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

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

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

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

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

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

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

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

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

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

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

The Indian government’s proposed Broadcasting Services (Regulation) Bill, 2023—originally introduced to bring both traditional broadcasters and digital content creators under a unified regulatory umbrella—has now sparked fresh debate as sources indicate that social media platforms may be left out of its ambit.

Originally aimed at standardising oversight across television, OTT platforms, YouTube channels, podcasts, and other digital-first content creators, the bill had raised concerns among free speech advocates over increased government control. Now, the suggestion that social media may be excluded from regulation has triggered criticism from industry stakeholders and experts alike.

“There is a need for uniform law to regulate TV, OTT, and social media platforms,” said Kailash Adhikari of Sri Adhikari Brothers Network. “Today, mediums for entertainment have evolved, and there is an urgent need for a regulation which sees all platforms from one lens.”

However, OTT platforms continue to resist additional content regulation, arguing that imposing legacy broadcast rules on new-age digital mediums would stifle innovation and investment. A senior representative from an OTT platform, speaking anonymously, stated, “Regulations designed for traditional media cannot be applied to OTT. Investments in original local content have grown significantly, with over 50% of entertainment spending directed toward pay TV, excluding movies and sports.”

OTT companies maintain they already operate under robust self-regulatory norms, including parental controls and content guidelines, and say that further regulation would complicate operations and hinder the sector’s rapid growth.

Meanwhile, calls for stricter oversight on social media are gaining traction. “There is an urgent need to regulate social media platforms. Most fake news stems from these digital platforms,” said one senior broadcaster. “Television, print, and radio are already heavily regulated. Adding another regulation will only burden the legitimate sector with compliance costs.”

Another prominent broadcaster echoed this sentiment: “The Broadcasting Services Regulation Bill must include social media platforms. They are responsible for the majority of violations and misinformation, not OTT platforms, which are already self-regulated.”

According to data from the Advertising Standards Council of India (ASCI), digital platforms accounted for a staggering 94.4% of all advertising violations in FY 2024–25. In contrast, print made up just 2.4%, TV 2.6%, and outdoor and radio combined only 0.6%. Most violations were concentrated on Meta platforms, e-commerce sites, general websites, Twitter, mobile apps, property portals, and email services. Platforms such as Google, LinkedIn, and OTT services reported relatively fewer infractions.

Experts caution against treating curated content and social media under the same regulatory lens. “It’s like missing the tree for the wood,” said a policy analyst, pointing to the vast difference in content dynamics between platforms.

An estimated 50,000 hours of content are created daily across broadcast and OTT platforms, yet less than 1% of major content violations originate from these mediums. In contrast, social media—largely unregulated—remains a hotbed of misinformation and ASCI violations.

The Parliamentary Standing Committee on Communications and Information Technology has increased pressure on the Ministry of Information and Broadcasting (MIB) to finalise the legislation. The MIB has informed the panel that the process will take time and promised regular updates on progress.

On the other hand, the stakeholders from cable television industry to urge for the swift implementation of key recommendations made by the Telecom Regulatory Authority of India (TRAI). The industry is particularly focused on accelerating the release of the draft Broadcasting Services (Regulation) Bill, 2023.



Govt may exclude social media from Broadcasting Bill, stirring industry debate

Prime Video has on-boarded NFDC – Cinemas of India, as an add-on subscription. National Film Development Corporation (NFDC) offers an extensive library featuring iconic films by renowned and internationally acclaimed directors such as Satyajit Ray, Shyam Benegal, Mira Nair, and Kalpana Lajmi, to name a few. 

With this add-on subscription, customers in India can enjoy evergreen classics from multiple Indian languages, including critically acclaimed films like Mirch Masala (Hindi), Ghare Baire (Bengali), Salaam Bombay!(Hindi), Doghi (Marathi), Jameela (Tamil), Ganashatru (Bengali), Bangarwadi (Marathi), Parinamam (Malayalam), Rudaali (Hindi), Gandhi (Hindi), Marupakkam (Tamil), Bioscope (Malayalam), Percy (Gujarati), Stri (Telugu), Mammo (Hindi), Suraj Ka Satvan Ghoda (Hindi), among others, at INR 199 per year.

