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As the global entertainment community gathers in Mumbai for WAVES 2025 — the World Audio Visual and Entertainment Summit — India is set to showcase its creative might through immersive conversations, exhibitions, competitions, and a spotlight on future-facing sectors like AVGC-XR (Animation, Visual Effects, Gaming, Comics and Extended Reality). Hosted at the Jio World Centre from May 1 to 4, the summit is envisioned as a meeting point for creators, studios, startups, and global industry leaders to discuss the evolving landscape of film, TV, gaming, and digital content.

One of the key pillars of WAVES is the AVGC-XR segment, which highlights India’s growing expertise in immersive and visual storytelling. A spokesperson from the office of Dhirendra Ojha, Principal Director General, PIB, said, "In the last few years, there's been a drastic improvement in visual graphics and the audiovisual space. The companies in the AVGC-XR sector have made a massive leap in creativity. WAVES provides them a platform to redefine what's possible in this space.”

He added that while earlier events like IFFI (International Film Festival of India) focused primarily on cinema, WAVES is designed to respond to how the new generation engages with content across platforms. “Indian experts have contributed significantly to globally acclaimed projects, especially in VFX. Now, with WAVES, we want to identify and celebrate that talent—from creators in remote towns to early-stage startups. We’re recognising their work, giving them visibility through competitions and platforms like the WAVES Bazaar, and accelerating innovation through initiatives like WaveXcelerator,” he said.

Over 750 digital creators from across India have been selected to participate in WAVES, including social media stars, dancers, DJs, and viral content creators who emerged through nationwide digital challenges. Their work will be showcased alongside immersive tracks and state pavilions in the Bharat Pavilion, a space dedicated to India’s cultural and creative industries.

Netflix, a key partner in WAVES 2025, is co-hosting the “Unlocking Creativity” trailer-making competition and will be a major presence across the four-day summit, engaging in discussions around the future of global streaming content and storytelling.

<a href="https://www.storyboard18.com/digital/750-creators-become-part-of-waves-as-india-showcases-its-digital-storytelling-talent-63019.htm">Read More: 750 creators become part of WAVES as India showcases its digital storytelling talent</a>

WAVES 2025 puts AVGC-XR in limelight, to showcase India’s next-gen creators

As the global media and entertainment community converges in Mumbai for WAVES 2025 – the World Audio Visual and Entertainment Summit – India is preparing to make a statement that’s part cultural tribute, part creative flex. From May 1 to 4, the sprawling Jio World Centre will host the four-day spectacle, with the launch of the Bharat Pavilion at its heart — a vibrant showcase of the country’s storytelling tradition, tech-driven innovation, and its growing impact on the global content map.

Curated around the theme “Kala to Code”, the Bharat Pavilion celebrates the seamless evolution of India’s artistic roots into a tech-forward creative ecosystem. Anchored by the Ministry of Information & Broadcasting in partnership with the Ministry of External Affairs, the Pavilion will bring together various state governments, industry leaders, and creative talent to underline India’s position as one of the world’s fastest-growing media and entertainment markets. From print and radio to memes, AI-generated trailers, and mobile-first content, the transformation is more than visible — it’s booming.

What truly sets WAVES 2025 apart is the intentional inclusion of 750 content creators from across the country. These creators — selected through 32 online challenges in categories like dance, DJing, and short-form video — represent India’s grassroots digital power. “These are creators from small towns and villages whose videos go viral — we wanted to give them a platform to shine at WAVES,” said Smita Vats Sharma, Director General, West Zone. She noted that this year’s event has been built with social media at its core, not as an afterthought.

India’s entertainment economy today is not just shaped by star-studded films and massive production houses, but also by the viral power of creators, meme-makers, and fandom pages. As Sayyid Rabeehashmi, Director, PIB Mumbai, pointed out, the summit’s programming is packed with thematic deep dives, sectoral discussions, and B2B opportunities — all catering to a new generation of content entrepreneurs.

Industry heavyweight Netflix has joined hands as a key partner and co-founder of the WAVES trailer-making competition, further reinforcing the platform’s growing interest in India’s digital storytelling ecosystem. A constellation of film stars — from Amitabh Bachchan and Aishwarya Rai to Ranbir Kapoor and Kareena Kapoor — will be present across the four-day summit. Their involvement is not just symbolic. It signals the growing convergence of traditional cinema with new-age storytelling formats, from reels and web series to AR/VR experiences.

WAVES is a strategic signal. With 4,500 sellers already registered for the WAVES Bazaar, and over approximately 6000 delegates expected to be part of the ecosystem across the year, the scale speaks volumes. India isn’t just exporting films anymore. It’s exporting format ideas, creator culture, social-first storytelling, and tech-backed creativity.

In the age of Instagram reels and influencer-driven virality, a question emerges: how different is a creator’s endorsement from a paid ad? When a brand releases a print ad, audiences know it’s a pitch. But when a social media influencer posts an excited take on the same product — or a film — without a disclosure, the lines blur. Visibility is the currency, but without transparency, authenticity can be compromised. WAVES, in this context, offers a timely conversation space about not just visibility, but accountability in digital amplification.

<a href="https://www.storyboard18.com/digital/prasar-bharatis-waves-ott-collaborates-with-german-football-association-55762.htm">Read More: Prasar Bharati’s WAVES OTT collaborates with German Football Association</a>

750 creators become part of WAVES as India showcases its digital storytelling talent

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

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

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

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

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

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

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

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

Netflix targets 2x ad revenue growth in 2025

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

They Came to Make Money, Not Art

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

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

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

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

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

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

"Too Bold” for Whom?

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

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

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

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

MBAs, Metrics and Market Caution

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

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

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

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

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

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

Smarter Risks, Not Just Safer Bets

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Social media blunder helps Kochi police bust international piracy network

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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