Tag: JioCinema

  • Streaming Dreams and Story Schemes Mark Netflix’s Decade in India

    Streaming Dreams and Story Schemes Mark Netflix’s Decade in India

    MUMBAI: When Netflix arrived in India ten years ago, the streaming giant wasn’t just entering a new market, it was stepping into a nation obsessed with stories. From cricket to cinema, India has always lived in 16:9 emotion. A decade later, as Netflix celebrates its 10th anniversary here, it has become more than just a platform, it’s a pop-culture mood board, a social mirror, and occasionally, the nation’s favourite debate topic over dinner.

    At FICCI Frames 2025, Netflix India, vice president of content Monika Shergill revisited the platform’s decade-long journey not as a corporate milestone, but as a cultural chronicle. “It’s been ten years of discovering stories that surprise even us,” she said with a smile. “India has taught us that there’s no such thing as one audience.”

    Shergill’s words carried weight. In 2016, when Netflix launched in India, data plans were expensive, the idea of binge-watching was alien, and cable television ruled the roost. Yet, as she pointed out, “audiences were already hungry for something different, they just didn’t know where to find it.” That ‘something different’ soon arrived in the form of gritty, genre-bending originals like Sacred Games and Delhi Crime, titles that not only redefined Indian streaming but also caught the attention of global viewers.

    “Shows like Delhi Crime proved that our stories don’t have to be diluted for global audiences,” Shergill noted. “They resonate precisely because they are authentic, rooted, and unapologetically Indian.”

    Over the years, Netflix’s slate has stretched from the heartlands to the Himalayas, serving up thrillers, romcoms, docuseries, and biopics that mirror the country’s diversity. From Kota Factory’s monochrome melancholy to Khufiya’s cloak-and-dagger intrigue, every title seems to tap into a different emotion, language, and landscape proof that India doesn’t just contain multitudes, it streams them too.

    But as Shergill highlighted, the real game-changer has been regional storytelling. “Tamil, Telugu, Malayalam, and Bengali stories are not just finding local audiences, they’re travelling globally,” she said. “When you keep the essence local, you end up going global.” Indeed, viewership of Indian regional content on Netflix has shot up by more than 60 per cent in the past three years, while global viewing of Indian titles has doubled.

    Beyond the data, there’s a shift in creative dynamics. Netflix’s approach to nurturing over 200 Indian writers, directors, and creators has created what Shergill calls “a sandbox for fearless storytelling.” Unlike theatrical cinema, where success is often measured by box-office numbers, the streaming space has allowed creators to focus on experimentation, representation, and emotional truth.

    “Streaming has democratised creativity,” she said. “You could be a first-time director from Shillong or a veteran from Mumbai, your story gets the same chance to be discovered.”

    That discovery is also increasingly shaped by technology. Shergill spoke of how algorithms, AI tools, and personalisation engines have made every viewer’s journey unique. “We often joke that no two people have the same Netflix,” she said. “But the magic lies in how tech quietly helps stories find the right audience, not the other way around.”

    Of course, Netflix’s decade in India hasn’t been without its plot twists from the rise of fierce competition (DisneyPlus Hotstar, Prime Video, JioCinema, Zee5, SonyLiv, and more) to debates on pricing, censorship, and content localisation. Yet, as Shergill pointed out, these challenges have only sharpened the industry’s creative instincts. “Healthy competition means better stories,” she said. “It’s proof that the audience is winning.”

    As India becomes one of Netflix’s fastest-growing markets, the company is doubling down on localisation not just through language, but through themes that reflect real India. Small-town aspirations, gender fluidity, generational conflict, and cultural nostalgia are no longer niche; they’re mainstream. “The stories that come from the heartland are the ones making it to hearts worldwide,” Shergill quipped.

    The conversation also drifted to how streaming has blurred the lines between entertainment and experience. “Today, entertainment is no longer consumed,” she observed. “It’s lived, shared, and replayed. When people cry over a character or cheer for a show, they’re not just viewers, they’re participants.”

    As FICCI Frames explored the theme of India’s creative economy, Shergill’s reflections summed up a decade where the screen became both a stage and a storyteller. “Streaming is not just about algorithms and recommendations,” she said. “It’s about emotion, connection, and the thrill of seeing your story on a global map.”

    For Netflix, that map is only expanding. With new content partnerships, investments in regional studios, and a growing slate of originals, the next chapter seems poised for even more ambitious storytelling.

    Ten years on, the red N has gone from being an app icon to an emotional bookmark in India’s entertainment story. And as Shergill reminded the audience, “Our best stories are still buffering and that’s the most exciting part.”

