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As competition in the streaming wars intensifies, Netflix is doubling down on advertising - and it’s already seeing dividends.

The platform posted $10.54 billion in revenue for the first quarter of 2025, a healthy 12.5% jump from last year. It also reported $2.9 billion in net profit, with earnings per share at $6.61, comfortably ahead of market forecasts.

Netflix’s relatively new ad-supported tier is at the centre of this momentum. According to the company, 55% of new subscribers in supported markets are now opting for the ad-supported plan. Launched in late 2022, the plan offers an affordable entry point for users at $7.99/month, compared to the $24.99/month premium tier.

To support this growing business, Netflix has developed and launched its own advertising technology — the Netflix Ads Suite — which is already live in the US and Canada, with plans to expand globally this year. The company believes this infrastructure will help double its advertising revenue by the end of 2025.

Still, advertising forms a small part of Netflix’s overall revenue, with subscriptions remaining the core of the business. But the company’s pricing strategy, password-sharing clampdown, and growing ad inventory suggest a long-term play to build a robust dual-revenue model — ads and subscriptions.

In India, a key emerging market, Netflix is leaning heavily on local content and partnerships to attract new users, even as it faces strong competition from Amazon Prime Video, Disney+ Hotstar, and JioCinema.

With a user base surpassing 300 million globally, Netflix is now aiming for $11.04 billion in revenue in Q2, and up to $44.5 billion by year-end, underscoring its confidence in a diversified and evolving business model.

<a href="https://www.storyboard18.com/digital/waves-to-link-creators-content-buyers-and-global-markets-ashwini-vaishnaw-62674.htm">Read More: WAVES to link creators, content buyers and global markets: Ashwini Vaishnaw</a>

Netflix targets 2x ad revenue growth in 2025

For decades, India’s film industry thrived on a delicate balance - producers managed budgets, actors accepted reasonable fees, and storytelling was at the heart of cinema. But today, the landscape has changed dramatically. As soaring production costs collide with an industry increasingly dominated by corporate interests and talent agencies, the question looms: Can Indian cinema find a way to restore equilibrium, or is it on an unsustainable path?

<a href="https://www.storyboard18.com/how-it-works/entertainment-industry-faces-crossroads-slowing-production-and-shifting-trends-52439.htm">Read More: Entertainment industry faces crossroads: Slowing production and shifting trends</a>

Once upon a time, a film’s financial success was a straightforward equation. A producer’s profit was determined by the regional territories in which a film was sold - North, South, East, West, and Central India. Veteran filmmaker Viveck Vasvani recalls that, in the past, actor fees were proportionally calculated based on projected earnings. “If a leading star’s film was sold for Rs 40 lakh, the main actors would receive Rs 8 lakh, Rs 5 lakh, and so on,” he explained. The system ensured that budgets remained practical, dictated by producers working closely with distributors.

That system, however, has largely disappeared. Today, talent agencies and corporate studios dictate terms, inflating actor fees and shifting decision-making away from traditional producers. “Previously, we had control,” Vasvani said. “Now, we’re just a cog in a corporate machine.”

The entry of major corporate studios has altered the very fabric of filmmaking. Unlike the past, when producers were stakeholders in their own films, today’s industry operates on a hierarchical structure: investors fund corporations, CEOs report to boards, and financial objectives often take precedence over creative vision.

Producer Mukesh Bhatt sees this transformation as a fundamental shift. “Actors have become increasingly complex,” he said. “Talent agencies fuel their egos, making entourages and vanity expenses a norm. The biggest stars I worked with never demanded such luxuries. Now, it’s expected.”

The addition of talent agencies has further complicated the economics of film production. A producer, on condition of anonymity "If I want to make a film for Rs 100, I need to allocate another Rs 100 just for the actor and their entourage," he said. The inflation of production costs is compounding the financial difficulties faced by production houses, making even the most high-profile projects a gamble. 

Explaining further, he said the rather recent fad of ‘entourage’ of an actor has caused a whole lot of trouble for producers. “This consists of hair-and-makeup artists, assistants, security, personal chef, gym trainer and a physiotherapist – this is a normal one. Sometimes the number of these individuals can be higher. Each of them can charge a maximum of Rs 50,000 - Rs 60,000 a day. The hair and makeup department is especially expensive. This can amount to about Rs 1-2 lakh per day, so for a 60-day shoot, apart from the cost of the star, this costs producer more than Rs 1 crore.”

