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In a panel discussion at APOS Bali, Indonesia 2025, created and curated by Media Partners Asia (MPA), Gaurav Gandhi, Vice President, Asia Pacific & MENA, Prime Video, Nikhil Madhok, Director & Head of Originals, Prime Video, India, and Amogh Dusad, Director & Head of Content, Amazon MX Player, at APOS Bali (Indonesia) 2025, shared their views on Amazon’s strategy of having two different streaming services in India. 

During the panel discussion, moderated by Vivek Couto, Managing & Executive Director, Media Partners Asia, Gaurav Gandhi talked about the two-platform strategy behind two distinct streaming platforms, SVOD-led Prime Video and AVOD-led Amazon MX Player in India, stating, “India is a really heterogeneous and diverse country with customers having very different needs. Both the services address two different sets of customers – Prime Video caters to customers who are subscription-ready, who have actually transitioned to streaming as their first choice or the only choice of entertainment. While Amazon MX Player is aimed at customers who are now transitioning from traditional media – TV or are still on it, but are not subscription-ready yet, though they are seeking high-quality premium content.” 

He further explained that Prime Video enjoys strong penetration on living room devices, while Amazon MX Player reaches over 250 million users, many of whom access the service on mobile devices and on-the-go. Talking about the content strategy, he highlighted that Prime Video offers premium, high quality, and cinematic Originals, global content, programming in 10 Indian languages. As an entertainment hub, Prime Video also offers add-on subscriptions to services like Apple TV and many others in addition to movie rentals (TVOD). Amazon MX Player's content strategy, on the other hand, is centred on scripted dramas, as well as a sharp focus on unscripted content, dubbed content from around the world, and now short-form content.

Elaborating further on Prime Video’s content strategy, Nikhil Madhok, Director & Head of Originals, Prime Video, India said, “We were very clear from the start that the local content in India had to be highly differentiated from television, but at the same time, when it lands up on the service, sitting next to our international content, it must be equally compelling, if not more. As such, we've been very clear about bringing premium, nuanced, segmented, and highly differentiated cinematic quality Originals. So, the investments that we're making in the production quality for these Originals is way higher than linear television, and closer to cinema. And that's why we've been able to create franchises like Made in Heaven, The Family Man, Paatal Lok, Call Me Bae, amongst others, which have become bigger with every season.” Nikhil also highlighted how Prime Video customers are looking for something a little deeper than surface-level plot lines or simple genres, “That's why we think very deeply about themes, and not just genres. For example, earlier this year, we launched a horror show called Khauf. However, at its core, it is really about young women and the challenges that they face when they live in large cities. It's about dealing with and overcoming trauma, with the genre of horror serving as the packaging. Similarly, another important theme is connecting with the roots. A lot of urban audiences living in big cities can sometimes feel a little disconnected with their roots and yearn for simpler times. Originals like Dupahiya and Panchayat do very well because it brings the viewers back to that world and time in their lives.” He also spoke about the need to segment content and offer customers variety for consumption, in terms of Indian and international content, themes, genres, languages, formats (series and movies), and more. 

Talking about Prime Video’s movie strategy that involves licensing, direct-to-service premieres, Original movies, co-productions, and more, Nikhil explained Prime Video’s role in taking movies pan-India through localisation. Since 2020, Prime Video has premiered over 65 movies across 6 languages directly-on-the-service, while continuing to focus on licensing movies for streaming premieres post their theatrical release. Over the past few years, Prime Video has also co-produced movies with leading Indian studios, premiering them first in theatres, as well as produced Original movies for streaming.

“But what I'm most excited about is what we're doing now as part of Amazon MGM Studios, where we are creating a very exciting theatrical slate,” he added, “These are originally produced movies by Amazon, which will release in theatres directly. We recently announced Nishaanchi, directed by Anurag Kashyap, which will release in theatres this September. I'm happy to share that starting 2026, we will be releasing four to six movies in theatres every single year.” 