  • Loss signal as Dish TV Q1 net loss widens and revenue falls 27.6 percent

    Loss signal as Dish TV Q1 net loss widens and revenue falls 27.6 percent

    MUMBAI: Dish TV is still buffering and this time, the picture is far from rosy. The DTH operator reported a consolidated net loss of Rs 94.53 crore for the quarter ended 30 June 2025, a sharp plunge from the mere Rs 1.56 crore loss logged in the same period last year. Revenue from operations shrank 27.6 per cent year-on-year to Rs 329.36 crore, down from Rs 455.29 crore, while total income stood at Rs 334.11 crore, aided by Rs 4.75 crore in other income.

    Costs, however, went in the opposite direction. Total expenses climbed to Rs 425.92 crore, led by operating costs of Rs 142.10 crore, employee benefits of Rs 42.16 crore, and finance costs of Rs 64.12 crore. Depreciation and amortisation weighed in at Rs 105.28 crore.

    The company’s balance sheet remains under heavy strain, with accumulated losses now exceeding equity share capital, pushing net worth into the negative. Adding to the pressure is a long-running license fee battle with the Ministry of Information and Broadcasting (MIB) Dish TV has set aside Rs 4,680.24 crore for the dispute, even as the MIB slapped a fresh Rs 8,735.67 crore demand (including interest) in April, which the operator is contesting in court.

    For FY25, Dish TV’s annual loss narrowed to Rs 487 crore from a massive Rs 1,966 crore in FY24, but total revenue slid 15.6 per cent to Rs 1,567.6 crore, hit by falling Pay TV subscriber numbers and stagnant ARPU. EBITDA came in at Rs 529.1 crore, with margins easing to 33.75 per cent from last year’s 40.6 per cent.

    While exceptional items of Rs 335.4 crore, a pre-tax loss of Rs 152.3 crore, and mounting competition from DTH rivals, cable, telecom, and OTT players dimmed the outlook, the company is leaning on its digital play. Watcho, its OTT arm, crossed the 10 million paid subscriber mark, thanks to premium content aggregation from Jiocinema, Zee5, Sonyliv and others, the launch of Watcho Fliqs for creator-led IP, and smart set-top boxes like the Dish Smrt Hub.

    The strategy now is clear: retain quality subscribers, push regional content, and keep hybrid offerings in the mix because in today’s entertainment market, staying in the game might just be about playing on every screen available.
     

  • Mahesh Shetty: the unassuming low profile deal maker at JioStar Entertainment

    Mahesh Shetty: the unassuming low profile deal maker at JioStar Entertainment

    MUMBAI: In a media industry obsessed with the limelight, Mahesh Shetty remains an anomaly. No splashy interviews, no endless conference panels, no constant social media updates. Instead, a man who lets numbers and results do the talking. Now, as he takes charge of revenue at JioStar Entertainment, succeeding Ajit Varghese who departs for Madison, Shetty is poised to script the next big chapter of his career.

    For industry insiders, this move feels less like a surprise and more like a natural progression. Over nearly three decades, Shetty has quietly built a résumé that stretches across the most competitive corners of Indian business: FMCG, radio, broadcast television, live events, and OTT streaming. Each stint has added another layer to his arsenal, sharpening a leadership style best described as calm, precise, and relentlessly focused on outcomes.

    When Shetty joined Viacom18 in April 2019, he was already regarded as a heavy hitter in sales and monetisation. Over the next five years, he transformed revenue operations, straddling linear television, Jiocinema, Viacom18 Live, and the Consumer Products and Licensing divisions. But it was the December 2024 merger with Disney Star that truly tested his mettle.

    Handed responsibility for a formidable empire of 90‑plus TV channels and JioHotstar, Shetty got to work without fanfare. While the spotlight stayed firmly on content deals and boardroom machinations, he was busy engineering the rise of the Large Client Sales (LCS) portfolio. Under his watch, LCS swelled until it accounted for over 80 per cent of JioStar’s entertainment revenues, an achievement industry peers describe as “quietly spectacular.”

    Unlike many of his contemporaries, Shetty has never been a fixture on the media circuit. A quick Youtube search throws up barely two interviews in decades of leadership. For him, visibility isn’t the goal revenue is. Colleagues often describe his style as understated but laser‑focused: the kind of leader who invests in people and processes rather than profiles.

    And yet, in boardrooms and client meetings, his presence is anything but muted. Those who have negotiated with him speak of a professional who can combine charm with steely precision, moving effortlessly from big‑picture strategy to the finest of details.

