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Amazon has nearly doubled the ad load on Prime Video just 18 months after first introducing commercials on the platform, ADWEEK reported. As per the media report, Prime Video ad load has gradually increased to four to six minutes per hour.

While Amazon had previously hinted at a ramp-up in ad inventory to investors, the shift hasn’t been publicly acknowledged to consumers. The stealthy increase has sparked scrutiny among ad buyers, who say the change reflects Amazon’s broader ambitions to scale its streaming advertising business and compete more aggressively with other ad-supported platforms.

When Prime Video first rolled out ads, Amazon opted for a light approach to ease viewer backlash. The service, included by default for over 150 million Prime subscribers, initially offered one of the lowest ad loads in the streaming landscape. But by late 2024, Amazon had already signaled to Wall Street that it would begin “right-sizing” its ad inventory.

With four to six minutes of ads per hour, Prime Video now sits squarely in the industry’s “middle tier” alongside services like Hulu and Paramount+, far below traditional linear TV, where ad time often reaches 13–16 minutes per hour. Netflix still holds the lowest ad load among major streamers. 

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The growth in inventory could also help Amazon better serve niche verticals and make fuller use of its proprietary ad tech stack, including Amazon Marketing Cloud and its demand-side platform. But despite these advances, some advertisers remain cautious due to measurement limitations.

Amazon’s shift aligns with a larger push to evolve Prime Video into a full-scale ad platform. Alongside the expanded ad load, the company has introduced new tools for marketers, including show-level audience data, private auction capabilities and upcoming contextual targeting products.

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Amazon doubles Prime Video ad load to 4–6 minutes per hour

In a public notice, India’s public service broadcaster Prasar Bharati has cautioned the public about a fraudulent email ID — ottcontentsourcing@gmail.com— which is falsely representing itself as an official contact of its Content Sourcing Division.

The advisory, issued on June 12, has clarified that this gmail ID is not affiliated with Prasar Bharati in any way. The organization has urged all stakeholders and the general public to refrain from engaging with the email account, and to exercise due diligence in verifying credentials before sharing any sensitive or proprietary content.

"This is not an official email ID of the Content Sourcing Division of Prasar Bharati. It is a fraudulent account," the circular clearly stated.

"Prasar Bharati strongly recommends general public not to engage with or respond to any unauthorized individuals or email addresses claiming to represent Prasar Bharati or Waves OTT. Kindly refrain from sharing your content, making any payments or signing any agreements based on such fraudulent claims. 


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Prasar Bharati does not endorse ro associate with any such deceptive activities or unauthorized agents operating in he market. Ay agreement, payment and commitments made on the basis of fraudulent communication will have no obligation and legal binding on Prasar Bharati."

The pubcaster shared verified email addresses including contentsourcingdivision@gmail.com, ddprgflms@gmail.com and ott-content@prasarbharati.gov.in.

Prasar Bharati, which oversees public broadcasters Doordarshan and All India Radio, has been expanding its content partnerships, including digital and OTT distribution strategies. With growing public interest in content collaboration and syndication, the broadcaster’s content division frequently interacts with independent creators, agencies, and OTT platforms, which has made it a potential target for impersonation and fraud, particularly as digital communication channels proliferate.

Prasar Bharati warns public against fraudulent email account misrepresenting Content Sourcing Division

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.

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Paramount Global is laying off around 3% of its U.S. workforce as part of ongoing cost-cutting measures, affecting several hundred employees. The move is the latest in a series of job cuts at the media giant, which has been grappling with declining traditional TV revenues and broader economic challenges.

The layoffs were communicated to employees on Tuesday morning via a memo from the office of the company’s three CEOs — George Cheeks, Chris McCarthy, and Brian Robbins. Most of the impacted staff are expected to be informed within the day.

