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The Ministry of Information and Broadcasting (MIB) is in the final stages of drafting comprehensive accessibility guidelines for OTT platforms in a bid to promote inclusivity in India’s growing digital content space. While accessibility standards already exist for traditional media like broadcast television and cinema, OTT platforms have so far operated without a unified framework. The government is now looking to fill that gap by drawing from global standards such as the Web Content Accessibility Guidelines (WCAG), sources told Storyboard18.

<a href="https://www.storyboard18.com/how-it-works/ib-ministry-asks-ott-platforms-to-enhance-accessibility-features-for-persons-with-disabilities-63264.htm">Read more: I&B Ministry asks OTT platforms to enhance accessibility features for persons with disabilities</a>

“The Ministry has guidelines for broadcasters and cinema, but for OTT, they are in the process of drafting guidelines. The finalisation of draft guidelines will take some time as it has been pending for more than 6-8 months. The consultation is currently on hold,” said a top industry leader.

The move to bring OTTs under the accessibility umbrella is a continuation of MIB’s ongoing efforts, which previously resulted in the “Accessibility Standards in the Public Exhibition of Feature Films in Cinema Theatres” in 2024. These cinema guidelines focused on creating equal access for individuals with hearing and visual impairments, laying down provisions for Indian sign language, audio descriptions, assistive devices, and public awareness.

According to the Ministry’s guidelines, these changes stem from legal mandates outlined in Sections 29, 40, 42, and 44 of the Rights of Persons with Disabilities Act, 2016, which call for inclusive design and universal access in all public communication, including films and digital media.

While the OTT-specific accessibility draft is still under consultation, the MIB has already issued an advisory on April 22 to OTT platforms and self-regulatory bodies, urging them to enhance disabled-friendly features in accordance with existing Indian laws. The advisory underscores the need for platforms to make “reasonable efforts to improve the accessibility of online curated content” for persons with disabilities (PwDs).

Significantly, this push for accessibility is not being met with resistance. Rather, private OTT players are voluntarily aligning with the government's vision, recognising accessibility as both a legal responsibility and a strategic business opportunity.

Avinash Mudaliar, CEO and Co-founder at OTTplay said, “The Ministry of Information and Broadcasting's move to align accessibility standards for OTT platforms with global benchmarks like the WCAG is both timely and strategic. It sets the foundation for a more inclusive digital content ecosystem, enabling platforms to reach wider, often underserved, audiences. Accessibility is now a vital and essential aspect of business success. With the advisory already in place, we anticipate that forward-thinking OTT players will see this not just as regulatory compliance, but as a strategic opportunity to lead with purpose, enhance user engagement, and future-proof their platforms in a diversifying digital economy.”

Krishna Iyer, Director of Marketing at MullenLowe Lintas Group, called it as a crucial step toward a more inclusive digital India. From UPI, which revolutionized financial inclusion through the National Payments Corporation of India (NPCI), to this latest push for accessible content, India continues to lead in building tech-enabled systems that serve all. 

"This initiative also aligns with the United Nations Development Programme’s Governance for People and Planet framework, reinforcing the importance of inclusive and rights-based digital governance. By making content accessible to people with disabilities is not just shaping policy but championing it in a digital era. Global efforts like Madagascar’s PRODIGY project and Azerbaijan’s ASAN service reflect a growing consensus: accessibility is no longer optional. OTT platforms in India will also embrace this shift— to enhance reach and elevate the user experience."

Industry leaders such as Netflix, Amazon, Google, and Meta have all been part of the stakeholder consultations.

Legal experts and advocacy groups agree that the current fragmented landscape needs a cohesive policy to ensure all platforms offer features like subtitles, audio descriptions, intuitive navigation, and sign language integration.

Germaine Pereira, Partner at Solomon & Co., emphasised that OTTs, unlike traditional media, deliver on-demand content across various devices and interfaces. “Accessibility guidelines are essential for OTT platforms due to their unique nature... The lack of standardisation makes it difficult for PwD to fully enjoy or navigate content.”

Siddharth Chandrashekhar, Advocate at the Bombay High Court, pointed out the gap in regulation. “Existing film-accessibility guidelines target only theatrical releases certified by the CBFC, leaving OTT content, which accounts for a rising share of viewership. Rule 16 of the IT Rules, 2021, requires ‘reasonable efforts’ but lacks specific technical standards or timelines,” he said.

He added that the current patchwork approach fails to address the broader impact. “Inaccessible OTT content reinforces social isolation, limits educational and occupational opportunities for PwDs, and contravenes the RPwD Act’s mandate for equality... PwDs pay the same subscription fees but effectively receive a compromised service.”

Chandrashekhar advocated for a clear, enforceable framework aligned with international best practices and binding timelines. “We can ensure that the digital entertainment revolution truly reflects its commitment to an accessible, inclusive society,” he added.

India’s 2011 census showed that 2.68 crore people - over 2% of the population—live with disabilities, a majority of whom reside in rural areas. As OTT becomes a dominant mode of content consumption, experts believe that building in accessibility from the ground up is no longer optional, it’s essential.