    At JioStar Entertainment, Shetty now steps into the role at a pivotal moment. He continues to oversee LCS while expanding his remit to drive topline performance across verticals. Reporting directly to him are trusted lieutenants Anuradha Mathu Agrawal, Srijith Jagdish, Shubhra Sethi, and Kingshuk Mitra. The wider reporting structure remains unchanged, a signal of stability even amidst transition.

    But the challenges ahead are anything but routine. India’s entertainment market is in flux, with digital consumption soaring, advertisers demanding sharper ROI, and post‑cookie targeting reshaping the playbook. JioStar itself is betting aggressively on original content, hybrid monetisation models, and cutting‑edge audience intelligence. For Shetty, this means crafting not just a revenue plan but a reinvention of value creation in India’s content economy.

    Part of what makes Shetty uniquely suited to the task is the breadth of his experience. Before Viacom18, he spent 12 years with Radio Mirchi, rising to the role of COO, where he built some of radio’s most successful monetisation strategies. Before that, he logged more than a decade at Pepsico India, beginning as an assistant marketing manager in 1995 after earning his B.Com and MBA in Marketing. There, he cut his teeth in senior sales and marketing roles heading marketing for Gujarat, and later serving as GM for National On‑Premise Sales.

    This mix of FMCG discipline, radio agility, broadcast heft, and OTT dynamism has forged a leader uniquely comfortable navigating JioStar’s complex entertainment revenue landscape. From regional advertisers looking to tap India’s heartland, to global partnerships eyeing scale and reach, Shetty has seen and sold it all.

    For JioStar, the stakes could not be higher. With platforms like JioHotstar pushing for scale and viewership habits fragmenting across screens, Shetty’s challenge will be to stay ahead of the curve: innovating in ad formats, deepening client relationships, and ensuring measurement keeps pace with expectations of accountability.

    If the past is any indication, he won’t be chasing headlines or soundbites while doing it. But in boardrooms and balance sheets, his impact will be impossible to ignore.

    For now, all eyes are on Mahesh Shetty not because he craves the spotlight, but because he knows exactly how to deliver when it matters most.

  • 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.

  • Kabaddi scores a social touchdown with multilingual digital slam

    Kabaddi scores a social touchdown with multilingual digital slam

     MUMBAI: They tackled language barriers like a raider takes on defenders and came out with the trophy. The Pro Kabaddi League (PKL) has added a digital feather to its cap, bagging the ‘Social Media Campaign’ award in the Multilingual Campaign category at the ET Brand Equity Trendies 2025. The win celebrates PKL Season 11’s innovative and inclusive digital engagement strategy, executed by Mashal Sports in collaboration with Sportz Interactive, which saw fans across linguistic and cultural divides connect like never before.

    Held from October 18 to December 29, 2024, Season 11 wasn’t just action-packed on the mat, it was a slam dunk online too. The campaign’s multilingual format reached deep into regional fanbases, ensuring that the raiding and defending didn’t just speak one language, but many.

    The digital blitz hit the sweet spot, delivering high engagement across platforms like Instagram, Youtube, Facebook, X, and the Pro Kabaddi app, with vernacular content crafted for fans from every corner of the country. The league’s social-first, fan-first approach resonated with a wide base, helping PKL boost brand affinity and reinforce its position as one of India’s most loved sporting leagues.

    And the kabaddi action doesn’t stop there. The buzz now shifts to the Season 12 Player Auction, which will be held on May 31 and June 1, 2025, in Mumbai. Fans can catch Category A auction proceedings live on the Star Sports Network and Jiocinema starting 7 pm on May 31.

    For those who want real-time updates (in the language of their choice, no less), PKL’s Live Auction Centre on prokabaddi.com and the Pro Kabaddi official app will be the go-to. With the social handles prokabaddi across platforms staying in beast mode, fans can expect another season of full-contact, full-volume entertainment on and off the mat.

    If Season 11 was about digital dominance, Season 12 promises to be a perfectly executed raid into uncharted fan territories.

  • Glance recruits digital exec Lalwani

    Glance recruits digital exec Lalwani

    MUMBAI: Tarun Lalwani has jumped ship from JioStar to take up the role of director of strategic partnerships, content strategy and design at Glance, the mobile lock screen platform.

    The move comes after a remarkably brief five-month stint at JioStar, where Lalwani served as senior director of digital licensing and partnerships following the merger of streaming services JioCinema and Hotstar.

    Lalwani brings a packed portfolio of digital content experience to his new position. Before his lightning-quick tenure at JioStar, he spent over three years at Viacom18, where he climbed to senior director overseeing digital licensing, strategic partnerships, user growth and content partnerships.