Amogh Dusad, Director & Head of Content, Amazon MX Player, elaborated on the content strategy of the service stating, “We obviously acknowledge the vast diversity and multiple cohorts that might exist between the 250 million strong user-base that we have. So, it is a fairly heterogeneous market socio-culturally, and we draw the themes for our content from customer learnings. For example, themes of inspiration and aspiration resonate with customers because these are people who really want to go up the socio-economic ladder, and rags-to-riches stories or content about an underdog’s journey strike a chord with their lives. Similarly, we have a franchise called Hustler, which actually delves into the start-up hustle culture, and that resonates a lot with young customers. Content that can help customers escape the day-to-day life and mundanity of everyday routine works well too, whether it's from any form of a large show like Aashram, which has had more than 200 million streamers in the country, or through the international dubbed content that we are localizing, which gives viewers a window into a different world, and effectively serves that need of escapism that they seek.” Amogh also explained how Amazon MX Player is intentional about the cadence with which the service launches new shows, and also aims at bringing new seasons of franchises to customers sooner than other streaming services.

At the session, Amogh announced that Amazon MX Player would be launching MX Fatafat, micro-dramas meant for today’s mobile-first audiences. On the vision and strategy behind this, he shared that the evolution in storytelling needs innovation not just in narrative but in format. Many viewers primarily use mobile devices, seeking quick entertainment during brief moments throughout their day. That’s where MX Fatafat—serialized stories told in short, one-to-two-minute episodes, with 80 to 100 episodes per series, in vertical format—comes in. “MX Fatafat is a fresh approach, requiring unique writing and production methods, and we are looking forward to launch it later this year,” he added.

Addressing the question on whether Amazon approaches creator partnerships differently for Prime Video and Amazon MX Player, Gaurav shared, “Supporting the creative economy in India is very intentional on our part across Prime Video and Amazon MX Player – whether it was about building cinematic long-form storytelling in India, which didn’t actually exist, to actually bringing learnings from around the world to better equip our partners, to even thinking about how we can get new creators and technicians on shows – over 50% of Prime Video’s originals in development and production feature new talent either in front of or behind the camera. One of our big successes this year, Dupahiya came from absolutely new, first-time creators, so the intentionality is really important.” He also explained how taking Indian content to pan-India and global audiences has actually helped increase the Total Addressable Market for storytellers. He emphasized that with MX Fatafat, Amazon MX Player is unlocking a new wave of first-time creators by actively co-creating content with emerging talent.

Talking about content investments, Gaurav shared that Amazon remains optimistic about the overall streaming landscape in the country and is continuing to invest in content through Prime Video and Amazon MX Player. Looking ahead, he shared, Amazon sees significant opportunities in both, ad-supported and subscription-based services, emphasizing that it is still early days for streaming in India. 

<a href="https://www.storyboard18.com/special-coverage/policymakers-and-industry-stalwarts-to-headline-storyboard18s-digital-entertainment-summit-2025-71747.htm">Read More: Policymakers and industry stalwarts to headline Storyboard18’s Digital Entertainment Summit 2025</a>

Over 50% of Prime Video Originals feature first-time talent

The Ministry of Health and Family Welfare concluded its final round of consultations this week on draft rules that would bring Over-the-Top (OTT) platforms under the same tobacco advertising restrictions that govern films and television broadcasts, as per reports. 

The proposed rules, introduced in 2024 under Section 5 of the Cigarettes and Other Tobacco Products Act (COTPA), 2003, seek to curb both direct and indirect promotion of tobacco products in digital content. The move comes amid rising concern over the influence of on-screen smoking depictions, particularly on younger audiences.

Public health officials pointed to research, including a 2019 study published in the British Medical Journal, which found tobacco imagery in nearly 60 percent of episodes across multiple seasons of shows on leading streaming platforms. Regulators emphasized the need for health warnings, clearer guidelines and stronger safeguards to protect adolescent viewers.