The job cuts come at a time when Paramount is navigating a potential merger with Skydance Media. The deal is still pending regulatory approval and has been complicated by a legal dispute involving Paramount-owned CBS and the Trump administration, linked to a "60 Minutes" interview with former Vice President Kamala Harris.

Last year, the company’s leadership unveiled a turnaround plan that included spending cuts and workforce reductions. In August, Paramount began slashing 15% of its U.S.-based workforce. Tuesday’s memo also hinted that more changes could affect employees outside the U.S. in the future.

“We recognize how difficult this is and are very thankful for everyone’s hard work and contributions. These changes are necessary to address the environment we are operating in and best position Paramount for success,” the CEOs said in the memo.

Paramount is not alone in trimming its workforce. Other major media players like Disney and Warner Bros. Discovery have also recently announced layoffs as the industry adjusts to shifting business models and tighter budgets.

As of December 2023, before these latest rounds of cuts, Paramount had approximately 18,600 full- and part-time employees worldwide.

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India’s television landscape is undergoing a dramatic transformation driven by rapid digital adoption, emerging consumption habits, and evolving distribution technologies such as D2M (Direct-to-Mobile) and 5G broadcasting. While the country continues to be one of the world’s largest content producers—churning out approximately 200,000 hours of content annually across multiple languages and cultures—its reliance on traditional Pay TV is dwindling.

The total number of TV sets in Indian households is expected to grow to 214 million by 2030, covering over 60% of the population. However, the share of Pay TV subscriptions within that number is shrinking rapidly. Projections indicate a further drop of 30 to 40 million Pay TV homes by 2030, reducing the total to just 71–81 million. This is a continuation of an ongoing decline; between 2018 and 2024, Pay TV households fell by 40 million. However, PayTV households continue to decline in India, potentially displacing Over 1.9 Lakh Jobs by 2030.

Several factors are contributing to this shift:

93% of TVs sold in 2024 are internet-capable, promoting a shift to Connected TV consumption.

Affordable consumer premise equipment (CPE) for Free TV is now available for under ₹1,000.

A rise in work-from-home and study-from-home trends is driving broadband adoption.

Higher-quality, personalized content on OTT platforms is luring audiences away from traditional channels.

Free content from platforms like YouTube, Samsung TV+, and JioTV+ is easily accessible on Smart TVs.

This transformation in consumption patterns is not without consequence. The fall in Pay TV subscriptions from 2018 to 2024 already led to the loss of 37,835 jobs in the Local Cable Operator (LCO) ecosystem, based on a sample survey of 28,181 respondents. Extrapolated to the total estimated 85,000 to 1.62 lakh LCOs in India, total job losses could range between 1.14 lakh and 1.95 lakh.

The projected decline of another 30 million Pay TV households by 2030 could worsen this employment crisis. Even if broadband and OTT platforms fill the entertainment gap, large ISPs and telecom companies may not generate enough new jobs to offset the losses due to their more centralized and automated operations, which depend less on local workforce networks like LCOs.

This looming shift suggests the industry must reimagine employment models in the content distribution ecosystem to adapt to the digital-first future.

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India may lose up to 1.95 lakh jobs as Pay TV households fall to 70 Million

India's Pay TV industry, which is in a distressful stage due to the rise of alternative content delivery platforms, may lose around 36% of household consumptions by 2030, a report projected. 

According to the report - 'State of cable TV distribution in India', undertaken by All India Digital Cable Federation (AIDCF) and EY, India's television consumption is expected to rise to 214 million by 2030. However, Pay TV could decline by a further 30 to 40 million, reducing the total to just 71 to 81 million (including under-declared and pirated connections), as both Connected TVs and Free TV continue to grow on the back of changing demographics and consumption habits.

The report has also anticipated a severe impact on the employment in Pay TV industry. The study highlighted that the loss of 40 million pay TV households between 2018 and 2024 resulted in a loss of 37,835 jobs in the Local Cable Operators (LCOs) ecosystem.

