibility. We have actually over a period of time realized that the best chance of being truly global is actually being deeply local, with our storytelling.

On how a show has been received, what is the matrix

It’s a good question. Let me break it into two parts. The first is, as you rightly pointed out, the form of assessing what our show is doing based on how many people are watching. And it’s pretty and obviously, there are some nuances. We love numbers, we look at all of that, how well it travels and so on and so forth. The other thing that is unique to Prime Video, is its part of a Prime membership program. It’s a multi-benefit membership program. The role that Prime Video is playing as a benefit is not only bringing in new customers into the Prime program. Secondly we look at the success of our entire slate and our content investments as we create a compelling benefit as part of prime. If you look at the Prime program and say this is incredible, it not only has free and fast shipping, it has video entertainment, it music and gaming.

So that’s the second part of how not only do we engage customers, but actually retain long-term Prime members. The third one, if we have a look at the impact of our shows is let’s call it the three C’s, I don’t I just came up with it. That is the consumer impact on the customer, which is something that we just talked about. The other is the impact on the content partners that we work with. Do we have content partners who feel thrilled by what we bring as a platform that has such a rich audience, not just locally, but globally? We end up having long-standing relationships with them. We take that very seriously not just with established creators and storytellers but the ecosystem that we’re working with.

On the associations either writer, production has

Actually, it has made me reflect on what we all do and end up doing. The first is, if you just go back six-seven years like the ecosystem, and how creators looked at storytelling, it was not built for long-form cinematic storytelling for a digital audience. It was predominantly a form of storytelling that is suited for linear broadcast, or movies that are suited for theatrical viewing. So the first thing that we really had to spend time with our creators was in tuning them to visualise really long-form episodic cinematic stories for a digital paid subscribers. I don’t want to say it was not a skill set, it was not an orientation, or that it existed, we really took a lot of effort to get that. The second is, we actually go through the things that you mentioned, we’d go through writers’ workshops, and writing was for the longest time a solitary profession. The third support that we provide, and it’s something that we take upon ourselves is how do we build localization support for shows to travel. In ‘Farzi’, it was all about subtitles and close to 40 languages to find a global audience

On the budgeting and investing in shows

We do it in many different ways. But ultimately, it’s a question of what you are investing in the country. And by the way, it’s all one accumulation right across content, distribution and building other products and marketing. In fact, last year in April incidentally, we announced that we’re actually doubling our investments over the next five years and we are absolutely committed to that. But even today, our approach is to have a really good story to tell, why tell the story and why tell the story now? Then look for them both in front and behind the camera.

On Indian content stand in the global scheme of things

We have the largest slate in development in India, after the US. We have more than 100 projects right now, as we speak, that are in various stages of development and production in India. At the end of the day, India has one of the highest proportions of Prime members who stream Prime Video every month, because of the Prime benefit. India is basically a front-runner for the Prime Video locale with the highest number of new customers adopting the service. We have been very vocal about our continued commitment to India by doubling our investment.

On the next market, apart from US & India which has a big slot

I can give you the example of ‘Citadel’ because it’s a good example. For ‘Citadel’ we have attempted to create interconnected franchises, it is an original IP and very interesting. But the concern was how we create an interconnected story and what we have ended up doing right now in its first leg is having the story set in three different times and three different locales. So we have ‘Citadel’ that’s launching on the 28 of April, which is the first of the series. We have an Indian version that’s going to be launching soon helmed by Raj and DK with Varun and Samantha in it. So that should give you a sense of diversity.

Awards

Hamdard honours changemakers at Abdul Hameed awards

Published

1 month ago

February 7, 2026

indiantelevision.com Team

NEW DELHI: Hamdard Laboratories gathered a cross-section of India’s achievers in New Delhi on Friday, handing out the Hakeem Abdul Hameed Excellence Awards to figures who have left their mark across healthcare, education, sport, public service and the arts.