    His CV reads like a who’s who of India’s digital entertainment landscape, with previous roles at ESPN, Hotstar, IndiaCast and Wizcraft International Entertainment.

    At Glance, which transforms smartphone lock screens into content discovery platforms, Lalwani will likely leverage his extensive experience in forging partnerships across the digital content ecosystem.

  • Brands of Tomorrow returns with season three, showcasing India’s rising entrepreneurs

    Brands of Tomorrow returns with season three, showcasing India’s rising entrepreneurs

    MUMBAI: The third season of Brands of Tomorrow is now streaming on JioCinema and Disney+ Hotstar, offering an inside look at India’s next wave of entrepreneurial talent. The series showcases 21 emerging brands and the vision of 35 founders driving their growth through innovation and resilience.

    Spanning diverse sectors, the new season features businesses in technology, real estate, fintech, edtech, food and beverage, direct-to-consumer (D2C), electric vehicles, and sustainability. Notable companies include Aaseya, Ctruh, and Sundew in technology; Ravetkar Group and ASBL in real estate; and Stoxkart in fintech. The edtech segment highlights Interval Learning, College Vidya, and Academically, while Burger Singh, Chalu Chinese, Basil, Harajuku, and TBC represent the food and beverage space. D2C brands include Shobitam, Yes Madam, Sleepycat, Miraggio, and Campus Sutra. Statiq features in the electric vehicle category, with Lead Reclaim spotlighting sustainability efforts.

    Through in-depth storytelling, the series captures the challenges, milestones, and strategic pivots that have shaped these ventures. It offers viewers a rare glimpse into the entrepreneurial journey, exploring the bold decisions and creative solutions behind these rising brands.

    Founder of Brands of Tomorrow Suchayan Mandal shared, “This season celebrates the remarkable individuals who are transforming industries and redefining India’s economic landscape. Their stories of risk, determination, and ingenuity will inspire viewers and future entrepreneurs alike.”

  • JioHotstar’s Valentine’s day marketing stunt wins hearts and engagement

    JioHotstar’s Valentine’s day marketing stunt wins hearts and engagement

    MUMBAI: The launch of JioHotstar, a powerhouse streaming platform combining Jiocinema and Disney+ Hotstar, was nothing short of a marketing masterstroke. The announcement, perfectly timed with Valentine’s day, didn’t just introduce a new player in the streaming industry—it made waves through an ingenious moment marketing strategy that captured consumer attention with humour and wit.

    In the lead-up to JioHotstar’s launch, Jiocinema and Disney+ Hotstar engaged in a flirtatious, light-hearted exchange on city billboards and digital platforms, dropping hints of an impending partnership. The playful banter saw JioCinema put up a cheeky proposal: “Looking for someone who digs cricket, reality shows, and live concerts. Know Anyone?” In response, Disney+ Hotstar flirted back with “Cricket is my love language, who wants to match this Valentine’s Day?”

    These teasers ignited curiosity and engagement, setting the perfect stage for JioHotstar’s grand reveal on 14 February.

     

     
     
     
     
     
     
     
     
     
     
     
     
     
     
     

    A post shared by JioHotstar (@jiohotstar)

    As soon as JioHotstar made its much-anticipated debut, brands and creators jumped in to celebrate the new era of streaming entertainment.

    Leading the charge was Shaadi.com, India’s top matchmaking platform, which added its signature humour to the mix. The brand placed congratulatory billboards next to JioHotstar’s launch ads with the witty message: “Badhai ho JioHotstar! Aisi jodi toh hum sab deserve karte hain. Get on Shaadi.com.”

    Even Shaadi.com’s founder & CEO Anupam Mittal couldn’t resist joining the fun. Taking to LinkedIn, he quipped, “The crossover you didn’t see coming,” highlighting how playful banters are the future of marketing.

     
     
     
     
     
     
     
     
     
     
     
     
     
     
     

    A post shared by Shaadi.com (@shaadi.com)

    The campaign quickly gained momentum, striking a chord with audiences who appreciated the humour, timing, and creative storytelling. The buzz around JioHotstar’s launch became more than just an industry announcement—it turned into a pop culture moment, making waves across both entertainment and matchmaking circles.

    Beyond the marketing genius, JioHotstar is poised to redefine streaming in India with an extensive content library featuring over 300,000 hours of movies, shows, and exclusive content. The platform also boasts a robust lineup of live sports coverage, making it a go-to destination for India’s 1.4 billion entertainment-hungry viewers.