Industry representatives, while broadly supportive of the public health objectives, voiced apprehensions over the practical challenges of implementation. Concerns were raised about the financial burden of compliance, operational complexity and the potential impact on creative expression.

According to officials, 41 formal submissions were received during the consultation process. The majority backed the proposed framework, while a smaller number called for greater flexibility in execution. In response, regulators offered a six-month window for compliance, allowing platforms time to adjust to the new requirements.

The draft rules now move into the finalization phase, highlighting the government’s intent to bring digital media in line with its broader tobacco control policies, a regulatory shift that may have far-reaching implications for the booming streaming industry.

<a href="https://www.storyboard18.com/brand-marketing/quick-commerce-boom-faces-backlash-over-food-safety-failures-69885.htm">Read More: Quick commerce boom faces backlash over food safety failures</a>

Health ministry wraps final consultation on tobacco rules for streaming platforms

Pritish Nandy Communications (PNC) has announced its financial results for the third quarter (Q3) and the nine months ending 31st December 2024, following a board meeting today.

For Q3, the company reported an income of ₹326.36 lakh but recorded a post-tax loss of ₹36.52 lakh. Over the first nine months of the 2024-25 financial year, total income stood at ₹2,628.99 lakh, compared to ₹2,937.70 lakh during the same period in 2023-24. The company also reported a loss of ₹55.80 lakh in the current period, a significant decline from the ₹122.15 lakh profit posted last year.

Upcoming Projects
Despite financial losses, PNC continues to expand its content slate. The company has begun pre-production for Season 4 of its Emmy-nominated series Four More Shots Please! Filming will start in Q4, with Kirti Kulhari, Sayani Gupta, Maanvi Gagroo, Bani J, Prateik Babbar, Lisa Ray, and Milind Soman reprising their roles. Three new characters will also join the cast. The series is written by Devika Bhagat, with dialogues by Ishita Moitra, and will be directed by Arunima Sharma and Neha Parti Matiyani.

PNC is also set to launch a new Amazon Original series, Xiddi Girls on Prime Video on 27th February. The eight-episode drama follows a fresh batch of Gen Z students entering a Delhi college, navigating the highs and lows of youth. Created and showrun by Rangita and Ishita Pritish Nandy, the series is directed by award-winning filmmaker Shonali Bose, with writing and direction from Vasant Nath and Neha Veena Sharma.

In addition, Netflix recently announced PNC’s latest project, The Royale, as part of its 2025 India slate. The series reimagines romance against the backdrop of royalty and modern India, where startup entrepreneurs challenge old-money elites. Created by Rangita and Ishita Pritish Nandy, the show stars Bhumi Pednekar and Ishaan Khatter, alongside an ensemble cast featuring Zeenat Aman, Sakshi Tanwar, Nora Fatehi, Milind Soman, Dino Morea, Chunky Pandey, Sumukhi Suresh, Vihaan Samat, and Lisa Mishra. The series is written by Neha Veena Sharma and directed by Priyanka Ghose and Nupur Asthana.

Alongside these projects, PNC has several new series and films in development at its creative studio. The company remains committed to expanding its storytelling in India and globally, despite the recent financial setbacks.

Pritish Nandy Communications unveils new shows despite ₹36.52 lakh Q3 loss

Netflix is gearing up for a significant year in 2025, with plans to increase its cash content spending to a record $18 billion. The streaming platform aims to strengthen its position as a global leader in entertainment by focusing on major content areas, live programming, and interactive entertainment, such as games. These investments are part of a broader strategy to achieve 12-14% revenue growth and improve operating margins, while also enhancing the overall user experience.

The announcement follows Netflix’s robust performance in the final quarter of 2024, as revealed in its October-December earnings report on 21st January. The company added nearly 19 million new subscribers during the holiday season, bringing its total subscriber count to over 300 million. This achievement highlights Netflix's continued ability to captivate global audiences with a diverse range of content.