The ceremony, attended by minister of state for defence Sanjay Seth and senior officials from the ministry of Ayush, celebrated individuals whose work blends professional success with a sense of public purpose. It was as much a roll call of achievement as it was a reminder that influence is not measured only in profits or podiums, but in people reached and lives improved.

Among the headline awardees was Alakh Pandey, founder and chief executive of PhysicsWallah, recognised for turning affordable digital learning into a mass movement. On the sporting front, Arjuna Awardee and kabaddi player Sakshi Puniya was honoured for her contribution to the game and for pushing women’s participation onto bigger stages.

The cultural spotlight fell on veteran lyricist and poet Santosh Anand, whose songs have echoed across generations of Hindi cinema. At 97, Anand accepted the honour with characteristic humility, reflecting on a life shaped by perseverance and hope.

Healthcare honours spanned both modern and traditional systems. Manoj N. Nesari was recognised for strengthening Ayurveda’s place in national and global health frameworks. Padma shri Mohammed Abdul Waheed was honoured for his research-backed work in Unani medicine, while padma shri Mohsin Wali received recognition for his long-standing contribution to patient-centred care.

Education and social development also featured prominently. Padma shri Zahir Ishaq Kazi was honoured for decades of work in education, while former Meghalaya superintendent of Police T. C. Chacko was recognised for public service. Goonj founder Anshu Gupta received an award for his dignity-centred rural development initiatives, and the Hunar Shakti Foundation was honoured for empowering women and young girls through skill development.

The Lifetime Achievement Award went to former IAS officer Shailaja Chandra for her long career in public healthcare and governance, particularly in the traditional systems under Ayush.

Speaking at the event, Hamdard chairman Abdul Majeed said the awards were a tribute to those who combine excellence with empathy. “These awardees reflect Hakeem Sahib’s belief that healthcare, education and public service must ultimately serve humanity,” he said.

Minister Seth struck a forward-looking note, saying India’s young population gives the country a unique opportunity to become a global destination for learning, health and wellness by 2047.

The ceremony also featured the trailer launch of Unani Ki Kahaani, an upcoming documentary starring actor Jim Sarbh, set to premiere on Discovery on 11 February.

Instituted in memory of Unani scholar and educationist Hakeem Abdul Hameed, the awards have grown into a national platform that celebrates those building a more inclusive and resilient India. For one evening at least, the spotlight was not just on success, but on service with substance.

MAM

Why the best campaigns today start with insights, not ideas

Published

1 month ago

February 7, 2026

indiantelevision.com Team

MUMBAI: For decades, creative storytelling has been the cornerstone of brand communication. The “big idea” amplified through catchy jingles, striking visuals, and memorable hooks was once the gold standard for relevance and recall. Creativity defined presence, and the loudest, boldest campaigns often won attention.

But the marketing landscape today looks very different.

Audiences are more exposed, more discerning, and far less patient. They are inundated with messages across platforms, formats, and creators, often encountering hundreds of brand touchpoints in a single day. In this environment, creativity alone especially when untethered from real consumer truths is no longer enough to move behaviour. Great ideas are abundant. Meaningful impact is not.

This is where insights matter.

The difference may seem subtle, but it is fundamental. An idea represents what a brand wants to say. An insight reflects what the audience is already thinking, feeling, or experiencing. The most effective campaigns emerge not from cleverness alone, but from the intersection of these two forces.

From creativity to relevance

As the marketing ecosystem becomes increasingly saturated, consumers are growing immune to inflated claims and surface-level storytelling. Even beautifully crafted campaigns can fail if they are disconnected from lived realities. The gap between a brand’s internal enthusiasm and the audience’s actual sentiment can be the difference between attention and indifference.

Insights help bridge this gap. They force brands to pause, listen, and observe to understand emotions, behaviours, cultural contexts, and contradictions. Instead of trying to be remembered through louder branding, insight-led campaigns allow audiences to see their own experiences reflected back at them. When a campaign articulates a problem that feels personal, relevance is created. Trust follows.

Insight is interpretation, not information

It’s important to distinguish between data and insight. Data tells us what is happening. Insight explains why it is happening. While data is measurable and structured, insights are interpretive and dynamic, shaped by real-time sentiment and human behaviour.