[caption id="attachment_55436" align="alignnone" width="300"]<a href="https://images.storyboard18.com/storyboard18/2025/02/05470dd6-9113-4d7c-85fb-51ccc673e68c-2025-02-d4f3aa154bfcf3acd0c4b49f4d51f2ae.webp"><img src="https://images.storyboard18.com/storyboard18/2025/02/05470dd6-9113-4d7c-85fb-51ccc673e68c-2025-02-d4f3aa154bfcf3acd0c4b49f4d51f2ae-300x300.webp" alt="" width="300" height="300" class="size-medium wp-image-55436" /></a> Once controlled by producers who carefully balanced budgets, the industry is now ruled by talent agencies and big studios, where financial interests often outweigh creative vision. [/caption]

Despite the perception that Indian cinema is thriving - with some films crossing Rs 100 crore, Rs 200 crore, and even Rs 500 crore - the financial reality is often less rosy. Vasvani points out that reported earnings can be misleading. “When I made a film in the past, my profits directly impacted my lifestyle. Today, reported earnings don’t always reflect actual revenue,” he said.

Box office figures, he argues, are frequently exaggerated. “Only the CEOs of multiplex chains truly know how much foot traffic their theaters see and how much revenue they generate from exorbitantly priced concessions,” Vasvani said. With advertising covering every inch of multiplexes and ticket prices soaring, cinemas are generating record revenues. Yet, producers often receive only a fraction of the earnings.

Bhatt is even more blunt. “Our industry is built on deception. Fake box office numbers, inflated social media buzz - who are they fooling?” he asked. “Movies are no longer made; projects are manufactured.”

Film trade analyst Fenil Seta says, “An actor has different ways of earning money – through brand endorsements, public appearances etc. But a filmmaker can earn only making films and if the economics doesn't match repeatedly, the producer might shut shop and this will ultimately affect the industry. An actor's fee now takes up a major chunk of the budget, but the film which struggles to get an initial opening. In such a scenario, everyone wonders how why did the producer even agree for an obscene amount in the first place? Ideally, all major actors should opt for profit sharing."

Hollywood, Bhatt points out, operates differently. "In the U.S., actors often take a stake in a film’s profits. If a film makes Rs 600 crore, the star shares in the earnings. That’s fair business. Here, actors demand sky-high fees upfront, leaving producers with little to work with.

A few actors have started embracing the Hollywood model, opting for profit-sharing over fixed fees. This shift could bring a much-needed correction to the industry, ensuring that both artists and producers have a vested interest in a film’s success.

But Bhatt remains skeptical that change will come easily: “Either the industry dismantles it entirely, or we wait for a new generation to replace the old guard.”

Karan Johar in an interview had spoken about the exorbitant amount of money the actors charge. “There are about ten viable actors in Hindi cinema, and they are all asking for the sun, moon, and earth. So, you pay them. Then you pay for the film and the marketing expenditure. And then your film doesn’t do the numbers … How’s that math working?” Johar told YouTube host Faye D’Souza in an interview on her channel.

Actor John Abraham, who is a producer as well, addressed the issue of high actor fees and entourage costs in an interview with The Hollywood Reporter India. He expressed concerns about the financial strain these expenses place on the Hindi film industry, stating, "​It’s already hurting Hindi cinema. At this point in time, we shouldn’t be paying people to act in films because we don’t justify those huge budgets. We can’t load a film with entourage costs as well. It’s ridiculous" He also highlighted the excessive costs of actor entourages, noting that some stylists charge up to Rs2 lakh per day. Abraham suggested that actors should consider reducing their fees and instead take a share of the film's profits, aligning their earnings with the movie's success.

Filmmaker Zoya Akhtar, during a directors' roundtable hosted by The Hollywood Reporter India, spoke about the issue too. Johar emphasized the need for male actors to reassess their remuneration and Akhtar responded by saying, "...But Karan, you have to just stop paying. You have to stop paying. That's it."

<a href="https://www.storyboard18.com/how-it-works/from-scripts-to-screens-heres-how-ai-is-redefining-indias-entertainment-landscape-53192.htm">Also Read: From Scripts to Screens: Here's how AI is redefining India’s entertainment landscape</a>

Rising actor fees and corporate control: Is Indian cinema losing its soul?

When filmmaker Anurag Kashyap recently watched the British Netflix series Adolescence, he didn’t just walk away impressed — he walked away furious. In a series of social media posts, he openly wrestled with feelings of envy and creative frustration, lamenting that a show so raw, ambiguous, and emotionally uncompromising would likely never be greenlit by Netflix India.

Kashyap accused the streaming giant Netflix of double standards — celebrating bold storytelling abroad while playing it safe at home. He questioned whether Indian creators were ever truly trusted with the kind of narrative freedom Adolescence embodied.

His frustration mirrors a broader unease brewing among Indian creators. Has the OTT revolution become too risk-averse, too data-led and too scared to trust artistic instinct?