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"The decline in pay TV households has had a cascading effect, leading to job losses across multiple levels, from Local Cable Operators (LCOs) to technical and customer support teams, network engineers, and backend service providers. This is not merely an industry concern; it is an economic and social issue that needs immediate attention," Ashish Pherwani Partner and Leader, Media & Entertainment said.

At present, the rise of work-from-home and study-from-home arrangement is fueling the adoption of broadband connections in households. Additionally, higher quality content is being produced for OTT platforms, along with more features that allow viewers to customize their experience, boosting Connected TV subscriptions.

In a survey conducted by EY-AICDF, 79% of LCOs respondents reported that their monthly take-home income had reduced by over 20% since 2018. Moreover, 49% of surveyed LCOs reported a drop in the employment they created.

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Most of the LCOs, have shifted to broadband services to augment their incomes. 43% of the LCOs surveyed had already launched broadband services so far.

"Even if broadband connections replace pay TV connections, the growth in employment generated by large ISPs and telcos may not match the levels previously generated by smaller LCOs due to economies of scale," the EY report mentioned.

"The Government is cognizant of the challenges posed to the cable TV industry due to evolving technology and digital disruption. While innovation and growth cannot be curtailed, a fine balance must be struck between fostering technological advancement and ensuring the sustainability of traditional distribution platforms," Sanjiv Shankar, Joint Secretary, Ministry of Information & Broadcasting said.

Pay TV households expected to plummet 36%; TV consumption may rise to 214 million by 2030

ZEE Entertainment Enterprises Ltd. has announced a strategic equity partnership with Bullet, a new-age content and tech start-up co-founded by Azim Lalani and Saurabh Kushwah. The collaboration will see the launch of India’s first micro-drama app within the ZEE5 platform, aimed at younger audiences who prefer fast-paced, mobile-friendly content.

Bullet delivers vertical-format, bite-sized episodes designed for binge-watching, featuring creator-led stories with high emotional appeal. It plans to offer content in multiple languages and use ZEE’s extensive content library and expertise to deliver strong, engaging narratives.

With AI-driven personalisation, gamified user experiences, and dynamic pricing for content, Bullet seeks to change how short-form stories are made, discovered and monetised. The platform will also empower independent creators by providing tools and a monetisation pipeline.

ZEE’s spokesperson said the move is part of their larger digital strategy, focused on innovation and scaling new formats to attract younger viewers. “Short-form storytelling is a powerful tool to engage today’s audiences. Integrating Bullet into ZEE5 will strengthen our value offering and boost digital growth,” they noted.

Bullet will benefit from ZEE5’s analytics capabilities, robust technology stack, and large user base. The start-up's co-founders expressed excitement over building a platform at the intersection of storytelling, technology and creator empowerment.

With Bullet, ZEE aims to tap into the next big shift in digital content — micro-dramas that deliver entertainment in a matter of minutes.

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ZEE partners with Bullet to launch India’s first micro-drama app

Netflix co-CEO Ted Sarandos has admitted that the streaming giant may have misjudged its initial content strategy in India, suggesting that Sacred Games, its first Indian original series, may not have been the most suitable starting point for the market.

Speaking on entrepreneur Nikhil Kamath’s podcast, Sarandos acknowledged that Netflix struggled at first to find the right product-market fit in India. “Our very first Indian original show was Sacred Games. And I thought, ‘This is going to be great. People in India love movies. This is a TV show that feels as big as a movie, it has movie stars,’” he said.

However, he noted that the cultural context was not fully understood at the time. “It was very novel, but what I didn’t realise was that we were introducing a completely new kind of entertainment in a country the size of India,” Sarandos reflected.

Looking back, he admitted he might have made a different choice. “If I did it all over again, would I have done Sacred Games a couple of years later, and gone with something more populist first? Maybe.”