Strong 2024 Performance Boosts Netflix’s Market Confidence
Netflix’s end-of-year performance was bolstered by a stellar lineup, including the much-anticipated second season of its global phenomenon, Squid Game. The dystopian Korean horror series remains Netflix’s most-watched TV show to date, drawing viewers from across the world. This content success, coupled with strategic price hikes in key markets like the United States, contributed to a 14% surge in Netflix’s stock price, which reached $993 in after-market trading.

As Netflix moves into 2025, it plans to expand its offerings beyond traditional streaming. Live events and interactive entertainment, including gaming, will play a central role in its growth strategy. These new avenues are expected to attract a wider audience and deepen engagement with existing subscribers.

Driving Innovation and Global Reach
In addition to content expansion, Netflix is investing heavily in product innovation and an enhanced user experience. These initiatives are designed to maintain its competitive edge in an increasingly crowded streaming market. By combining high-quality programming with interactive entertainment, Netflix is positioning itself to meet the evolving preferences of its global audience.

The company’s ambitious $18 billion budget reflects its commitment to long-term growth. With over 300 million subscribers and a strong market presence, Netflix is well-placed to remain a dominant force in the entertainment industry for years to come.

<a href="https://www.storyboard18.com/digital/netflix-and-prime-video-dominate-hindi-content-while-disney-hotstar-shines-in-regional-languages-54353.htm">Read More: Netflix and Prime Video dominate Hindi content, while Disney+ Hotstar shines in regional languages</a>

<a href="https://www.storyboard18.com/digital/youtube-netflix-prime-video-smash-records-in-dec-2024-fueled-by-christmas-holiday-football-54283.htm">Read More: YouTube, Netflix, Prime Video smash records in Dec 2024, fueled by Christmas holiday, football</a>

Netflix to boost content spending to $18 Billion in 2025

India's love for streaming continues to soar, with Netflix, Disney+ Hotstar, and Prime Video leading the way in 2024. Ormax Media’s latest report, Streaming Originals in India: 2024, dives into the most popular original shows and films across Hindi, International, Telugu, and Tamil languages. The rankings are based on three key factors: viewership, marketing buzz, and content strength.

The report focuses exclusively on original content, leaving out theatrical films, catch-up TV, sports, and similar categories. However, it does give a special mention to India’s Got Latent, a popular show on YouTube, noting it could have ranked among the top three if YouTube originals were included.

Netflix dominated the list of the 15 most-watched Hindi streaming shows of 2024, while Prime Video’s Mirzapur Season 3 claimed the top spot, surpassing 30 million viewers. Shows produced by TVF took three of the top four spots on the "Most Liked" list, with Prime Video’s Panchayat Season 3 earning the title of the most-liked Hindi series, followed by Disney+ Hotstar’s The Legend of Hanuman.

<strong>International Success: Squid Game Stands Tall</strong>
Among international originals, Netflix’s Squid Game Season 2 emerged as a powerhouse, becoming India’s most-watched international original of all time. It also became the second most-buzzed-about international show to date, trailing only behind Money Heist Season 5. Despite these successes, 2024 saw few breakout international films, with Prime Video’s Road House being the sole title to cross the 5 million viewership mark.

Disney+ Hotstar asserted dominance in regional content, claiming seven out of the top 10 spots in Tamil originals. Its Chutney Sambar was the most-liked Tamil property of the year, followed by Prime Video’s Inspector Rishi, the most-watched Tamil original of 2024.

In Telugu, Disney+ Hotstar also outperformed competitors, continuing its stronghold in regional markets.

When it comes to direct-to-OTT films, Netflix reigned supreme. The top three most-liked films of 2024 all belonged to Netflix, with Maharaj taking the top spot. In total, six of the eight films that crossed the 60-mark for "Most Liked" were Netflix productions.

