Adtech regulation a priority for Modi govt in third term: MoS Rajeev Chandrasekhar

Credibility of news and platforms are as important as monetisation challenges: Anurag Thakur

HUL: Meet the leaders who have emerged from "The CEO Factory"

Punit Goenka addresses Zee employees; ensures no layoffs due to failed merger

Disney's strategic sale to Viacom18 set to boost market share to 40 percent

The Leader's Edge: Storyboard18 in conversation with leaders, decision makers and disruptors

Nobody’s Perfect Retro Porsche Ad

In Conversation With Raja Rajamannar, Mastercard

Shahid Kapoor And Varun Ganjoo Speaks On PokerBaazi's Campaign

In conversation with IHCL’s Puneet Chhatwal & GroupM’s Kate Scott-Dawkins

Why are brands including e-sports in their sports marketing itinerary?

Storyboard18 x The English Nut: How to pronounce these 10 brand names

Experts' Take On Reinvention Of Ad Campaigns Through Technology

Experts Speak On Key Emerging Trends In Cannes Lions Entries

Leaders of the future have to be outstanding human beings: Nestle MD

In conversation with VMLY&R’s Hari Ramanathan

Header Menu

Latest News

Brand Makers

Gaming News

Brand Marketing

Media News

Special Coverage

Header Sub Menu

Digital Entertainment Summit

Delhi Literature Fest

Share the Spotlight

Global Pioneers Summit

Power of Purpose

The Visionaries

DNPA

About Us

Hamburger Menu

Quantum Brief

#FreeOurSkylines

Watch.Listen

Advertising

Agency News

Media

Interviews

As YouTube prepares to enforce its stricter monetisation policies from July 15, 2025, the Indian creator community is divided but largely supportive of the platform’s attempt to clean up what many call a cluttered and exploitative ecosystem. Under the updated YouTube Partner Program (YPP) guidelines, creators uploading repetitive, reused, or mass-produced content will no longer be eligible to earn revenue, a move YouTube says is aimed at rewarding authenticity and curbing low-effort content farming.

Read more:<a href="https://www.storyboard18.com/brand-marketing/campaign-turnaround-down-70-production-costs-cut-by-85-how-indian-brands-are-letting-ai-take-over-creative-wheel-72438.htm"> Campaign turnaround down 70%, production costs cut by 85%: How Indian brands are letting AI take over creative wheel</a>


The update has already sparked intense conversations among digital creators, agencies, and platform strategists. While many see it as a long-overdue step to safeguard originality, others warn that YouTube must clearly define what it considers “low-effort” to avoid unfair demonetisation of niche or experimental content.


“This Was Needed – Creativity Was Becoming a Hack”


Zain Anwar, a YouTuber who creates narrative-driven content, strongly backs the policy. “It’s a fair and much-needed call,” he says. “YouTube was the one place where content — not brands — paid creators. But over time, creators found loopholes to make money through factory-produced, clickbait content. This change will bring the focus back to good storytelling.”

He adds that this isn’t a blanket ban on AI-generated content, but a warning against content mills that rehash the same videos. “The distinction between creating and exploiting the system was getting blurred. This filters out creators who joined just for quick money.”

Vlogger Avinash Dagar echoes this sentiment: “This rule is actually great for real creators. Copied content had flooded the platform. Those who are angry are likely running AI or copy-paste channels.”

Standup comedian Aanchal Agrawal adds that the move will help better content distribution and cut through the clutter of click bait and AI overload. "I think these new policies will give a new boost of motivation to budding creators. This will bring back some integrity and respect too in the content ecosystem for creators who’re genuinely working towards building their brands whether it is by entertainment, educating or any other way."


Impact: Nano and Micro Influencers to Feel the Heat


While macro creators with established formats may continue unaffected, nano and micro influencers — especially those who rely on template-based or reused content — could be the most vulnerable. 

Mohini, a lifestyle YouTuber, points out that nano creators who bank on trending formats, reaction videos, or reused audio-visuals might feel the pinch. But it's an opportunity to focus on originality.

Content creator Ankur Agarwal agrees that new creators may struggle, but sees a silver lining: “Yes, nano creators will be affected, but this could push them to explore their own voice. That’s better in the long run.”

Financial educator Sakchi Jain believes the policy is a direct hit to those using shortcuts. "I also think this is actually a good wake-up call. If you are a genuine creator who shares your own ideas and does your own research, you have nothing to worry about. This change will actually help people who want to grow honestly with their work."



The Creator Playbook: What’s Next?


Most creators see this as a return to fundamentals — originality, relatability, and personal storytelling.