Despite the slower-than-expected start, Sarandos remains upbeat about Netflix’s prospects in India. “We always knew India would be a slower journey. But it’s a great prize at the end of the day. The addressable market is growing over the next few years, so it’s very exciting,” he added.

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Netflix’s Ted Sarandos reflects on India strategy: 'Sacred Games may have come too soon'

In a major strategic shift, Amazon is bringing 'limited' advertisements to Prime Video India, marking the first time commercial breaks will appear for paid users unless they upgrade to a new ad-free tier. The move, which mirrors platform's global rollout of a hybrid monetisation model, is aimed at offsetting ballooning content costs and slowing subscription growth in an increasingly saturated streaming market.

According to Media Partners Asia, India's AVOD (Advertising Video-on-Demand) market is expected to significantly outperform SVOD (Subscription Video-on-Demand) in terms of revenue. AVOD is projected to reach $2.6 billion by 2025, while SVOD is estimated at $1.3 billion. This discrepancy highlights the growing popularity of free, ad-supported streaming models in India, which Prime Video is strategically leveraging to expand its reach. 

"This is Amazon finally asking: how much longer can we give away gold and call it sand?" says Sushant Sadamate, COO and Co-founder of Buzzlab. “India is the perfect testbed—massive, price-sensitive, and already accustomed to hybrid models. But now, volume isn’t enough. Ad revenue has to do the heavy lifting.”

The move signals a clear recalibration of value in India’s streaming economy. Rather than solely relying on subscription SVOD, Amazon is now adopting an ad-supported video-on-demand AVOD strategy, bringing it closer to the models employed by its competitors.

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Its key competitors including JioStar offers ad-supported mobile plans from Rs 149 quarterly, with an ad-free premium yearly plan at Rs 1499, Netflix's ad-free tiers range from a Rs 149 monthly mobile plan to a Rs 649 premium monthly plan for four screens. Meanwhile, the likes of ZEE5 has three-month premium plans at Rs 599 for three devices, and SonyLIV has a mobile-only annual plan at Rs 699 and a premium yearly plan for two devices at Rs 1499.


While Prime will also offer an ad-free option that users can subscribe (starting June 17) for an additional Rs 699 per year or Rs 129 per month, there will be no changes to the Prime membership, including Amazon’s priority delivery service. 

This also comes at a time when Amazon Prime Video recently changed its device policy in India, restricting streaming to two TVs and up to five devices in total from January this year.

Rising global content budgets have put pressure on platforms to monetise more efficiently and Amazon Prime Video is no exception. The company has invested heavily in Indian originals and global blockbusters, with titles like The Family Man, Mirzapur, and Farzi drawing large domestic audiences. But content spend has become a double-edged sword, especially as Indian users show signs of subscription fatigue.

“Amazon is no longer relying just on subscriptions—they want to unlock more value from their Prime ecosystem,” says Siddharth Devani, Co-Founder & COO of SoCheers. “With content costs rising and user growth plateauing in India, ads provide a crucial revenue boost.”

Rising content costs aren’t new and India’s OTT space hit user saturation a while ago. This isn’t about reinvention it’s just monetisation math catching up, adds Russhabh R Thakkar, Founder and CEO of Frodoh. What’s telling is the timing of global pressures are clearly influencing local moves but the local market was more than prepared. 


Opportunity for Advertisers


Amazon’s hybrid model opens up a rich new advertising environment that few platforms can match, thanks to its e-commerce muscle.

“You’re not just advertising on video—you’re advertising inside a commerce engine,” Sadamate says. “If Amazon can tie video ads to cart additions, product wishlists, or even conversions, this becomes a goldmine for FMCG, tech, fintech, and beauty brands.”

Key sectors expected to jump on board include FMCG players looking to target high-frequency, high-intent consumers via household-targeted content; consumer electronics to leverage Amazon’s retail data to serve shoppable ads tied to new product launches. Brands from fintech and edtech would also look into tapping into regional and young adult audiences who are streaming content at scale; automotive and mobility brands to use OTT as a brand-awareness tool integrated with geo-targeted commerce data; and beauty, wellness and fashion brands who will tap into Amazon’s direct purchase ecosystem which will allow seamless retargeting and remarketing.