As 2024 closes, the dominance of Netflix, Disney+ Hotstar, and Prime Video across different categories highlights their growing impact in shaping India’s streaming habits. With strong competition in both Hindi and regional content, and international hits like Squid Game continuing to captivate audiences, India’s streaming landscape remains dynamic and diverse.

Netflix and Prime Video dominate Hindi content, while Disney+ Hotstar shines in regional languages

The regional content space in India is growing at an impressive rate. There are several examples of successful vernacular ventures in the country as well. While many have looked to the West for inspiration, regional OTT players believe there is much more to learn from Korea than from Hollywood.

Speaking at the India Digital Summit, Ajit Thakur, co-founder of Aha, a regional OTT platform serving the Tamil and Telugu-speaking diaspora, shared his thoughts on this, saying that Korea has more to offer than Hollywood.

“It has a lot to do with the kind of distribution, marketing, and the single-minded love for fantasy they have in any genre, that their content is so successfully distributed globally. Today, Korean studios are making some of the biggest Hollywood shows that are an adaptation of Korean shows,” Thakur said. While regional content has gained a strong following within India, it has yet to make a significant impact on the global stage.

When asked if Indian languages could follow the global success of Korean or Japanese content, Vinay Singhal, CEO of STAGE Technologies, said, “It has started happening within our subcontinent. One of our Haryanvi films garnered a massive audience across India, from Lucknow and Patna to the far east in Nagaland.

This success sparked a belief that one day, any content in Haryanvi, Rajasthani, or any regional language, can achieve international recognition, like at the Oscars." STAGE is an OTT platform offering content in Haryanvi and Rajasthani languages.

Another key to success for vernacular ventures, as discussed during the session, is owning the technology. Soumya Mukherjee, CEO of Hoichoi, a Bengali-based OTT platform, shared how they are now developing their own technology as part of their growth. “We’ve begun developing our own front-end applications and are on the verge of launching our own back-end systems. This will give us complete end-to-end control over our platform,” Mukherjee said.

Vinay Singhal also commented, “I believe there’s immense value in owning your own technology. This goes beyond cost savings. It provides unparalleled control over marketing, experimentation, and customer acquisition funnels, which ultimately outweighs any initial investment. In our case, owning our technology significantly improved our marketing efficiency and helped us address the challenge of high customer acquisition costs. I believe this strategy should be considered by all companies.”

<strong>Changes Needed</strong>
On the topic of bringing regional OTTs into the mainstream, Thakur believes that the platforms need to become “a lot more interactive” to keep the younger generation engaged. He also stressed the importance of making the apps much lighter. Thakur suggested that a more intuitive recommendation engine could further enhance the experience for users of regional OTT platforms.

Korea teaches us more than Hollywood: Aha co-founder at India Digital Summit

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Storyboard18’s new ‘month in focus’ initiative spotlights themes and topics are pushing marketers to reshape and rethink how brands interact with today’s customers. Storyboard18’s theme for this month is ‘stacks and strategies’, a martech, ad tech spotlight presented by Voot. The series focuses on how decision-makers and marketers are advancing the adoption of new technologies and tech-driven strategies in the brand marketing ecosystem. Today’s panel discussion is about evolving OTT content consumption patterns and how brands and advertisers are levelling up their strategies. Gourav Rakshit, COO, Viacom18 Digital Ventures, and Shashank Srivastava, senior executive director, marketing and sales at Maruti Suzuki, share their thoughts.

GSK Consumer Healthcare’s antacid brand, Eno, has completed 50 years in India. Over the past 50 years, Eno has consciously leveraged humour as a tool to communicate and create awareness around acidity. Its quirky approach has translated into iconic campaigns that have evolved from print to TV and now digital platforms. Anurita Chopra, Head-Marketing, India sub-continent at GSK Consumer Healthcare India, spoke about the brand journey and what lies ahead.

<em><strong>For the entire show, watch the accompanying video</strong></em>
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Viacom18 and Maruti Suzuki on rise in OTT consumption; Eno celebrates 50 years in India

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