The curated NFDC add-on subscription on Prime Video includes some of the most awarded and critically acclaimed films of all times – from the multiple Academy, BAFTA, and Golden Globe Award-winning film Gandhi (Hindi), and Salaam Bombay! (Hindi) that won the Caméra d'Or and Audience award at the Cannes Film Festival in addition to the National Film Awards, along with a nomination at the Academy Award for Best International Feature Film, to Agantuk (Bengali), Satyajit Ray’s last film that won the FIPRESCI Award at the Venice Film Festival, and Best Feature Film at the National Film Awards; from Qissa (Punjabi) that won the Netpac Award for World or International Asian Film at the Toronto International Film Festival, and Paar (Hindi) that won the UNESCO Award at the Venice Film Festival, as well as the National Film Award for Best Feature Film in Hindi, to several National Film Awards, Kerala State Awards, A.P. State Awards-winning films like Bioscope (Malayalam), Thodu (Telugu), Tiladaanam (Telugu), Kaliyachan (Malayalam), and many more.

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Gaurav Bhasin, head of marketplace (add-on subscriptions and movie rentals), Prime Video, said,“The collection showcases the rich heritage of Indian cinema across our linguistically diverse entertainment industry. Whether you're a cinephile or just beginning to explore Indian cinema, NFDC's catalogue offers an unparalleled window into our country's most acclaimed and culturally significant films. Through add-on subscriptions like these, we continue our commitment at Prime Video to super-serve customers with more of what they love, all in one place.”

“For decades, NFDC has supported pioneering filmmakers and impactful narratives that showcase India’s cultural diversity. With Prime Video’s massive reach across the country, we are confident that these timeless, thought-provoking, stories will reach and be enjoyed by new audiences, and enable us to take Indian cinema far and wide,” said Prakash Magdum, MD, NFDC Ltd.

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Prasar Bharati has partnered with Shucae Films OTT to expand digital content and engage wider audiences. This collaboration brings Shucae’s dynamic slate of original web content to Prasar Bharati’s digital platform WAVES, with select shows also airing on its national television network.

The alliance underscores Prasar Bharati’s ongoing push to modernise content delivery by merging its robust broadcast ecosystem with Shucae Films’ creative edge in digital storytelling. Together, they aim to deliver compelling, inclusive and high-quality content for India’s evolving media consumers.

This partnership strengthens WAVES as a premier OTT Platform for homegrown digital content, building on its mission to blend entertainment with empowerment. Already known for shows like The Lions’ Den, WAVES now hosts a fresh lineup of Shucae’s popular titles including Jaane Kyun, Ek Ke Peeche Ek, Love Forever, It’s a Match, Yeh Hai Meri Love Story!, Belt, Bolo Pencil, Pyaar Ke Panne and 3rd Stanza.

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Gaurav Dwivedi, CEO, Prasar Bharati, said “This partnership reflects our commitment to offer vibrant, diverse and engaging content to audiences in India and beyond. Our OTT Platform WAVES continues to evolve as a digital-first platform showcasing the best of Indian storytelling."

"We’re excited to collaborate with Prasar Bharati and leverage WAVES OTT’s reach to bring our stories to a broader, more connected audience. It’s an ideal platform to co-create content that truly resonates," added Manoj Doogra, CEO, Shucae Films.

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Prasar Bharati and Shucae Films OTT join forces; aims to boost WAVES OTT content portfolio

The streaming wars took a sharp turn at Cannes as YouTube CEO Neal Mohan responded to a dig from Netflix chief Ted Sarandos, who previously dismissed YouTube as merely a platform for “killing time,” contrasting it with Netflix’s “premium storytelling” meant for “spending time.”

Speaking at ADWEEK House during Cannes Lions, Mohan pushed back, asserting that YouTube’s value lies in the diversity of its creators and the choice it gives its 2 billion daily users.

“Who am I to say what’s spending time, engaging time, quality time, or killing time?” Mohan said. “It’s all of us as consumers—we get to decide how to spend our time.”

The remarks come as YouTube doubles down on its investment in creator ecosystems—especially in India, where Mohan recently made a high-profile appearance at the World Audio Visual Entertainment Summit (WAVES) in Mumbai.

“There is a new creative generation rising in India,” he said, revealing that YouTube has paid over ₹21,000 crore to Indian creators, artists, and media companies over the past three years. The company will now invest an additional ₹850 crore over the next two years to further accelerate this growth.