“Focus on value. Make good content. Money will follow,” says Zain. “Go back to creating sticky, engaging videos — not just trend-chasing edits.” 

Prableen Kaur Bhomrah, who focuses on body positivity, plans to double down on long-form storytelling. “I’ll prioritise content that helps, educates or inspires — something people remember. This policy sets a higher standard.”


Read more: <a href="https://www.storyboard18.com/brand-marketing/youtube-cracks-down-on-repetitive-content-monetisation-only-for-original-creators-from-july-15-73533.htm">YouTube cracks down on repetitive content: Monetisation only for original creators from July 15</a>


Shivashish Tarkas, founder of content firm The InterMentalist, offers a nuanced take: “It’s a great move if implemented fairly. The risk is that genuine creators might get caught in the crossfire if the policy is vague or poorly enforced.”

For Tarkas, the deeper problem remains unresolved: “Indian creators earn peanuts despite huge engagement. Brand deals are unstable. YouTube must rethink its revenue share model — creators are its foundation.”


The Industry View: Necessary, But Not Without Nuance


From the business side, agencies are cautiously optimistic.

Ayush Guha, Business Head at Creator18, says: “This is a great move. We’ve always worked with creators who build original, culture-relevant content. The move helps in curbing down pages/channels who have take pieces of content from creators and build their own channels with clickbait thumbnails some of which can shed negative light on the original creater."

With various AI tools enabling mass content creation with minimal human effort, Kunal Sawant, Business Head, The Goat Agency, believes this move is a step toward improving the overall quality of content on the platform. 

Its success, however, will depend on how transparently and fairly YouTube implements these changes at scale. "Clear guidelines, consistent enforcement, and a fair appeals process will be key to ensuring the platform remains both innovative and inclusive."

Read more: <a href="https://www.storyboard18.com/digital/with-fractional-production-costs-ad-rates-just-15-of-long-form-shows-microdramas-see-surge-in-brand-interest-73473.htm">With fractional production costs & ad rates just 15% of long-form shows, microdramas see surge in brand interest</a>


Sankalp Samant, Co-founder, Idiotic Media believes that the audience is, and will always be the king. If people choose to watch low-effort AI videos, that’s their call but platforms like YouTube have a responsibility to protect the creators who keep the ecosystem credible and aspirational. "YouTube’s timing is right. AI content has already reached a point where it’s hard to distinguish real from fake."


But Shradha Agarwal, Co-Founder & CEO of Grapes, questions YouTube’s role as arbiter of what’s “original.” 

“Let’s not pretend originality is a fixed idea. Everyone borrows. AI is the new internet — it accelerates creativity, it doesn’t kill it.”

She warns against overregulation: “If content floods the platform, let the audience decide what cuts through. Views, shares, and engagement are the new quality filters — not outdated definitions of authenticity.”

YouTube’s updated monetisation policy is a clear warning to low-effort, mass-produced content farms. But the move also signals a deeper shift in the creator economy — a push toward thoughtful, high-effort storytelling over quantity-based hustle.

YouTube's monetisation crackdown divides creator economy; praise for originality push, but payout concerns loom

Starting July 15, 2025, YouTube will tighten its monetisation rules under the YouTube Partner Program (YPP), cutting off earnings for channels that churn out reused, low-value, or repetitive content.

The platform's updated policy aims to reward originality while cracking down on clickbait, AI-generated slideshows, recycled mashups, and overly edited versions of others’ videos. Content that fails to offer educational or genuine entertainment value will no longer be eligible for monetisation.

“YouTube is taking steps to protect its creator ecosystem by prioritising authentic voices and meaningful content,” the company stated on its official support page.

What This Means for Creators

Under the new guidelines, monetisation will be reserved for:

Original educational videos that provide learning or insight

Genuinely creative entertainment content

Authentic visuals and narration not lifted from other sources

On the flip side, channels relying on shortcuts such as reaction mashups, lazily repurposed clips, or repetitive formats risk losing monetisation status entirely.

Monetisation Eligibility Criteria

To qualify for YPP, creators must still meet one of the following thresholds:

1,000 subscribers and 4,000 watch hours over the past 12 months
or

10 million valid public Shorts views in the last 90 days

Even after meeting these, YouTube will now more rigorously review a channel’s originality before approval.

The move is part of YouTube’s broader push to filter out “copy-paste” channels and ensure that monetised content brings actual value to the platform’s community. In doing so, YouTube hopes to curb the exploitation of its algorithms by creators chasing views with low-effort uploads.