“Amazon understands Indian consumers like few others,” adds Dhurvin Shah, Founder & CEO of JOJO. “If it uses its consumer insights to personalise ads effectively, AVOD won’t just be viable—it could dominate.”


Consumer Sentiment: Mixed Signals


The change, however, has not gone unnoticed or unchallenged by Indian subscribers. Many are questioning why ads are appearing in a paid service they’ve long associated with uninterrupted, premium content.

“It’s like charging for a buffet and then asking extra for the main course,” quips one Mumbai-based Prime subscriber.


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“There’s a trust contract with Prime users—ad-free video, faster deliveries, exclusive deals,” Sadamate warns. “If users feel that’s being diluted, there’s a real risk of downgrade or churn.”

Shah believes consumer resistance will fade over time. “Every new monetisation model gets pushback before it becomes the norm,” he says. “If Amazon plays this right, it won’t just be accepted—it will set the precedent.”

Prashant Puri, CEO of AdLift, agrees that the strategy could backfire if not matched with additional value. “Introducing ads while still charging a subscription fee risks upsetting loyal users. If not paired with better content or new perks, it could impact brand perception and increase churn.”


The Commercial Math


India is arguably more ready than most markets for a hybrid model. In 2025, India is projected to have 732 million internet users actively consuming OTT content, representing 83% of the total internet user base. This indicates a strong growth in OTT penetration, with a projected revenue of $4.49 billion and a user penetration rate of 1.7%, and AVOD is already the dominant revenue model. Platforms like JioStar have proven that scale and regional content, when paired with smart ad load management, can yield strong engagement and advertiser demand.

“At JOJO, we saw success starting with AVOD before introducing subscriptions,” says Shah. “The key is regional relevance, content cadence, and affordability.”

Sukhpreet Singh, Chief Revenue Officer of Dish TV, says seamless integration will be key. “As the market matures, platforms need to balance personalisation, pricing, and user control to retain trust and engagement.”


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Amazon has already rolled out its ad-supported Prime tier in the US, UK, Germany, and Canada, and is expected to expand globally through 2025. With over 65 million users in India (as per industry estimates), the company is now focused on deepening monetisation rather than chasing new sign-ups.

“It’s a hybrid play that squeezes more out of high-intent users,” Sadamate says. “Amazon isn’t backing off premium— it’s hedging its bets. If it works, others will follow. If it flops, it’ll be a cautionary tale in overplaying platform equity.”

India’s streaming battle is no longer about subscriber numbers alone, say experts, it’s about who can monetise attention best. And with Prime now entering the ad game, the rules are being rewritten.

Amazon’s Ad Gamble: Why Prime Video is betting on commercial breaks in India

In a strategic move to capture the attention of mobile-first Gen Z and millennial audiences, over-the-top (OTT) platforms are embracing the vertical short video format—once the hallmark of social media apps like Instagram Reels and YouTube Shorts. What was once considered supplementary content is now evolving into a core part of content and monetization strategies for major and emerging streaming platforms.

Netflix, the global streaming behemoth, has begun testing a vertical video feed within its mobile app in the United States. The feature presents users with scrollable clips curated from its extensive catalogue of original content, enabling a more interactive and personalized viewing experience.

Ajay Mehta, Head – Content & Creative Services, WPP Media India stressed that the challenge lies not in access to audiences but how effectively brands can adapt to these impactful windows of engagement, "The emergence of multiple digital platforms has triggered a massive explosion in content formats, leading to increasingly shorter attention spans. With an overwhelming volume of content available across platforms, marketers have little choice but to rely on short-form content to capture attention and drive engagement."