They Came to Make Money, Not Art

"OTT platforms came to India not to raise the standards of Indian Content, but to make money. The US and Europe markets have plateaued... foreign OTT platforms need new growing markets like India especially as they are no longer welcome in China," states filmmaker Shekhar Kapur.

With this declaration, Kapur lays bare what many in India’s creative ecosystem have long suspected but rarely said aloud. The platforms that once promised to democratize storytelling and liberate Indian creators from the box office, are now boxed in by the very commercial priorities they claimed to transcend.

Film critic Fenil Seta observes that there is a tonal difference between global Netflix originals and Indian ones. “Indian creators and showrunners tend to play safe and follow a formula. Ironically, the reason audiences loved OTT in the first place is because it didn’t deliver formulaic content.”

Seta points out that while algorithms aren't inherently problematic, the over-emphasis on them is damaging creativity. “It was shocking to read editor Antara Lahiri stating that she is told to add engagement points at the 2nd minute or 7th minute. Such practice should be stopped immediately."

According to a FICCI-EY report, around 500 Indian films released on digital platforms in 2024—a 20% rise from 2023. But within that growth, direct-to-digital releases saw only a slight bump: from 57 to 60 titles. Platforms rationalized their spending, looked for theatrical marketing bump, and tried to cut losses.

This slow growth shows that while OTT libraries are expanding, bold originals that skip theatres entirely are still a rare breed.

"Too Bold” for Whom?

Jackie J. Thakkar, Creative Director with a leading OTT platform, weighed in on the debate sparked by criticism that Indian streamers wouldn’t back a show like Adolescence. “It’s unfair to target one OTT platform in particular but yes, I partially agree that Indian OTT platforms tend to play it safe compared to their international counterparts... Perhaps Mr. Kashyap’s remarks were pointed at how Indian OTT head-honchos have been playing it too safe when it comes to homegrown content.”

He adds, “In today’s socio-political climate, nobody can say for sure what is 'too bold'... If the content is unnecessarily too political, too sexually provocative or has too much gratuitous violence... then it at least warrants toning down, if not a whole revamp.”

And the process reflects that. “Before any project is greenlit, it has to undergo an exhaustive process of rewrites, feedback loops and due diligence so as to tone down the provocative nature of the content—without affecting its entertainment value.”

In essence, storytelling today doesn’t stop at the script—it’s re-optimized for brand safety, social temperature, and subscriber retention.

MBAs, Metrics and Market Caution

Kapur questions whether current OTT content heads even need to exist. “I told the content team of a very large OTT platform that they are in the cusp of losing their jobs. AI can do their jobs more efficiently, faster, and far far cheaper than their combined salaries. Not tomorrow, but today.”

He continues, “Why should we expect MBAs to understand content?”

Chandrashekhar Mantha, Partner, Media & Entertainment Sector Leader, Deloitte India, agrees that platforms are cautious. “The OTT content space may like to tread with a low-risk approach. Content decisions have numerous considerations including a mix of algorithm-driven commissioning models and local regulatory considerations.”

He adds, “Unlike global platforms that celebrate bold narratives, Indian OTTs attempt to balance bold storytelling with cultural acceptance... Brand safety and advertiser pressure also shape content choices, especially for ad-supported platforms.”

Kapur acknowledges that there’s also a silver lining. “More actors, writers, and directors are working than ever before. New talent has emerged and new stars are born. Manoj Bajpayee is just one example.”

Shows like Panchayat and The Family Man have found both popularity and praise, proving that good content can still rise.

Smarter Risks, Not Just Safer Bets

Mantha believes that even within certain constraints, there is room for strategic creativity. “Opportunities exist for innovation within these constraints, requiring smarter storytelling and strategic risk-taking to keep audiences engaged.”

Thakkar concurs that OTT platforms must stay audience-first. “If the subscriber-base shows an affinity for a particular influencer, platforms will get them attached to scripts... Platforms and influencers realise that making shows or movies are businesses that run on grabbing eyeballs.”

So is there hope? Yes but not without recalibrating how risk, realism, and reward are balanced. If OTTs want to avoid turning into formula factories, they will need to reconnect with what drew viewers to them in the first place—freedom, freshness, and the courage to take creative risks.