Read More:<a href="https://www.storyboard18.com/how-it-works/your-tragedy-their-ad-has-digital-advertising-lost-its-soul-63832.htm" rel="noopener" target="_blank">Your tragedy, their ad: Has digital advertising lost its soul?</a>

Read More:<a href="https://www.storyboard18.com/how-it-works/youtube-to-invest-rs-850-crore-into-indian-creators-neal-mohan-64109.htm" rel="noopener" target="_blank">YouTube to invest Rs 850 crore into Indian creators: Neal Mohan</a>

YouTube cracks down on repetitive content: Monetisation only for original creators from July 15

With over 20 years of experience across business and revenue roles, Ishan Chatterjee, currently serving as Chief Business Officer – Sports Revenue, SMB & Creator at JioStar, is set to succeed Sanjog Gupta as CEO of Sports, JioStar. Storyboard18 was the first to report the leadership shuffle.

<a href="https://www.storyboard18.com/brand-makers/sanjog-gupta-quits-jiostar-to-succeed-geoff-allardice-as-icc-ceo-62642.htm">Read more: Exclusive Break: JioStar's Sanjog Gupta to succeed Geoff Allardice as ICC CEO</a>

In his current role, Chatterjee leads the overall monetization strategy and revenue growth for JioHotstar. He oversees key business areas such as sports and small and medium businesses, while also driving the growth of JioStar’s creator ecosystem - building a new revenue stream and transforming the platform into a vibrant hub for content and commerce. 


Read more: <a href="https://www.storyboard18.com/brand-makers/who-is-sanjog-gupta-iccs-new-chief-executive-officer-73202.htm"> Who is Sanjog Gupta - ICC's new Chief Executive Officer?</a>


Chatterjee brings deep expertise in scaling digital platforms and driving strategic growth. Before joining JioStar, he served as Managing Director of YouTube India, where he played a key role in expanding the platform’s reach and influence. Over his 13-year tenure at Google, he held several leadership roles across EMEA and APAC, contributing to the company’s growth across multiple international markets. 


Early Years


Chatterjee brings with him a distinguished and diverse career spanning two decades across top-tier FMCG, consulting, and global tech firms. 

He began his professional journey in 2003 at Hindustan Unilever Limited as an Area Sales and Customer Manager for the Home and Personal Care division. His performance and strategic acumen saw him rise swiftly within the organization, he was elevated to the role of Regional Brand Manager, Skin, in 2005. In this capacity, he led key marketing initiatives and brand strategies until 2007, earning recognition for his business leadership early in his career.

In 2009, Chatterjee made a strategic move to London to join McKinsey & Company, the globally renowned management consulting firm. He initially came on board as an Associate and, within a short span, rose to the position of Engagement Manager in 2011.

Read more: <a href="https://www.storyboard18.com/brand-makers/exclusive-ishan-chatterjee-to-succeed-sanjog-gupta-as-ceo-of-sports-live-experiences-at-jiostar-73182.htm">Ishan Chatterjee to succeed Sanjog Gupta as CEO of Sports & Live Experiences at JioStar</a>


Chatterjee's next career leap brought him into the world of big tech when he joined Google India in 2011 as Industry Head, Top Accounts for the FMCG vertical. His success led to a series of rapid promotions—first to Regional Client Leader for EMEA (Europe, Middle East, and Africa), then to Global Client Leader in 2015, and subsequently to Director, Global Client and Agency Solutions in 2016. These roles placed him at the forefront of Google's global advertising partnerships, where he played an integral part in shaping client strategies and scaling digital ecosystems for leading global brands.

In 2016, Chatterjee transitioned within Google to its digital content platform arm, joining Google Play in London as part of the product leadership team. 

After nearly two years, he moved to YouTube in 2018 as Director, YouTube Product Partnerships for APAC Emerging Markets, based out of Singapore. His deep understanding of regional markets and platform growth strategies propelled him further—he was promoted to Director, Product Partnerships, APAC in 2020 and later to Managing Director, Product Partnerships, APAC in 2021.

In 2022, Chatterjee assumed the role of Managing Director, YouTube India, where he spearheaded the platform’s growth across content, creator economy, and monetization, positioning YouTube as a central pillar in India’s digital ecosystem.

In September 2024, Chatterjee joined JioStar Sports India Private Limited (SIPL) as Chief Business Officer - Sports Revenue, SMB & Creators. In this role, he was tasked with driving revenue growth across emerging verticals and establishing strategic partnerships to scale JioStar’s sports and digital initiatives.


Academic Background

Chatterjee holds a B.A. (Honours) in Economics from St. Stephen's College, Delhi (Class of 1998), and an MBA in Finance from The Wharton School, University of Pennsylvania (Class of 2007). His multidisciplinary expertise and stellar professional trajectory make him one of the most accomplished business leaders in India’s media and tech space today.