The government and private stakeholders appear aligned on the shared goal of ensuring digital inclusivity for all.

Govt, industry align on 'Accessibility Standards' for OTTs; finalisation of draft guidelines in works

As the Supreme Court of India raises serious alarms over obscene content on OTT platforms, a new and unsettling frontier has emerged: the use of generative AI to create soft porn content. This development is sparking outrage among industry leaders and cultural custodians, who are calling for immediate government intervention and even a complete ban.

<a href="https://www.storyboard18.com/ott-news/breaking-sc-raises-concern-over-ott-content-govt-pushes-for-regulation-63471.htm">Read more: SC raises concern over OTT content, Govt pushes for regulation</a>

The Apex Court has issued notices to major players, including Alt Balaji, Ullu Digital, Mubi, Amazon Prime Video, and Netflix, as well as to tech giants like Google, Meta, and Apple. The move comes after a Public Interest Litigation (PIL) sought regulation of explicit material proliferating across streaming and social media platforms.

The PIL and subsequent court actions come amid rising public outrage over the type of content being pushed to digital audiences. Platforms like Alt Balaji and Ullu Digital have come under particular scrutiny for streaming titles such as Dulhaniya Beediwaali, Lust Party, Jungle Mai Dangal (on Alt Balaji), and Sarkaaye Lo Khatiya, Kundi Mat Khadkao Raja, and Painter Babu (on Ullu Digital) - content described as soft pornography under the guise of adult entertainment.

However, what has truly raised eyebrows is the industry's new frontier: AI-generated soft porn.

iTAP Entertainment and Gaming has reportedly taken this to another level. Their latest web series, including Lollita Bhabhi and Soundairya's EXperiments, feature actors who are entirely the product of generative AI - machines crafting explicit fantasies without any human performers.

Ajit Remje, Marketing Head at iTAP Entertainment and Gaming, defended the company's practices, stating, "We are not violating any law. In case there is any change in policy, we will abide by it."

Abhay Sinha, President of the Indian Motion Picture Producers Association (IMPPA), voiced grave concerns over the proliferation of such content. “This kind of crude material has a damaging impact on young, impressionable minds. The government is aware and has initiated discussions to frame tighter regulations. We were called for deliberations with a Parliamentary committee. It’s clear that obscene content—whether involving human actors or AI creations—must not be allowed to flourish unchecked,” Sinha asserted.

Sinha warned that if the industry fails to self-regulate, the entire OTT ecosystem could face stringent government oversight, potentially stifling creative freedom for responsible creators.

Echoing similar sentiments, Yusuf Shaikh, Founder and CEO of Janta Cinema and an Executive Committee Member of IMPPA, pointed out that generative AI poses even greater risks than traditional explicit content.

“With AI, it’s now possible to morph faces and mimic famous actors, inserting their likenesses into soft porn or worse without consent. This not only tarnishes reputations but could destabilize the entire entertainment industry,” said Shaikh. “We must draw a hard line. There should be an immediate ban on such vulgar AI-generated material.”

Currently, OTT content in India is regulated under the Information Technology (Intermediary Guidelines and Digital Media Ethics Code) Rules, 2021. These rules require streaming platforms to categorize content according to age appropriateness, implement parental controls, and maintain grievance redressal mechanisms.

However, critics argue that the regulations, while comprehensive in intent, have not kept pace with technological innovation like generative AI, which can blur the boundaries between real and fake, art and obscenity.

Cyber law expert Akshat Khetan, Founder of AU Corporate Advisory and Legal Services (AUCL), emphasized the urgent need for updated frameworks, “"In order to safeguard vulnerable audiences and ensure that the content complies with public morality, it is necessary to regulate over-the-top (OTT) content that contains obscenities." 

Khetan said, "As digital content becomes more widely available, a legal structure that protects moral principles while permitting artistic expression is required. These concerns are intended to be balanced by the government's Information Technology (Intermediary Guidelines and Digital Media Ethics Code) Rules 2021 which classify content, enforce parental controls and create grievance redressal procedures."

Experts point out that Generative AI, while offering unprecedented creative possibilities, must be used with caution and conscience. If misused, it threatens to erode trust, damage reputations, and invite heavy-handed regulation that could stifle genuine artistic freedom.

Independent legal counsel Gowree Gokhale says, "The Bharatiya Nyaya Sanhita, 2023, the Information Technology Act, 2000, and other laws already define illegal content, including obscene material. Part II of the IT Rules, 2021, governs intermediary platforms, while Part III governs curated content platforms — both face distinct issues that are often wrongly conflated."

Gokhale elaborated, "Some parts of the Rules, including the Code of Ethics and the three-tiered enforcement mechanism, are stayed by the Delhi High Court; if found ultra vires or unconstitutional, a new law will be required. Pre-censorship is not advisable. Ambiguities in the Rules must be resolved for effective regulation, and enforcement should be the focus. Curated content platforms pushing boundaries should engage in dialogue with regulators. AI-generated content should not be treated differently from other content."