Read More: <a href="https://www.storyboard18.com/how-it-works/indias-ott-showdown-regional-titans-challenge-global-giants-41948.htm" rel="noopener" target="_blank">India’s OTT showdown: Regional titans challenge global giants</a>

Creative control or creative caution? What’s really driving content choices on Indian OTTs

The over-the-top (OTT) platforms can become a goldmine for brands amid the gradual penetration of this segment into the country's interior geography, according to Ajit Varghese, Head of Revenue, Entertainment & International at JioStar. During the FICCI Frames 2025 event, Varghese said the OTT industry has automatically filtered out India's High Networth Individuals (HNIs). Since the OTT industry primarily relies on a subscription model, Varghese underscored, "Brand will get the attention of premium consumers who are willing to pay or give time, and you are getting specialized content". He added that OTT does not target a single consumer but an entire household. "OTT platforms are giving a metaphor of transacting audience, and eventually, clients want to transact audience because they want people to not only just remember brands, engage, eventually go to the marketplace, and buy," he added.

<a href="https://www.storyboard18.com/digital/india-to-become-3rd-largest-me-market-by-2028-kevin-vaz-at-ficci-frames-2025-60463.htm">'India to emerge as world's 3rd largest M&E market by 2028': Kevin Vaz at FICCI Frames 2025</a>

Notably, advertisers are increasingly struggling with media planning and reach measurement across TV+OTT campaigns. According to the FICCI-EY Media & Entertainment 2025 report, released on Thursday, India's advertising revenue grew by 8.1% led by performance advertising on digital media. 

India has over 70 OTT platforms across entertainment, news, audio, and gaming, which serve ads, sell subscriptions, and engage with viewers. However, high-cost OTT content volumes fell 12% in 2024 as platforms aimed for profitability.

<a href="https://www.storyboard18.com/digital/indias-me-industry-sees-downturn-for-2nd-year-in-a-row-accounts-for-0-73-of-gdp-ficci-ey-60494.htm">India's M&E industry sees downturn for 2nd year in a row, contributes 0.73% to India’s GDP</a>

In 2025, industry experts expect that OTT content volumes will increase, but at a lower average cost of production. Additionally, subscribing households will grow from 47 million to over 65 million by 2027 as per capita income increases and smart TV penetration grows.

Experts pointed out that bundling will play a significant role in growing subscriptions of OTT, with both telco packs and multi-package/ platform bundles being important; "We expect to see more business or library combinations to ensure platforms are in the top two to three subscription preferences of households," the report added.

'OTT platforms help brands transact with premium consumers,' JioStar's Ajit Varghese

A parliamentary committee has recommended that the Ministry of Information and Broadcasting (MIB) establish a Media Council to oversee print, broadcast, and digital media under a unified regulatory framework. The proposal aims to enhance coordination and enforcement of media laws.

<a href="https://www.storyboard18.com/how-it-works/parliament-committee-to-discuss-demands-for-grants-for-mib-on-february-13-55734.htm">Read more: Parliament committee to discuss 'demands for grants' for MIB on February 13</a>

<a href="https://www.storyboard18.com/television/exclusive-parliamentary-committee-meets-ott-players-discuss-ai-and-vulgarity-in-content-56989.htm">Read more: EXCLUSIVE: Parliamentary Committee meets OTT players; discuss AI and 'vulgarity' in content</a>

According to reports, the committee also suggested merging MIB, the Ministry of Electronics and Information Technology (MeitY), and the Department of Telecommunications to address regulatory challenges arising from technological convergence. Meanwhile, the MIB is working on the Broadcasting Services (Regulation) Bill, which would transfer oversight of over-the-top (OTT) content and digital news from IT Rules, 2021, to the ministry. 

Currently, digital news publishers and streaming services are regulated under the IT Rules, 2021, which have faced legal challenges. The MIB has internally discussed expanding the Press Council of India into a broader Media Council through new legislation or amendments, with distinct divisions handling different media formats. While intended as an independent entity, the government seeks to retain emergency blocking powers for national security and public order.

Additionally, the ministry is considering granting the Media Council authority to issue mandatory takedown notices for unlawful content and impose financial penalties for violations. The proposal includes establishing content codes and complaint mechanisms for news platforms.

<a href="https://www.storyboard18.com/how-it-works/ministry-of-ib-budget-got-cut-short-by-rs-675-cr-in-union-budget24-reveals-parliamentary-committee-report-52169.htm">Read more: MIB budget cut by Rs 675 crore in Union Budget '24, reveals Parliamentary committee report</a>

The MIB is also discussing extending regulatory oversight to non-news content on OTT platforms and social media accounts exceeding a follower threshold. Proposals include applying existing program and advertising codes from the Cable Television Networks Act or creating platform-specific content guidelines.

Emergency blocking powers for non-news content may be retained, with final decisions made by an inter-departmental committee. The government is also considering graded financial penalties for content violations across broadcasters, publishers, advertisers, and intermediaries. User-generated content would remain under MeitY’s jurisdiction, raising questions about regulatory overlap.