Who is Ishan Chatterjee- new CEO of JioStar Sports?

YouTube is updating its Shorts experience, launching new Shopping product stickers to highlight shoppable products in videos. This move, announced Wednesday, aims to make it easier for viewers to find and buy items.

The new stickers could help creators earn more. During testing last month, YouTube found Shorts with these stickers saw over 40% more clicks on products than those with the old Shopping button. Previously, tagged products appeared in a banner with a Shopping button. Tapping the banner opened a product list.

Now, creators can tag products in a Short to automatically generate a sticker based on the first tagged item. They can adjust the sticker's size and placement. If multiple products are tagged, viewers can tap a downward arrow on the sticker to see a full product list. Clicking a product redirects them to the retailer's website.

Shopping product stickers are rolling out globally over the next week, except in South Korea, where YouTube plans to launch them soon.

YouTube CEO Neal Mohan shared at Cannes Lions 2025 that Shorts now average over 200 billion daily views. Mohan also announced that Google's Veo 3 video generator, which creates video and audio, will come to Shorts later this summer.

Read More:<a href="https://www.storyboard18.com/how-it-works/your-tragedy-their-ad-has-digital-advertising-lost-its-soul-63832.htm" rel="noopener" target="_blank">Your tragedy, their ad: Has digital advertising lost its soul?</a>

YouTube rolls out shopping stickers for Shorts

Despite claiming deep penetration among India’s Gen Z, Snapchat continues to lag behind in attracting serious brand and advertiser interest in the country. While platforms like Instagram, YouTube, and even homegrown players like Moj and ShareChat secure consistent ad spends, Snapchat struggles to break into the media plans of top marketers. Insiders point to a lack of localized strategy, limited creator ecosystems, inconsistent brand safety controls, and underwhelming ad performance metrics as key reasons. As India's digital ad market becomes fiercely ROI-driven, Snapchat's flashy AR filters and youth appeal alone may no longer be enough to win over advertisers chasing scale and substance.

The "safe space" dilemma

“What we’ve learned is that Snapchat functions as a safe space for Gen Z,” says Shreya Sachdev, Director–Marketing, PUMA India. “It’s built around authentic, peer-to-peer engagement—less about celebrities or brands, more about close circles and disappearing content.” That unique positioning, she says, makes it tricky for advertisers. “Brands have to be cautious when entering. You don’t want to disrupt that trust or push ads that feel intrusive.”

This sensitivity to brand tone might explain why Snapchat hasn’t seen the same level of commercial content as other platforms. “That’s likely why you don’t see many branded accounts or even celebrity content there.” PUMA has tested the waters—but sparingly. “We have experimented with Snapchat and continue to do so, but it’s very selective,” she says. “The tone, talent, and messaging need to feel Gen Z.”

Compared to other platforms, that’s a very different ask. “It’s unlike Meta platforms, where ads are expected and even welcomed as part of the scroll,” she notes. “On Snapchat, if you get it wrong, it’s counterproductive.”

Snapchat's muted marketing

Several marketers believe the platform has fallen behind its rivals in offering the scale, clarity, and performance insights brands demand today.

"Snapchat holds significant appeal amongst Gen Z for the constant social engagement opportunities it presents. However, Snapchat offers limited avenues for monetization of content, leading to a weak creator ecosystem. This does not align with the interests of consumer brands like ours which prioritize reach and measurable engagement," said Irina Bonich, Marketing Director at Oriflame. She added that Snapchat's private sharing approach and less intuitive interface "can restrict organic amplification" — a concern for brands seeking virality and reach.

That perception of underutilized potential is echoed by Saurabh Parmar, Fractional CGO, who highlights a disconnect between Snapchat’s capabilities and how it communicates with advertisers.

"Snapchat's ad story in India is quite unfortunate. India is its largest market at 200 million, Snapchat has the features, the money but fails to get the media budget in India. And that's primarily because Snapchat has failed to market itself effectively to advertisers, marketers in India. For example, sponsored snaps. I've only heard of very few brands are trying it out, and first, very few marketers are even aware of it. Or, collection ads would be great for some D2C brands, e-commerce brands who target Gen Z, but hardly anyone is using it because of lack of awareness."

Why Snapchat can't compete with Giants

From a media planning lens, Snapchat also falls short of delivering the kind of scale that large brands require.

"Snapchat’s limited user base in India compared to Meta or YouTube restricts scale-driven campaigns. Additionally, its younger, metro-centric audience often misaligns with broader brand objectives focused on mass reach and tier 2/3 markets," said Prabhakar Tiwari, Partner, FRN Advisory. He adds, "Snapchat excels in engagement (high ARPU in mature markets) but lags in India due to weaker conversion tracking and third-party integrations. Meta and YouTube dominate with advanced attribution (click-through, offline conversions) and broader audience targeting."

