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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

The Advertising Standards Council of India’s (ASCI) latest clarification that financial and health influencers are not required to hold professional qualifications for sharing general information is poised to reshape how brands collaborate with creators in these high-stakes sectors. While the move lowers the entry barrier for creators, it also sets the stage for a dual-market structure where influencer selection, compensation, and campaign strategy will hinge on the depth of expertise being conveyed. 

<a href="https://www.storyboard18.com/brand-marketing/trademark-defamation-claims-wont-restrict-influencers-rules-delhi-high-court-63639.htm">Read more: Influencers' fact-based criticism of brands is not defamation: Delhi High Court</a>

ASCI released an update to its Influencer Advertising Guidelines for health and finance influencers on April 28. Under the updated guidelines, influencers offering technical financial advice must still be registered with SEBI or possess relevant credentials, whereas those providing general content can operate without formal qualifications. Earlier, all influencers providing advice and/or promoting and/or commenting on merits or demerits on aspects related to commercial goods and services in the fields of BFSI and Health and nutrition were required to have the necessary qualifications and certifications to provide such information and advice to consumers.

This latest distinction, say experts, will prompt brands to rethink how they segment influencer roles and budgets.

Smita Khanna Kithania, Chief Operating Officer at Newton Consulting India, noted that the recent clarification by ASC could lead to an increase in partnerships with a broader range of influencers for campaigns centered on general information and awareness, as professional qualifications are not mandatory for such content.

However, she also warned that this will necessitate a more discerning selection process from brands and possibly drive a fee hike. “Influencers holding professional qualifications (for technical advice) may command 10-20% higher fees, while general influencers might see more moderate increases of 5-10%.”

Yasin Hamidani, Director at Media Care Brand Solutions, echoed this view, saying, “Brands are likely to pursue more collaborations with health and finance influencers now that regulatory clarity allows general content without formal credentials. Influencer fees (for qualified experts) may rise by 15–30% in these categories, driven by credibility and limited supply.”

From a regulatory standpoint, ASCI Secretary Manisha Kapoor clarified that the guidelines aim to balance authenticity with flexibility. 

“All influencer ads, not just those for health and finance, are subject to the ASCI code as well as the Consumer Protection Act. This guideline only relaxes the need for health or financial influencers to be professionally qualified in ads where no expert advice is provided.”

While the move could democratise access for newer creators, it also stirs concern about misinformation and market credibility. 

Experts say the absence of clear qualification markers can erode trust and authenticity. Relying solely on current regulations might not fully safeguard consumer interests. Kithania advocated for clearer definitions and proactive measures.

Similarly, a brand expert warned that without robust content audits or disclosure norms, compliance alone may not be sufficient to ensure authenticity. Proactive digital literacy and stricter platform-level checks will be essential.

Amit Relan, Co-Founder and CEO of mFilterIt, welcomed the move but cautioned against the “grey zone” it might create. “To truly uphold transparency, additional guardrails or disclosure norms could help ensure that both brands and audiences can make informed decisions in this evolving space.”

From the creator’s side, the development is seen as an opportunity with caveats. 

Anushka Sanghvi, CMO at NOFILTR, described it as a “balancing act.” “Not every financial or health reel is trying to be a masterclass, right? But drawing the line between ‘general info’ and ‘advice’ can get tricky fast.”

She added that while the new rules may open doors for more creator-brand partnerships, particularly for influencers with strong engagement but no formal background, success will hinge on authenticity. “There’ll be a premium for creators who bring a mix of credibility and relatability.”

Ultimately, ASCI’s update is expected to foster broader participation among influencers while maintaining checks where advice veers into expert territory. For brands, this means recalibrating influencer strategies to align with compliance requirements, campaign goals, and the evolving expectations of a digitally savvy audience.

<a href="https://www.storyboard18.com/advertising/asci-modifies-influencer-guidelines-update-for-health-and-finfluencers-63523.htm">Read more: ASCI modifies influencer guidelines; update for health and finfluencers</a>

ASCI’s relaxed rules spark fee surge; 'qualified' health, finance influencers to charge 30% more

Snap Inc., the parent company of Snapchat, announced financial results for the quarter ended March 31, 2025, on Tuesday. It reported slightly better-than-expected revenue for the first quarter but withheld guidance for the current period, citing growing uncertainty in the advertising market amid broader economic challenges. 