The Supreme Court’s intervention is not just a warning to content creators and platforms, but a call to action for the entire industry to rethink its boundaries.

As SC flags OTT obscenity, Generative AI sparks new 'soft porn' crisis

On Monday, a Supreme Court bench comprising Justice B.R. Gavai and Justice A.G. Masih heard a Public Interest Litigation (PIL) seeking regulation of online content on OTT platforms such as Netflix, Amazon Prime Video, Alt Balaji, and others, citing the availability of obscene material.

Justice Gavai noted that the PIL raises an important concern regarding the display of objectionable, obscene, and indecent content on OTT and social media platforms. The court issued notices to the respondents in the case, including Netflix, X Corp, Amazon Prime Video, Alt Balaji, Ullu Digital, Mubi, Google, Apple, Meta, and others.

Solicitor General Tushar Mehta supported the petitioner, stating that the content available on OTT platforms is not only vulgar but perverse in nature. He emphasized that children are now accessing such content, noting that kids as young as 7 or 8 years old often have access to mobile phones and, consequently, to vulgar material. Mehta also mentioned that while certain regulations exist to monitor OTT content, there is a pressing need to further address issues of vulgarity and obscenity on OTT and social media platforms.

During an earlier hearing on April 25, the bench had expressed reluctance to hear the matter. Justice Gavai commented, "How can we...? It's a policy issue. It's for the Union to frame regulations. As it is, we are criticized for interfering with executive and legislative functions." The court had remarked that it would dismiss the case after hearing it on the next date.

The petition claimed that pages and profiles on social media sites were distributing pornographic material without any filters and that various OTT platforms were streaming content that could include elements of child pornography. "Such sexually deviant material pollutes the minds of youth, children, and even adults, leading to perverted and unnatural sexual tendencies and contributing to a rise in crime," the plea stated.

The petition urged the Supreme Court to form a committee headed by a retired Supreme Court judge, along with other eminent experts, to oversee and certify content published or streamed on OTT and social media platforms, similar to the role of the Central Board of Film Certification, until a specific law is enacted.

It also sought the formation of an expert committee comprising reputed psychologists recognized by the Rehabilitation Council of India, along with other specialists, to conduct a study and submit a report evaluating the adverse effects of sexually explicit content on consumers and its broader impact on society.

In October 2024, a different bench led by former Chief Justice D.Y. Chandrachud, along with Justices J.B. Pardiwala and Manoj Misra, had dismissed another petition seeking the establishment of a board to regulate OTT content and film releases, clarifying that this, too, was a matter of policy.

Breaking: SC raises concern over OTT content, Govt pushes for regulation

Waves OTT, the OTT streaming service supported by Prasar Bharati, has reached significant growth milestones, further solidifying its place in the battle-hardened global OTT space. The service has surpassed 2 million downloads across platforms, with Android spearheading the momentum at 1.9 million downloads, followed by iOS, Android TV, Firestick, Jio TV, and Apple TV. With a live user base of 640,000 and day-by-day increasing engagement, Waves OTT is progressively developing a dedicated viewership by taking a mix of nostalgia and new entertainment.

Under the tagline “Waves – Family Entertainment Ki Nayi Lehar,” the platform is positioned as a cultural bridge, connecting Doordarshan and Akashvani’s rich legacy with contemporary digital demands. N L Chauhan, DDG, All India Radio, emphasized that the initiative reflects Prasar Bharati’s commitment to evolving with the changing media landscape.

Having a content library spread over 1,856 movies, 590 series, and 9,295 eBooks and journals in over 80 genres, Waves OTT serves people with varied interests—ranging from mythology, literature, travel, news, and dance to more. It has also discovered new platforms for old classic programs such as Ramayan, Mahabharat, Shaktimaan, and Hum Log, making them accessible to young generations.

Globally, Waves OTT has seen 181 countries logging in users, and with key pickups in the USA, UK, UAE, Australia, France, and Belgium. Though the domestic market, India, stands strong with more than 4.2 million user visits, increasing global reach points to overwhelming cross-border popularity with Indian content.

Accessibility continues to be a strength for Waves OTT with its support of 10 app interface languages like Hindi, English, Bengali, Marathi, Tamil, and Kannada and content availability across 26 languages. Being a multilingual offering, it has helped the service tap India's linguistic heterogeneity and find footholds in countries overseas as well.

Apart from entertainment, Waves OTT is expanding its influence by live broadcasting important national events such as Prabhu Shriram Lalla Aarti from Ayodhya and Mann ki Baat from Prime Minister Narendra Modi. The platform also extensively supports social awareness campaigns, including a cybersecurity campaign with CDAC.

To push more user activity, Waves OTT has launched three subscription plans—Platinum, Diamond, and Gold—each with different levels of content access, device support, and downloads, appealing to a broad base of audiences.

As the platform looks to the future, its plans include improving genre diversity, adding more languages supported, and further enhancing content offerings to make Waves OTT a household entertainment hub not only in India but also around the world.

<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 OTT crosses 2 million downloads, strengthens global footprint across 181 countries

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.

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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.

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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.

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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.