And while Snapchat has robust internal analytics, Gopa Menon, Chief Growth Officer for APAC at Successive Digital points out that external integration is still a pain point. "Some marketers might find integrating its data with their broader multi-platform attribution models more complex compared to more established platforms like Meta or Google, which have deeper integrations across the digital ecosystem," he explains.

He also points out that although the 200 million users in India is a significant number, it pales in comparison to the perception of scale offered by Instagram and YouTube. "Marketers still prioritize sheer reach for many campaigns. Moj and ShareChat, while more regional, have also carved out significant vernacular user bases, especially in Tier 2/3 cities, which can be attractive for certain brands."


Regional players rise

That competition from regional players is real and rising. Gaurav Jain, Chief Business Officer, ShareChat & Moj, underscored how a regional-first strategy has paid off in clear performance terms. “Advertisements in mainstream languages garner half the number of click-through rates compared to regional languages, leading to tangible business impact,” he said.

Jain added that industries with high consumer engagement and visual appeal—such as FMCG, beauty and personal care, and electronics—continue to dominate in this space. “Owing to their influence towards shaping purchase decisions, 47% of campaigns are focused on regional creators.”

And it’s not just a vanity metric. “These creators, alongside hyper-targeted campaigns on our platforms, have driven 68% of festive purchases, where short-form video (SFV) is continuing to remain a dominant force,” Jain pointed out.

He emphasized the cultural resonance of content delivered in native languages: “86% of our users say content in their native language is more engaging.”

Anirudh Sridharan, Co-founder of HashFame, said the platform rarely features in serious campaign planning. "At HashFame, we’ve seen thousands of campaign briefs flow through our marketplace, and less than 2% of those in the past year mentioned Snapchat as a preferred or even optional platform."

He added that the app is perceived less as a marketing platform and more like a utility. “In India, Snapchat isn’t being viewed as a marketing platform. It’s being used like a utility, a camera app with cool filters and disappearing messages. Gen Z may engage deeply with it, but they do so in private.”

That’s a problem for marketers who are obsessed with visibility. “Brands want shareable, trackable content. And Snapchat’s closed-loop environment just doesn’t give them the canvas or clarity they get from Instagram Reels or YouTube Shorts.”

According to Sridharan, this confusion also extends to agencies. “When we speak to brands and agencies, the usual refrain isn’t ‘Why not Snapchat?,’ it’s ‘We don’t know what we’d even do there.’”


Creator exodus

Creators feel the same way. “While they love the features, they don’t see Snapchat as a place to grow their personal brand. There’s no discovery loop. No content shelf life. And almost no direct monetization ecosystem that’s relevant in the Indian context.”

From the performance side, Sahil Chopra, CEO of iCubesWire, believes Snapchat still hasn’t demonstrated strong enough returns. “Compared to Instagram or YouTube, Snapchat is yet to have the same pull with marketers. Those platforms have better targeting and reach at their disposal.”

Even new platforms are outpacing Snap. “Local apps like Moj have found their ground by resonating more with the Indian audience and regional trends.”
He added, “Snapchat’s ad tools aren’t as advanced as Meta’s or Google’s. Brands might struggle with scale, especially outside metros.”

And even when brands are clear about their Gen Z goals, the format may not work. “The content format is also pretty niche, so unless a brand is super clear about whom they are targeting, Snapchat will feel more like a risk than a safe bet.”

That skepticism is echoed by creators as well. Pranav Panpalia, Founder of OpraahFX, noted that Snapchat’s popularity hasn’t translated into viable revenue streams for most creators. “Snapchat definitely is popular among Gen Z, but it's not yet a widely established revenue stream for creators. One of the main challenges is the lack of monetization clarity and content longevity.”

He continued, “It is also harder for creators to grow a personal brand or community and the discoverability is still limited. Unless a creator is already established, it's tough to break through on Snapchat alone.”

Even if creators post on the platform, it’s rarely a core part of their strategy. “Creators prefer to put efforts and energy where there are higher visibility, engagement and commercial opportunities— which means it's either Instagram or YouTube.”

Snapchat, he explained, is still trying to catch up. “It’s still working on monetizing this engagement effectively. Most creators see Snapchat more as a personal or community-engagement tool rather than a scalable platform for growth.”

As Snapchat attempts to carve out a niche in India’s cutthroat digital ad ecosystem, the verdict is clear: cool features and Gen Z cachet are not enough. Without scale, stronger attribution, clearer monetization, and a more vocal brand narrative, India’s advertisers may continue to treat the platform more like a novelty than a necessity.