     

  • JioStar launches JioHotstar platform, merging JioCinema and Disney+ Hotstar

    JioStar launches JioHotstar platform, merging JioCinema and Disney+ Hotstar

    MUMBAI: It’s a giga merger. Two of India’s leading brands fusing into one.

    Can the branding, the logo, and brand ident  that emerge be any less?

    The brands in question are; Jio and Disney+Hotstar, both very well-known of their own accord. One a leader in providing mobile telephony services which runs a streaming platform called JioCinema; the other a leader in streaming, the best in its class. Both have tremendous recall value and have customers running into hundreds of millions.What you get when you open up to JioHotstar

    A tough ask for any one to find a solution that would do justice when they unite – where the sum of the united two will be greater than the sum of both as individuals .

    One simple possibility was calling it JioHotstar.  Quite simple right?

    And that’s what JioStar, the joint venture formed by the merger of Viacom18 and Star India,  decided upon. The  birth of JioHotstar  will see the demise of both JioCinema and Disney+ Hotstar.

    It will have a reach of 500 million users and will offer 300,000 hours of content including films and shows from major Hollywood studios including Disney, NBCUniversal Peacock, Warner Bros. Discovery HBO, and Paramount, alongside Indian entertainment across 10 languages.

    “At the core of JioHotstar is a powerful vision—to make premium entertainment truly accessible to all Indians,” said  Jiostar chief executive digital Kiran Mani. The platform will offer free content to all viewers, with premium subscription plans starting at Rs 149.
    The Three Merry Men

    Jiostar chief executive entertainment Kevin Vaz emphasised the platform’s commitment to digital-first content, while sports chief executive Sanjog Gupta highlighted its enhanced sports viewing features, including ultra-HD 4K streaming and AI-powered insights. JioHotstar will also have a new segment called Sparks which India’s digital content creators can call their home.

    There was some debate in media circles on what the back end of the new service will be. Would it be the JioCinema one or would it be Disney+ Hotstar’s? At the time of writing, folks within JioStar had confirmed to indiantelevision.com that it was indeed Hotstar’s tech stack that was being used to power the JioHotstar app as it proved to be more superior on several fronts. The main ones being: ability to handle high concurrency of users, serve high end, high quality 4K videos,  even at low bandwidths, the tech innovations in terms of vertical video and interactivity that it supported. AI-powered insights, real-time stats overlays, multi-angle viewing and range of ‘culture’ and ‘special interest’ feeds — ensuring fans enjoy deeper, more immersive access to the sports they love.

    The logo itself is a standout and can have several interpretations. Here’s two: a star doing a Swan Lake like dance;  a heavenly body arms open wide ready to embrace one and all. Clearly, for those who have been so used to seeing the Disney Star and existing JioCinema logos, it  will take some getting used to. The font for the brandname is sans serif, which fits well with the star burst.

    JioHotstar’s new brand identity  created and developed by venture3 embodies its vision for boundless entertainment. The Big Bang’ symbolises the dawn of a new era, while the Ripples radiate outward, representing energy, transformation, and innovation. The background colours are tetradic (psychedelic) with bright pinks, mauves , indigos and blues being thrown in for good measure and are eyecatching and hypnotic. Step one of the battle to attract viewers won! And the tagline carries with it a lot of promise: Infinite possibilities begin here!  SparksExisting JioCinema and Disney+ Hotstar subscribers will be able to transition seamlessly to the new platform.

    The service will stream major sporting events including ICC tournaments, IPL, WPL, Premier League and Wimbledon, alongside entertainment content in multiple Indian languages.

  • Yojana Phadnis moves from Viacom18 to JioStar as manager, creative strategy

    Yojana Phadnis moves from Viacom18 to JioStar as manager, creative strategy

    MUMBAI: She began her career at one of our publications Tellychakkar.com more than a baker’s dozen years ago. And, in early February , seasoned marketing and communications specialist in the media and entertainment industry Yojana Phadnis, was  appointed manager, creative strategy at JioStar Network.
    Phadnis has played a pivotal role in brand building, marketing communications, and film promotions across Bollywood, Hollywood, and regional cinema.

    Prior to this, she served as marketing manager at JioCinema, where she contributed to strategic brand and creative marketing efforts for the platform. She previously spent six years at Viacom18, where she held key positions in marketing and corporate communications, managing promotional campaigns for major film releases.

    Her career also includes stints at Eros International, MSLGroup India, Perfect Relations, and Hanmer MSL, where she led public relations and corporate communications for major television and entertainment brands, including Star India and Life OK.