The broader debate over media regulation continues, as stakeholders watch for policy shifts that could redefine the digital and broadcast landscape.

<a href="https://www.storyboard18.com/how-it-works/mibs-ashwini-vaishnaw-at-storyboard18-dnpa-conclave-govt-working-for-fair-compensation-for-media-houses-57836.htm">Read more: MIB’s Ashwini Vaishnaw at Storyboard18 DNPA Conclave: Govt working for fair compensation for media houses</a>

Parliamentary panel proposes unified media council to regulate digital, print, and broadcast content

The Kochi City Cyber Crime Police have arrested two individuals for their alleged involvement in illegally live-streaming Indian television channels. The suspects are allegedly also part of an international piracy syndicate that streamed banned Pakistani channels through their website. Additionally, they were involved in the unauthorized distribution of the ICC Champions Trophy matches.

According to the Kochi City Cyber Crime Police, media conglomerate Star India had filed a First Information Report (FIR) against two websites—Neeplay and MHD TV World—for illegally streaming channels such as Asianet, Star Sports, Star Vijay, and Disney Channel, among others.

Following an extensive investigation, authorities arrested Shibin (38), from Malappuram, and Mohammed Shefins (32), from Perumbavoor. Both individuals were identified as the administrators of the websites in question. Their illegal activities not only infringed upon copyright laws but also had broader security and legal implications due to their connection with an international piracy network.

Kochi City Police Commissioner Putta Vimaladitya and Deputy Commissioner of Police J. Mahesh led a strategic operation to apprehend the accused. Law enforcement officials meticulously planned and executed a trap to track down and arrest the suspects.

According to a senior police officer involved in the investigation, a breakthrough came when one of the suspects posted a promotional image of Neeplay on Instagram, inadvertently revealing crucial details that helped authorities dismantle the piracy syndicate.

The illegal streaming network was not limited to Indian television content. Authorities revealed that Neeplay and MHD TV World were part of a larger international syndicate involved in broadcasting Pakistani, Sri Lankan, and Bangladeshi TV channels.

When questioned about the possible involvement of international players, the police indicated that one of the arrested suspects had worked in the Middle East for nearly a decade. This raises suspicions of deeper global connections, and the authorities are actively investigating potential links to piracy operations based in Saudi Arabia and other foreign locations.

Streaming or broadcasting Pakistani channels in India is illegal and poses a potential national security threat. The Kerala Police are now considering filing more serious charges against the accused, depending on further investigations.

In addition, the Kochi police have initiated steps to block both the illegal websites to prevent further copyright violations. The suspects will be presented in court, where they may face severe legal repercussions for their involvement in digital piracy.

Law enforcement officials have urged the public to report piracy-related activities and warned that such offenses carry serious legal consequences under Indian law.

In July 2024, the Kerala Cyber Crime Police had arrested Jeb Stephen Raj, a 33-year-old from Madurai, who was involved with the notorious piracy website Tamil Rockers. He was caught in Thiruvananthapuram while illegally recording the film 'Raayan', Dhanush's 50th movie, using a mobile phone covertly placed in a theater seat cup holder. 

Social media blunder helps Kochi police bust international piracy network

WAVES, a Prasar Bharati-owned one-stop-for-all-entertainment OTT platform, has announced a partnership with Eros Now, owned by Eros Universe, a next-generation AI and blockchain-powered entertainment ecosystem. This partnership will deliver diverse, high-quality content, offering hours of entertainment to audiences in India and globally.

WAVES marks a significant step in the Indian government’s vision for an accessible entertainment hub, offering free content even in remote regions of the country. It features not only a diverse range of content for viewing and listening but also free-to-play gaming and e-commerce options through ONDC.

As part of this initiative, Eros Now, powered by Immerso AI, will bring its extensive premium digital library of over 12,000 titles, including films, original series, short-form content, and more across 10 Indian languages, to WAVES OTT. This includes blockbusters like Tanu Weds Manu, Bajirao Mastani, English Vinglish, Desi Boyz, Love Aaj Kal, and many more. This collaboration aims to meet the growing global demand for Indian contemporary and localized content.

This partnership is built on cutting-edge AI and blockchain technology, ensuring seamless integration between the two OTT platforms. Immerso AI’s advanced AI models, which power Eros Now, will drive deeper personalization, enhancing user engagement, content discovery, and localization. With AI-driven recommendations, users will experience content tailored to their unique preferences. Additionally, Prasar Bharati will provide its sports and entertainment content to Eros Now, enriching the viewing experience for Eros Now’s global audience.