Neha Jolly Sawhney, Head of Ad Revenue for India at Snap Inc., shared key insights into Snapchat’s rapid growth and evolving creator ecosystem in India. With over 200 million monthly active users in the country, the platform sees robust engagement—nearly 80% of users interact with AR Lenses daily, totaling over 50 billion Lens plays monthly, especially during festivals when more than 85% of users participate.

Sawhney emphasized the rise of regional creators who are redefining digital storytelling by embracing their native languages, cultures, and everyday lives—making their content deeply relatable. According to her, authenticity is at the heart of monetization on Snapchat. Creators who build genuine connections with their audience often see revenue naturally follow. The Unified Monetization Program, which includes Stories Revenue Share and Spotlight payouts, is designed to support creators at every stage.

She also noted encouraging trends in brand collaborations through Paid Partnerships and the early adoption of affiliate marketing, enabling creators to earn by driving actual product conversions. Programs like Creator Connect provide creators not just with monetization tools, but also training, guidance, and access to resources. Supporting regional voices, Sawhney concluded, is not just a strategy but a core part of Snapchat’s commitment to celebrating India’s diversity and creativity.

Read More:<a href="https://www.storyboard18.com/how-it-works/instagrams-adam-mosseri-on-india-setting-global-benchmarks-in-social-media-habits-64230.htm" rel="noopener" target="_blank">Instagram's Adam Mosseri on India setting global benchmarks in social media habits</a>


Read More:<a href="https://www.storyboard18.com/brand-makers/reddits-durgesh-kaushik-on-bringing-sachin-tendulkar-onboard-and-building-indias-digital-cricketverse-70811.htm" rel="noopener" target="_blank">Reddit’s Durgesh Kaushik on bringing Sachin Tendulkar onboard and building India’s digital cricketverse</a>

Is Snapchat's bid to attract Indian advertisers working?

YouTube, in its latest policy update announced that it has initiated a global crackdown on gambling content. It is worth noting that Twitch, a rival game-streaming platform, still allows gambling content. In India, due to a lack of monitoring, multiple live streamers broadcast gambling content of illegal betting platforms.

YouTube announced that from March 19, it will no longer permit content that directs users to “unapproved” gambling websites through links, images, text, logos, or verbal references. The platform defines unapproved gambling sites as those that do not meet local legal requirements and have not been reviewed by YouTube or its parent company, Google.

This update builds on YouTube’s existing policy prohibiting links to external sites that violate its rules, including unapproved gambling websites. With this change, users under the age of 18 and those who are not logged in will no longer be able to view content that depicts or promotes online betting sites.

The Real Money Gaming industry is applauding the YouTube's crackdown on illegal gambling and betting platforms which lure Indian users by misleading claims via videos and live streams. 

Jay Sayta, Technology & Gaming Lawyer said, “YouTube’s change in policy to restrict logos and links of unauthorised gambling websites and not allow content promising guaranteed returns is a welcome step that will help to a great extent in preventing gullible Indian users from getting lured into participating on illegal offshore betting websites. One hopes that YouTube will vigilantly enforce any breach of these new guidelines and take down content trying to circumvent this new policy immediately.”

A real-money gaming operator, speaking anonymously, stated, “Lately, we have been noticing and reporting live streams featuring illegal betting and gambling content in India. YouTube’s crackdown is yet another blow to offshore gambling platforms operating illegally in the country. This will significantly impact gambling websites’ ability to penetrate the Indian market.”

In a recent crackdown by Indian law enforcement agencies, the Visakhapatnam Cybercrime Police arrested YouTuber and fisherman Vasupalli Nani following a complaint that he had promoted online betting apps through live streaming on YouTube. 

Similarly, the Kerala Police took strict action on Tuesday against social media influencers promoting illegal betting apps, resulting in the removal of several Instagram accounts. Influencers such as Mallu Family Sujin, Wayanadan Vlogger, and Fazmina Zakiir allegedly shared misleading videos claiming users could earn easy money through online gaming.

The operator added, “However, we expect YouTube to remove existing gambling content from its platform. YouTube should also issue an advisory to influencers, warning them to refrain from promoting gambling and betting websites or risk shadow bans and financial penalties, which would limit their content’s reach.”

A top gaming industry policy expert said, “Multiple illegal gambling companies entice mid-sized influencers to promote illegal betting and gambling websites, offering compensation ranging from $4,000 to $10,000 depending on the deliverables. While YouTube’s crackdown is commendable, the platform should also focus on raising awareness within the community to ensure a complete eradication of such content.”