Modern consumers are full of contradictions. They demand authenticity while remaining deeply aspirational. They want brands to take a stand but expect nuance, not instruction. They seek transparency, yet are drawn to curated narratives. These tensions are not obstacles, they are opportunities. When understood correctly, they can shape communication that feels timely, credible, and human.

Some of the most effective campaigns today are born not in isolated brainstorm rooms, but through listening to audiences, creators, editors, online communities, and cultural signals. Insights often exist in blurred patterns, but once identified, they can redefine how a brand connects.

A recent campaign we executed for Domino’s illustrates this shift clearly. The brief wasn’t to make a pizza look bigger or louder. Instead, it was rooted in a simple behavioural truth: in Tier 2 and Tier 3 markets, sharing food is an emotional act tied to family, celebration, and value perception. The “Big Big 6-in-1 Pizza” became a canvas for this insight. The campaign leaned into regional voices and real sharing moments, allowing people to show how they experienced the product rather than being told why they should buy it. Influencers and celebrities amplified genuine usage, not scripted endorsements. The impact from engagement to footfall to sales came not from a clever idea, but from understanding how people relate to food in their everyday lives.

Shifting the starting point

Today’s consumer landscape demands a shift in perspective from “What should the brand say?” to “What does the audience need to hear right now?” This marks a move away from inward-led marketing toward communication shaped by behaviour, emotion, and cultural relevance.

Brands leading today are keen observers. They notice when perfection stops resonating. They sense when luxury shifts from aspiration to excess. They recognise when influencer content begins to feel repetitive and trust erodes.

Virality, too, is often misunderstood. It is not a strategy to chase, but an outcome. Campaigns rooted in insight do not aim to go viral; they aim to resonate. When content reflects something familiar, a shared truth, emotion, or tension, it travels organically because people see themselves in it.

Ideas attract attention. Insights build connection.

The evolving role of PR

For PR professionals, this shift has redefined success. Coverage volume alone no longer tells the full story. The more meaningful questions today are: Did the communication influence behaviour? Did it align with cultural conversations? Did it address a real consumer pain point?

Insight-first thinking allows these questions to be answered at the planning stage, rather than corrected midway through execution.

In a world where formats and platforms will continue to evolve, what remains constant is the power of authentic communication. The strongest campaigns today do not begin with a brainstorm, but with observation, interpretation, and empathy. That is not just better marketing, it is more responsible, resilient, and meaningful brand-building.

Brands

Ahmad Muneeb elevated to VP – HR centre of excellence at Zepto

Published

1 month ago

February 7, 2026

indiantelevision.com Team

MUMBAI: Zepto has elevated Ahmad Muneeb to vice president – HR centre of excellence, placing him at the helm of the company’s total rewards, executive compensation and organisational effectiveness as the quick-commerce firm powers through a high-growth phase.

The move follows his stint as senior director of the HR COE, where he played a central role in preparing the company for IPO readiness while scaling its people analytics capabilities. During this period, Muneeb helped align complex performance management structures with more streamlined and scalable employee experience frameworks.

In his new role, he will steer the design of total rewards strategies, executive compensation planning and organisational design, while also overseeing performance management, employee experience initiatives and people analytics programmes.

Before joining Zepto, Muneeb spent nearly three years at Meesho, where he held multiple rewards and HR business partner roles. Earlier in his career, he worked as a senior rewards consultant at Mercer, advising high-tech clients on compensation benchmarking, pay structures and talent-focused reward frameworks.

He began his hr journey at Cognizant, where he supported compensation programmes for nearly two lakh employees across India and worked on m&a compensation alignment and skill-based pay initiatives. Prior to moving into HR, Muneeb started his career as a software engineer at Netcracker, bringing a technical grounding to his people strategy work.

With a mix of consulting rigour, start-up agility and enterprise-scale experience, Muneeb’s elevation signals Zepto’s continued focus on building robust people systems as it races towards its next phase of growth.