Talking about the partnership, Gaurav Dwivedi, CEO, Prasar Bharati, said, “Partnering with Eros Now marks an exciting milestone in our efforts to keep the nation entertained. This collaboration supports our commitment to offering diverse, high-quality programming, powered by cutting-edge technology and exceptional content. Together, we aim to set new benchmarks in digital entertainment and connect with viewers in more meaningful ways.”

Vikram Tanna, CEO, Eros Now, commented, “This partnership with Prasar Bharati represents a significant step in expanding our reach and delivering premium content to a broader audience. By combining our strengths, we aim to redefine the digital entertainment landscape and provide unparalleled experiences to viewers worldwide.”
 
As part of the collaboration, Eros Now will leverage Immerso AI’s next-generation AI-driven capabilities, ensuring hyper-personalized content, immersive storytelling, and seamless content discovery, creating a truly intelligent entertainment ecosystem.

Prasar Bharati collaborates with Eros Universe’s Eros Now; aims to enhance digital content delivery

The All India Digital Cable Foundation (AIDCF) is strongly opposing Free Ad-supported Streaming Television (FAST), alleging that it blurs the lines between traditional broadcasting and internet-based streaming. The cable operators' association has also written to the Ministry of Information and Broadcasting (MIB), urging it to direct these OTT platforms to restrict the transmission of live channels.

AIDCF states that various OTT services—including Zee5, SunNXT, MX Player, Yupp TV, Samsung TV Plus, Vodafone Play, Tata Play, Distro TV, Patchwall+ (Xiaomi), and LG WebOS—are offering live channels to consumers, often appearing to operate outside the scope of the existing Uplinking/Downlinking guidelines issued on November 9, 2022, and its subsequent amendment on March 24, 2023, as well as the IPTV Regulation dated September 14, 2023.

The Telecom Regulatory Authority of India (TRAI), in its January 2025 recommendations on ‘Regulatory Framework for Ground-based Broadcasters’, observed that “FAST channel services, to the extent they are streaming TV channels, are quite similar to traditional broadcasting.” TRAI noted that the issue “needs further examination” and recommended the Ministry of Information & Broadcasting (MIB) to assess whether FAST channels align with the existing regulatory framework and, if necessary, introduce policy guidelines in consultation with TRAI.

Building upon its earlier observations, TRAI, in its February 2025 recommendations on ‘Framework for Service Authorisations for Provision of Broadcasting Services under the Telecommunications Act, 2023’, reiterated its earlier stance over the proliferation of FAST channels in India were “a genuine one” and were “affecting level playing field with respect to the regulated traditional broadcasting ecosystem.” 

TRAI had underscored that “such a regulatory arbitrage is likely to topple the competitive balance in the industry towards such free-of-cost service providers” and emphasized that this “anomaly” could not be ignored. It further asserted that “it was necessary to intervene in the matter to ensure a fair and balanced competitive environment in the sector.”

In a letter to the Ministry of Information and Broadcasting, AIDCF stated, "Unlike traditional distribution platform operators (DPOs), these services do not seem to be subject to the same regulatory scrutiny, potentially creating an uneven playing field for Pay TV operators. This situation is contributing to the decline of the Pay TV market, as these OTT services are not bound by the same content distribution, licensing, and compliance regulations, nor do they adhere to the audit standards established for traditional players."

While acknowledging the benefits of OTT platforms in expanding content accessibility, AIDCF believes that the current regulatory framework needs adjustments to ensure fair competition. The letter further states that the lack of clear guidelines for live channel distribution via OTT platforms is causing significant industry concerns.

A veteran cable operator told Storyboard18, "We urge the MIB to issue an advisory directing these OTT platforms to restrict the transmission of live channels. We also request the Ministry to take strict action against these applications if they are found violating the advisory, downlinking guidelines, or IPTV regulations."

He added, "The government should establish comprehensive regulatory guidelines for OTT platforms offering live TV channels, covering aspects such as content distribution, licensing, and adherence to broadcasting standards—similar to those imposed on Pay TV and IPTV operators."

Cable operators are also demanding that licensing and tax obligations currently applicable to traditional Cable TV, DTH, HITS, and IPTV operators be extended to OTT platforms to ensure market uniformity and fairness.

Another senior cable operator, speaking on condition of anonymity, stated, "From a regulatory standpoint, it is only logical that all entities delivering linear TV content, regardless of their distribution technology, should be subject to a comparable regulatory framework. TRAI has recognized this issue and acknowledged the need for clear guidelines governing linear TV channel distribution via video OTT platforms, including FAST services."