In 2022, Twitch restricted streams showcasing gambling sites offering slots, roulette, or dice games, reflecting a growing concern over unregulated gambling content on streaming platforms.

RMG industry welcomes YouTube's crackdown on illegal gambling content

A Russian court has fined Alphabet’s Google 3.8 million roubles (£32,700) for allowing a YouTube video that gave instructions to Russian soldiers on how to surrender, according to Russia’s TASS news agency.

Crackdown on Online Content
For years, Russia has been pressuring foreign tech platforms to remove content it considers illegal. This includes what it calls “false information” about the war in Ukraine. When companies do not comply, Russia issues repeated fines, though they remain relatively small.

Disruptions and Allegations
Google has not yet responded to a request for comment from Reuters.

According to the Reuters report, critics claim Russian authorities are slowing down YouTube to make it harder for citizens to access content critical of President Vladimir Putin and his government. However, Russia denies this, instead blaming Google for failing to upgrade its technology – a claim the company and tech experts reject.

In December, President Vladimir Putin accused Google of being a tool used by the U.S. government to push its own political agenda.

<a href="https://www.storyboard18.com/how-it-works/fake-apps-duping-indians-how-scammers-are-leveraging-ai-for-malicious-activities-56731.htm">Read More: Fake apps duping Indians: How scammers are leveraging AI for malicious activities</a>

Russia fines Google for YouTube video on surrendering soldiers

A new report by Red Lab, powered by data from SYNC Pulse, sheds light on how leading brands are performing on YouTube in India’s top six metropolitan cities. SYNC Pulse, India’s only verified cross-media exposure analysis platform, offers an accurate and detailed understanding of audience engagement. The report reveals key insights into the competitive landscape, highlighting how digital advertising strategies are shaping brand visibility and recall.

Zepto, Blinkit, and Flipkart emerged as prominent players, leveraging YouTube as a core platform to connect with their target audiences. The analysis focuses on impressions, reach, and audience dynamics, providing a clear picture of their campaign strategies and performance.

Zepto Leads the Quick Commerce Space
Zepto outperformed Blinkit on all key metrics, cementing its position as the leader in the quick commerce category. According to the report, Zepto garnered 2.9 times more impressions than Blinkit, significantly enhancing its visibility. Zepto reached 1.7 times more people, ensuring its campaigns resonated with a broader audience. Zepto delivered campaigns 1.85 times more frequently, reinforcing strong brand recall among its viewers.
Zepto’s well-rounded campaigns appealed to a diverse demographic, achieving universal visibility across age groups and maintaining equal engagement among males and females. This inclusive approach has helped the brand strengthen its leadership in the market.

Flipkart Dominates E-commerce Advertising
Flipkart continued to dominate the e-commerce segment, driven by its high-profile festive campaigns such as the Big Billion Days and year-end sales. The platform maintained strong visibility across all demographics, with notable traction among older audiences.

Interestingly, Flipkart showed a slight skew towards female engagement, highlighting the success of its campaigns in this demographic. The brand could further expand its reach by creating targeted initiatives for male audiences, thereby achieving a more balanced appeal.

Blinkit’s Focused Approach Shows Potential
Despite its narrower targeting, Blinkit ranked among the top three brands in visibility, reflecting its focus on younger audiences and its core promise of quick deliveries. The report noted that Blinkit achieved near-equal engagement between males and females, demonstrating versatility in its campaign strategies.

However, its restricted audience base may be limiting critical metrics like impressions and recall. A broader, higher-frequency campaign approach could help Blinkit compete more effectively with rivals like Zepto.

Audience Dynamics Across Brands
The report also provided a detailed analysis of age and gender dynamics across leading brands:

Age Groups: Brands like Flipkart, Uber, and Country Delight demonstrated strong visibility among older audiences, while Blinkit and Myntra resonated more with younger demographics.
Gender Engagement: Zepto and Blinkit achieved balanced reach across genders, while Myntra led in female engagement. Swiggy Dineout and Country Delight displayed slight biases towards female and male audiences, respectively.
Myntra continued to excel with women-centric campaigns, reinforcing its dominance in the fashion space. However, expanding its portfolio to include more options for men’s fashion could help the brand achieve more balanced impressions.

<a href="https://cms.storyboard18.com/brand-marketing/zepto-relocates-hq-from-singapore-to-india-in-pre-ipo-move-54793.html">Also Read: Zepto relocates HQ from Singapore to India in pre-IPO move</a>

Key Insights and Opportunities
The report has highlighted that Zepto’s broad-based, high-frequency campaigns were instrumental in amplifying its visibility and engagement. By targeting a larger audience base and delivering consistent messaging, Zepto has set a benchmark for other brands to follow.