“We surpassed an important milestone in Q1, with our community growing to over 900 million monthly active users,” said Evan Spiegel, CEO. “Quarterly revenue increased 14% year-over-year, driven by the progress we have made with our direct-response advertising solutions, continued momentum in driving performance for small and medium sized businesses, and the growth of our Snapchat+ subscription business.”

The company generated $1.36 billion in revenue in the quarter ending March 31. Despite the modest beat, Snap declined to provide a sales forecast for the second quarter, warning that macroeconomic volatility could weigh on advertising demand. Chief Financial Officer Derek Andersen told investors on an earnings call Tuesday that some advertisers are scaling back in response to changes in U.S. trade policy.

Despite the economic pressures, Snap reported some bright spots. Its advertiser base grew 60 percent compared with the same quarter last year, and direct response ads, those that drive specific user actions like purchases, accounted for 75 percent of its ad revenue, the highest share to date.


Q1 2025 Financial Summary

• Revenue was $1,363 million, compared to $1,195 million in the prior year, an increase of 14% year-overyear.
• Net loss was $140 million, compared to $305 million in the prior year.
• Adjusted EBITDA was $108 million, compared to $46 million in the prior year.
• Operating cash flow was $152 million, compared to $88 million in the prior year.
• Free Cash Flow was $114 million, compared to $38 million in the prior year.

Key Highlights

• Reached more than 900 million monthly active users (MAU)
• Daily active users (DAU) were 460 million in Q1 2025, an increase of 38 million, or 9%, year-over-year.
• The number of views on Spotlight posts les than 24 hours old doubled year-over-year—which contributes to a
• Total active advertisers grew by 60% year-over-year in Q1.
• SKAdNetwork reported app purchases grew more than 30% year-over-year in Q1.
• Rolled out improvements to our automated Target Cost (tCPA) bidding strategy, leveraging ML technology to
help advertisers achieve more consistent cost-per-action results.
• Expanded our Agency Partner Program to agencies of all sizes
• Began early testing of Sponsored Snaps in auction in Q1 as Snap looks to expand Sponsored Snaps to additional bidding objectives.
• Launched our new brand suitability solutions, giving advertisers even more control when it comes to content
adjacency.
• Other Revenue, the majority of which is Snapchat+ subscription revenue, increased 75% year-over-year in Q1

Snap posts modest revenue beat, warns of economic headwinds as advertisers pull back

In a major leap toward bridging the digital divide in education, Intel and Tejas Networks have successfully integrated Direct-to-Mobile (D2M) broadcasting technology into laptops, enabling the seamless delivery of multimedia educational content across India — without the need for Wi-Fi or internet connectivity. The technology will be presented at the World Audio Visual & Entertainment Summit (WAVES) 2025.

<a href="https://www.storyboard18.com/brand-makers/landmark-sessions-at-waves-2025-a-call-for-universal-access-to-media-and-entertainment-63613.htm">Read more: Landmark sessions at WAVES 2025: A call for universal access to media and entertainment</a> 

This integration marks a milestone in India's drive towards equitable digital access. Earlier, HMD Global and Lava International had announced plans to launch D2M handsets in the country to meet the expected mass consumer demand. HMD and Lava will unveil their respective D2M phones in India during WAVES 2025, in collaboration with D2M partners, which include FreeStream Technologies, Tejas Networks, and Saankhya Labs.

D2M is a breakthrough next-generation broadcasting technology that delivers OTT and live TV, video, audio, and text messages directly to mobile phones without requiring Wi-Fi or internet service. The implementation of this technology will enable Indian consumers to access entertainment, sports, educational programmes, and emergency alerts directly on their mobile devices through terrestrial TV broadcast airwaves.

The cutting-edge laptops feature Intel processors combined with an embedded antenna and the Tejas–Saankhya SL-3000 SDR chipset, enabling uninterrupted access to educational programming. Tejas Networks has also built a comprehensive suite of infrastructure tools to support large-scale D2M network deployment.