He further added, "TRAI’s recognition of the regulatory gap and its recommendation for clear guidelines is a step in the right direction. Now, the responsibility falls on the MIB to take swift action in implementing a comprehensive regulatory framework that ensures video OTT platforms, including FAST services, are subject to the same standards. This would eliminate preferential treatment, create a fair competitive landscape, and preserve the integrity of the broadcasting ecosystem."

Cable operators are also urging the government to promote and develop IPTV services, such as BSNL IPTV, which operate under TRAI's existing IPTV guidelines and serve as a balanced alternative to OTT and Pay TV offerings.

Cable operators demand regulatory parity as FAST 'blurs' broadcasting boundaries

In an industry where new releases often struggle to captivate audiences, Bollywood has found an unlikely box office savior: the re-release of beloved classics. This growing trend is proving to be a boon for both theaters and moviegoers, generating steady revenue while offering fans a chance to relive their favorite films on the big screen.

<a href="https://www.storyboard18.com/how-it-works/bollywood-classic-andaz-apna-apna-set-to-re-release-after-31-years-in-april-2025-56500.htm">Read more: Bollywood classic Andaz Apna Apna set to re-release after 31 years in April 2025</a>

The latest example is Sanam Teri Kasam, which defied expectations by surpassing its original box office earnings within just two days of its re-release. The 2016 romantic drama, which initially earned Rs 9.1 crore during its first run, amassed a remarkable Rs 32.35 crore nett upon its return to theaters, with a global total of Rs 53 crore. This resurgence follows a similar trajectory to that of Tumbbad, a 2018 horror-fantasy film that saw its lifetime earnings triple after a highly successful re-release in 2024.

Unlike past re-releases, which often filled gaps in the release calendar, Sanam Teri Kasam returned to cinemas in a competitive environment. It faced stiff opposition from new films like Loveyapa and Badass Ravi Kumar, as well as the global re-release of Interstellar. Yet, despite the crowded slate, the film drew audiences in droves, further cementing the viability of this strategy. Other re-released films, including Yeh Jawani Hai Deewani, Zindagi Na Milegi Dobara, Veer-Zaara, and even Disney’s The Jungle Book, have also witnessed enthusiastic responses.

Film critic Fenil Seta attributes this shift in audience behavior to changes in viewing habits following the pandemic. “Before, audiences were willing to take risks on new films, even those with mixed reviews. But the lockdown disrupted that habit, especially in India, where theaters remained closed for nearly two years—far longer than in the West. Ticket prices have also risen considerably, making audiences more cautious about what they watch. Re-releases, often priced at a maximum of Rs 149, offer an attractive, low-risk alternative.”

For filmmaker Divyanshu Malhotra, nostalgia remains the driving force behind the success of re-releases. “People want to revisit films they now understand more deeply than they did upon first viewing. Watching these movies with a group of like-minded fans ensures a shared, enjoyable experience. With new films, opinions vary, but with a re-release, audiences already know what they’re getting—it’s a guaranteed hit for those who choose to attend.”

Malhotra also sees the trend as an opportunistic response to the underperformance of contemporary releases. “What began as a stopgap measure—giving theaters something to show in a post-2023 slump—has evolved into a legitimate business model. Distributors and producers have recognized the profitability of intellectual property rights, repackaging old successes for a new audience. Nostalgia sells, and with a scarcity of truly great films, it makes financial sense to capitalize on what’s already proven.”

Industry analyst Girish Johar echoes this sentiment, suggesting that a mix of industry strategy and audience preference has fueled the resurgence. “If new films were consistently drawing audiences, there would be less emphasis on re-releases. But many classic films remain available online, on YouTube, and across streaming platforms. Yet, people still opt to see them in theaters—it’s a sign that there’s a demand.”

However, Johar remains unconvinced that this trend will last indefinitely. “It’s just a phase. Moviegoing has shifted from a habitual activity to an event-driven experience. People now choose films more selectively, prioritizing spectacle and nostalgia over casual, routine viewing.”

The question remains: how long can Bollywood sustain this wave of re-releases? While some predict the trend will wane once fresh, compelling stories emerge, others argue that periodic re-releases could become a staple of the industry, much like anniversary screenings in Hollywood. For now, Bollywood’s rediscovery of its past serves as both a celebration of cinematic history and a testament to the enduring appeal of storytelling that refuses to fade with time.

<a href="https://www.storyboard18.com/how-it-works/bombay-to-goa-to-yeh-jawaani-hai-deewani-why-bollywood-classics-are-back-on-big-screens-52342.htm">Read More: 'Bombay to Goa' to 'Yeh Jawaani Hai Deewani': Why Bollywood classics are back on big screens</a>

Bollywood’s nostalgia boom: Surprising success of Bollywood’s re-release trend

As India’s entertainment industry flourishes in the digital age, it finds itself locked in an escalating battle against online piracy, a force that continues to erode revenues and threaten the sustainability of streaming platforms. Despite significant investments in security measures and anti-piracy technologies, premium content is often leaked online within minutes of its release, showing the magnitude of the challenge.