On the other hand, Blinkit’s precise but limited targeting approach may be constraining its potential reach. Expanding its audience focus while maintaining its strong brand message could enhance its visibility and recall.

For Flipkart, the challenge lies in achieving greater parity across genders. By tailoring campaigns to appeal equally to male and female audiences, the e-commerce giant could further strengthen its position.

<a href="https://www.storyboard18.com/brand-makers/blinkit-to-drive-growth-in-smaller-cities-says-ceo-albinder-dhindsa-54727.htm">Also Read: Blinkit to drive growth in smaller cities, says CEO Albinder Dhindsa</a>

Zepto outshines Blinkit in YouTube campaign reach, achieves 2.9x more impressions

The Federal Trade Commission (FTC), in their study, has claimed that nine companies, including Meta, YouTube, and TikTok, engaged in extensive surveillance of consumers, including minors, collecting and sharing more personal information than most users realised.

The report states that the sites, which mostly offer free services, profited from the data by using it for advertising that targets specific users based on demographics. The companies also failed to adequately protect users, especially children and teenagers.

The FTC said it began its study nearly four years ago to provide the first comprehensive look into the opaque business practices of some of the biggest online platforms that have built multibillion-dollar advertising businesses using consumer data. “Surveillance practices can endanger people’s privacy, threaten their freedoms, and expose them to a host of harms, from identity theft to stalking,” said Lina Kahn, the FTC’s chair, in a statement.

Efforts by the companies to regulate themselves have also failed, the FTC concluded in its report. “Self-regulation has been a failure,” it added.

According to a New York Times report, Google, which owns YouTube, stated, “We have the strictest privacy policy in our industry. We never sell people’s personal information, and we don’t use sensitive information to serve ads,” said José Castañeda, a spokesman for Google. He added, “We prohibit ad personalisation for users under 18, and we don’t personalise ads to anyone watching ‘made for kid content’ on YouTube.”

In December 2020, the agency opened its inquiry into the nine companies that operate 13 platforms. The FTC requested data from each company for operations between 2019 and 2020 and then studied how the companies had collected, used, and retained that data.

The FTC found that the companies voraciously consumed data about users and often purchased information about people who weren’t users through data brokers. They also gathered information from accounts linked to other services.

Most of the companies collected users' age, gender, and the language they spoke. Many platforms also obtained information on education, income, and marital status. The companies didn’t provide users with easy ways to opt out of data collection and often retained sensitive information for much longer than consumers would expect, the agency said.

The companies used data to create profiles of users, often merging the information they gathered with details about habits collected on other sites, to serve targeted advertisements.

The agency also found that many sites claimed they restricted access to users under the age of 13, yet many children remained on the platforms. Teenagers were also treated like adults on many of the apps, subjecting them to the same data collection as adults. Many of the companies couldn’t tell the FTC how much data they were collecting, according to the study.

'Meta, YouTube and TikTok engaged in vast surveillance', says FTC

On Friday, the Supreme Court of India’s official YouTube channel was hacked and was seen promoting XRP, a cryptocurrency developed by Ripple Labs. This hacking incident comes at a time when senior advocate Kapil Sibal, representing West Bengal government requested to halt live proceedings of the RG Kar medical college rape and murder case. 

The hackers have made previous videos of the SC hearings as private. Replacing the usual content, a live video titled “Brad Garlinghouse: Ripple Responds To The SEC’s $2 Billion Fine! XRP PRICE PREDICTION” was broadcasted.

According to The Verge, these scammers have manipulated the system by taking over channels from well-known YouTubers, thereby leveraging hundreds of thousands of subscribers to propagate fraudulent schemes promising lucrative XRP rewards for initial monetary contributions.

The Supreme Court administration has started an enquiry into the hacking of the channel. Multiple law enforcement agencies are retrieving the channel and have launched a high priority investigation into the matter. 

This breach underscores the ongoing challenges and vulnerabilities inherent in maintaining the security of digital platforms, even for high-stature entities like the Supreme Court of India.

This is the first time that the Supreme Court's YouTube channel has been hacked after the top court decided to live-stream proceedings of all constitution bench hearings in 2018.

Recently, the Supreme Court's hearings on the suo muto case on the rape and murder of a Kolkata trainee doctor at RG Kar Hospital were streamed live on YouTube.

In 2020, Ripple sued YouTube for failing to stop hackers from impersonating its CEO Brad Garlinghouse. The US firm runs an exchange network for the cryptocurrency XRP, which is aimed at people who want to send money internationally.


YOUTUBE