Mehta said, "At WPP Media, we believe that today’s youth consume approximately 50 to 60 feet of content simply by swiping up—making vertical, short-form content extremely critical for brands to leverage. The real challenge, however, lies in how brands can quickly adapt to these formats and weave their brand stories in a way that builds strong memory structures, helping them stand out amid the clutter."

The intent is clear: adapt to how users consume content on their smartphones. Rather than expect viewers to rotate their screens or commit to long-form content from the outset, these short clips serve as an on-ramp to full episodes, while also keeping Netflix top-of-mind during fleeting moments of user downtime.

The trend is swiftly catching on in India, where local players are innovating to align with mobile consumption behaviors. MX Player, owned by Amazon, has introduced MX Fatafat, which offers mini web series with episodes lasting just two minutes. Meanwhile, Balaji Telefilms’ new vertical platform Kutingg features short-format originals spanning romance, slice-of-life, and thriller genres.

Platforms such as ReelShort, FlickReels, and DramaBox have taken it a step further. They offer vertically filmed micro-dramas—typically under a minute—that when strung together form serialized, movie-length narratives. This approach not only caters to modern attention spans but also capitalizes on the convenience of one-handed phone usage without screen rotation.

A November 2024 report from Redseer Consulting indicates that India’s short-form video platforms generated approximately $95–100 million (₹790–830 crore) in ad revenue in FY24. While that accounts for only 1–1.5% of India’s total digital ad spend, it represents a growing piece of the pie in a high-growth segment.

This rise is driven by content that is designed to be emotionally resonant, hook viewers quickly, and keep them coming back—ideally creating fertile ground for brand storytelling. Comedy sketches, fast-paced thrillers, and localised dramas dominate this format, catering especially to younger and regional audiences.

One of the biggest advantages vertical OTT platforms offer advertisers is a brand-safe, curated environment—free from the unpredictability and content risks of user-generated platforms. Ratnakar Bharti, Vice President, Mudramax said, "Advertisers from categories like mobiles, FMCG, D2C etc. are already placing their bets on short-form video advertising. The appeal is clear: these platforms offer a brand-safe, curated environment, free from the unpredictability of user-generated content. Repeat campaigns from top brands are a testament to the effectiveness and ROI of this format."

Bharti further said, "Take for instance, Drama Box, with its focus on emotionally resonant and niche content. It has cultivated a loyal and growing user base. For advertisers, this translates to campaigns that can generate views, often at a lower cost per impression than traditional video formats."

Advertisers can leverage by either Creating 'Native' Ads that blend seamlessly with the short-form and engaging content style of the platform such as mini-story ads or quick product demonstrations.

Despite its promise, vertical video on OTT platforms still has a long journey to mainstream adoption. Established giants like YouTube Shorts and Instagram Reels continue to dominate in terms of user base and ad spend. However, marketers are beginning to see emerging vertical OTT apps as fertile ground for more targeted and region-specific engagement.

Rajni Daswani, Chief Growth Officer - People & Business, SoCheers said, "We are seeing clients increasingly leaning and considering it in their media mix. But we also have to note that global giants like YouTube Shorts and Instagram Reels still dominate by taking the bigger piece of the pie, these newer OTT players have just begun to carve out their niche, which is a long journey in itself." 

Daswani said, "As more users flock to these platforms, particularly from Tier 2+ cities where engagement is high, brands are slowly recognising the opportunity to reach specific, engaged audiences. It's shifting drastically from being just an experimental 'add-on' to a more integrated part of the strategy, especially for brands focusing on brand building and reaching audiences through highly localised and relatable content."

As streaming platforms blur the lines between entertainment and social media, vertical short-form content is no longer a fringe format—it’s quickly becoming a core part of the content and advertising ecosystem. With mobile consumption on the rise, and user attention spans shrinking, the vertical video revolution appears to be just getting started. For OTT platforms and advertisers alike, the future is vertical—and it fits neatly in the palm of your hand.