<a href="https://www.storyboard18.com/television/exclusive-prasar-bharati-gears-up-for-massive-d2m-trials-bidding-to-begin-in-a-year-60554.htm">Read More: Prasar Bharati gears up for massive D2M trials, bidding to begin in a year</a>

Parag Naik, Executive Vice President of Tejas Networks, called the innovation a "revolutionary leap" in educational content delivery. "By using the multicast capabilities of ATSC 3.0, our D2M platform can simultaneously broadcast content in multiple languages and formats tailored to different student groups. This ensures high-quality, inclusive learning regardless of geography or connectivity."

The SDR chipset, developed entirely in India, reflects the nation’s growing prowess in deep-tech innovation. Already being tested in live networks through a collaboration with Prasar Bharati and IIT Kanpur, the system represents a mature and scalable solution for public content delivery.

Gokul Subramaniam, President of Intel India, highlighted the broader implications: "Intel continues to innovate with the ecosystem to bring unique computing experiences to the users and enable them to perform tasks that can transform their lives. D2M technology, as part of our collaborative effort with Tejas Networks, opens a range of new possibilities to deliver content through personal computing and edge devices. We believe the possibilities with this capability in a PC are far reaching for education in India and globally." 

The initiative has also earned praise from education leaders. Shashi Shekhar Vempati, Chairperson of the UGC Committee on Educational Media Reforms, noted: "In line with Hon’ble Prime Minister Narendra Modi’s vision for a Viksit Bharat (Developed India) by 2047, the integration of D2M broadcasting technology with AI-capable edge computing can lead to a full-stack (chips to platform) deep-tech public goods infrastructure purpose-built to deliver high quality educational content to India’s youth."

This initiative also aligns with the National Education Policy (NEP) 2020’s vision of equitable and inclusive education by helping overcome digital access barriers for students nationwide. Vempati added. 

Storyboard18 had reported that the Ministry of Information and Broadcasting (MIB) had referred the Direct-to-Mobile (D2M) broadcasting proposal to a committee of secretaries. 

Gaurav Dwivedi, Chief Executive Officer, Prasar Bharati had said, “The proof-of-concept testing has been completed successfully across 19 cities using both high-power and low-power transmitters. Now, we are looking at a slightly longer-term model to establish its business viability. Within a year, we will invite bids from technology companies for large-scale testing over a period of three to five years to establish viable business model.”

Multiple ministries are involved in D2M broadcasting tech such as Department of Telecommunications (DoT), Ministry of Electronics and Information Technology (MeitY), Department of Space (DoS), and MIB.

<a href="https://www.storyboard18.com/television/exclusive-mib-refers-d2m-broadcasting-proposal-to-committee-of-secretaries-46211.htm">Read More: MIB refers D2M broadcasting proposal to committee of secretaries</a>

<a href="https://www.storyboard18.com/television/prasar-bharatis-waves-vs-d2m-committee-of-secretaries-meet-to-discuss-d2m-tech-54471.htm">Read More: Prasar Bharati's WAVES vs D2M: Committee of Secretaries meet to discuss D2M tech</a>

D2M phones, laptops to showcase the future of broadcasting at WAVES 2025

As a blistering summer scorches much of India, major soft drink companies are pouring millions into advertising in a bid to not only quench thirsts but dominate consumer consciousness. With temperatures and competition soaring in tandem, beverage companies are accelerating marketing campaigns across television, digital media, and outdoor platforms, turning the season into a high-stakes contest for market share.

This year, the soft drinks sector finds itself at the intersection of climate urgency, evolving consumption habits, and digital innovation. According to Shailja Joshi, Category Lead for Cola and Flavours at PepsiCo India, brands are leaning into “real-time digital engagement, bold storytelling and purpose-led narratives” to appeal to socially aware, mobile-first consumers. While television continues to play a role in broad outreach, she notes, the industry is pivoting toward immersive, personalized campaigns designed for the digital age.