File-sharing platforms, encrypted messaging apps, and shadowy websites serve as the conduits for illicitly distributed content, often operating beyond the reach of authorities. While entertainment industry leaders have joined forces with cybersecurity firms and law enforcement agencies in an effort to combat the problem, experts argue that a more aggressive, industry-wide approach is necessary to curb piracy effectively.

Even as streaming platforms offer increasingly affordable subscription plans, the lure of free content remains strong. “Despite reasonably priced subscriptions and even free-to-view content, piracy continues unabated,” said a producer, speaking on the condition of anonymity. “People rely on piracy out of convenience rather than necessity. Many are unaware that they are engaging in an act that is not just unethical but criminal.”

A 2023 report by Ernst & Young Global Limited (EY) and the Internet and Mobile Association of India (IAMAI) revealed the staggering financial toll of piracy. The Indian entertainment industry suffered an estimated loss of Rs 22,400 crore, with Rs 13,700 crore lost from movie theaters and Rs8,700 crore from over-the-top (OTT) streaming platforms. The report also found that 51 percent of Indian consumers accessed content from pirated sources, with streaming accounting for 63 percent of the pirated material, followed by mobile applications.

The demographics of piracy are telling. According to the EY-IAMAI report, 76 percent of individuals who accessed pirated content were between the ages of 19 and 34. A striking 84 percent of respondents admitted they preferred not to pay for movie tickets, while 70 percent expressed no interest in subscribing to OTT platforms. The findings point to a broader mindset — one that values high-quality content but resists paying for it.

The issue is hardly new. As early as the late 2000s, a report from the Producers Guild of India estimated that piracy and counterfeiting cost the country’s media and entertainment industry around 820,000 jobs and an annual revenue loss of $4 billion. While Bollywood remains one of the most prolific film industries in the world, its revenues pale in comparison to Hollywood, bringing in just 2 percent of what its American counterpart earns.

The financial incentives for piracy are vast. Girish Johar, a producer and film business analyst, described the practice as a “nuisance” but acknowledged its profitability. “Some people pirate content just to disrupt the system, gaining notoriety within dark web communities,” he said. “But there’s also money to be made — piracy platforms profit from advertising revenue, subscriptions, and illicit file-sharing networks.” Despite extensive protective measures, content continues to surface on unauthorized platforms. “Pirates are adept at masking their tracks, making it difficult to trace their operations. This is not limited to India — it is a global problem that requires global solutions,” Johar added.

Among the most elusive piracy hubs are decentralized platforms such as Telegram and Popcorn Time. These services, often encrypted and reliant on internet freedom laws, make enforcement exceptionally difficult. “Telegram, for example, allows users to share large files within private or semi-private groups, which makes takedown requests an uphill battle,” said Santosh Bengre, Head of Online Reputation Management at Ai Plex, an anti-piracy firm. “While we have had some success in disrupting piracy channels, it remains a game of cat and mouse.”

Despite the deployment of advanced anti-piracy technologies — such as Digital Rights Management (DRM), forensic watermarking, and anti-capture tools—leaks continue to emerge. “While these tools deter piracy, they are not foolproof,” Bengre said. “Pirates exploit loopholes, using screen recording, camcorder captures in theaters, playback manipulation, and even token duplication to circumvent protections. Forensic watermarking helps trace the source of a leak, but it does not prevent piracy — it only helps identify where the breach occurred.”

Complicating matters further, many rogue websites employ offshore hosting, anonymous domain registration, and rapid server switching to evade shutdowns. Even when authorities manage to take legal action, mirror sites and alternative domains appear almost instantaneously. Some piracy sites generate revenue through digital advertising and cryptocurrency, allowing them to sustain operations despite repeated enforcement efforts.

As digital consumption continues to rise, so too does the sophistication of piracy networks. Addressing this challenge will require more than just technological innovation; it demands stronger legal frameworks, global cooperation, and a shift in consumer attitudes. While industry stakeholders continue to explore new ways to protect their content, one thing is clear: piracy remains an existential threat, and tackling it will require a relentless, unified effort.

<a href="https://www.storyboard18.com/how-it-works/piracy-paces-up-in-india-indias-piracy-economy-stood-rs-224-billion-in-2023-reveals-ey-iamai-report-45825.htm">Read More: Piracy paces up in India! India’s piracy economy stood Rs 224 billion in 2023, reveals EY-IAMAI Report</a>