“With this investment, we’re not just talking about platform support—we’re talking about real career pathways and economic opportunity,” Mohan added, positioning YouTube as a catalyst for India’s rise as a global content powerhouse.

In contrast to Sarandos’ comments, Mohan’s response highlights the broader industry shift—where platform success is increasingly defined not just by big-budget content, but by creator-driven community and choice.

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India’s booming OTT market is undergoing a clear shift in viewer behavior. Once riding high on a surge in paid subscriptions, the industry is now seeing a return to its roots: free, ad-supported content. As more consumers balk at rising subscription costs, hybrid and AVOD (Advertising Video on Demand) models are gaining traction—particularly in Tier 2 and 3 cities where affordability shapes viewing choices.

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“Subscription fatigue is real, especially in a market like India where value drives decisions,” says Prashant Puri, CEO & Co-Founder of AdLift. “The hybrid model—ads plus subscription—is emerging as the sweet spot, offering affordability without compromising on content quality.”

India’s digital advertising market is thriving. According to Dentsu India, digital ad spends are projected to cross Rs 59,200 crore by 2025. OTT platforms are primed to capture a large chunk of this pie, especially as user acquisition slows down in the SVOD space.

“Platforms like YouTube and JioStar have normalized ad exposure even within premium content,” says Raj Swaminathan, Sr. Director at Globale Media. “For platforms, this means scaling reach without alienating users.”


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As per Ormax's OTT Report released last year, India's digital video audience universe stands at 547.3 million, of which 28% are SVOD audiences while the remaining (72%) are AVOD audiences. The SVOD audience base has shown a 2% decline, dropping from 153.0 million in 2023 to 150.6 million in 2024.

While platforms like Netflix and Amazon Prime have carved out a premium subscriber base, much of the mass market remains price-sensitive, experts say SVOD penetration remains lower compared to Western markets. Even premium platforms are now experimenting with ad-supported tiers to reach wider audiences.

The result is a more nuanced streaming model—offering users a choice between completely free content with ads, low-cost plans with limited ads, and premium ad-free experiences.

“In Tier 2 and Tier 3 markets, people don’t want to pay Rs 200 a month just to skip ads,” says a media planner, adding, "but they’ll watch ads if the content is regional, fresh, and culturally relevant.”

This trade-off—time for value—is something Indian audiences are uniquely comfortable with. Dhurvin Shah, CEO of JOJO, underscores this. “India has long embraced ad-supported content. Viewers either pay with time or money, depending on the experience. For us, AVOD helped us build a base of over 65 lakh users.”

<strong>The Shift Is Structural, Not Temporary</strong>

While the COVID-19 years saw an unprecedented spike in paid OTT subscriptions, the post-pandemic economy is recalibrating consumption habits. Inflation, app overload, and content fatigue are forcing consumers to consolidate where they spend—and platforms are taking note, say experts.

“Indian consumers were ambushed by choice,” says Sadamate. “Now they want flexibility, relevance, and consistency. That’s where AVOD wins.”

Even Amazon Prime Video’s recent move to introduce ads in India underscores this evolution. With its deep e-commerce integration and massive reach, Amazon could become the poster child for a content-to-commerce ecosystem that marries AVOD efficiency with transactional convenience.


<strong>The Path Forward: Personalization and Control</strong>


Ad tolerance may be high, but relevance is key. As Sukhpreet Singh, CRO of Dish TV, points out: “Seamless, intelligent ad integration will be the differentiator. The goal is to make advertising feel less like an interruption and more like part of the viewing experience.”

That means more targeted ads, smarter frequency caps, and increased personalization based on user behavior and geography.


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“India isn’t just ready for AVOD—it’s leading the way,” says Siddharth Devani, Co-Founder of SoCheers. “Unlike the West, where ad resistance is high, India’s digital ecosystem thrives on flexibility. Platforms that understand this duality—free and premium, urban and rural, ad-tolerant and ad-free—will be the ones to win.”


This isn’t a death knell for SVOD, but rather a moment of realignment, sums up experts. The high-ARPU, low-churn subscribers will remain loyal—but they’re now the exception, not the norm, believe experts. To scale sustainably, OTT platforms in India must blend premium storytelling with accessible monetization models. In a country where 32% of total media revenue now comes from digital, the future of OTT lies in diversity not just of content, but of pricing, access, and ad experiences.



From Binge to Breaks: How ads are redefining OTT viewing in India

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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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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