Projections from Statista suggest that India's soft drinks market will generate an estimated $3.71 billion in revenue in 2025. A vast majority—about $3.49 billion—is expected to stem from at-home consumption through supermarkets and convenience stores. Out-of-home consumption in restaurants and bars will account for a more modest $221 million. The at-home segment is anticipated to grow at a compound annual growth rate of 5.08% between 2025 and 2029.

Digital platforms are now commanding the lion’s share of advertising expenditure. Krishna Iyer, Director of Marketing at the MullenLowe Lintas Group, said digital now comprises 60% of the advertising mix, overtaking traditional television-first strategies. "With overall ad spends up by 8 to 10 percent year-on-year, brands are clearly prioritizing digital engagement,” he said, pointing to the growing influence of influencer content, OTT platforms, and Connected TV in urban centers.

The surge mirrors a broader shift in India’s consumption patterns, with urban and younger consumers especially prioritizing low-calorie and healthier food and beverage choices. As Indian consumers grow increasingly health-conscious, beverage majors Coca-Cola and PepsiCo are doubling down on their no-sugar strategies to meet the surging demand. For instance, Coca-Cola India has unveiled Thums Up XForce, a no-sugar variant, aimed to preserve the brand’s intensity while aligning with a healthier lifestyle trend.

According to NielsenIQ data, sales of low and no-sugar beverages in India doubled in 2024, reaching an estimated Rs 700–750 crore. Recognizing the shift in consumption habits, both Coca-Cola and PepsiCo are introducing no-sugar beverages in affordable Rs 10 packs, including Thums Up XForce, Coke Zero, Sprite Zero and Pepsi No-Sugar. Notedly, this is the first time diet and light beverages are being made available at such accessible price points, reflecting companies’ commitment to democratizing healthier beverage options.

Among the most closely watched players is Campa, a legacy brand revived under the Reliance Consumer Products banner. In just 18 months, it has emerged as a Rs1,000 crore brand, according to sources familiar with the company’s performance. Regional markets such as Uttar Pradesh and West Bengal have delivered double-digit market share, while Maharashtra and Delhi-NCR saw two-fold and four-fold growth respectively. Even the North-East, often a challenging terrain for national brands, posted a staggering seven-fold increase. The company initially relied on visibility-focused strategies, opting out of traditional promotions. That approach changed this season, with Campa joining the Indian Premier League (IPL) as a co-presenting sponsor for its first above-the-line campaign.

Retail Remains King, But Quick Commerce Rises

While traditional retail continues to dominate sales, accounting for 70% of the market, newer channels are bubbling up. Quick commerce platforms like Zepto and Blinkit are estimated to handle 15–20% of urban soft drink consumption. Meanwhile, e-commerce, driven by a 28% year-on-year growth, now makes up 5% of revenue in emerging markets.

HELL ENERGY DRINK, which increased its overall marketing budget by 30% this year, is navigating both retail and digital landscapes. “We identified high-impact opportunities across both traditional and digital channels,” said Unnikannan Gangadharan, Director of HELL-ENERGY PRIVATE LIMITED. The brand continues to split spending evenly between the two formats, but has seen significant traction on quick commerce platforms, even as retail remains its strongest distribution channel.

Campa, by contrast, remains heavily reliant on general and modern trade outlets, with 95% of its sales coming through these traditional modes.

New Playbooks for a New Consumer

As advertising strategies shift, the tools of engagement are evolving. Influencer marketing and short-form video content have emerged as central pillars of brand outreach. PepsiCo has launched a series of digital campaigns, including food-pairing content and regional storytelling aimed at micro-audiences. “Short-form video formats offer high-impact reach and frequency,” said Joshi. “We’re investing in cultural relevance, digital-first storytelling, and affordable pricing to ensure accessibility.”

HELL ENERGY is also targeting the youth via user-generated content and promotional giveaways, ranging from designer backpacks to iPhones, to deepen engagement. Gangadharan said this year’s IPL partnership is a strategic touchpoint, timed to the surge in beverage consumption during peak summer. “Our ‘WIN WITH HELL’ campaign aligns perfectly with both the IPL calendar and our brand ambitions,” he said.

Amid the frenzy, marketers are already looking toward the future. “Cola advertising will be less about mass media and more about hyper-personalized experiences,” Iyer said, forecasting a wave of predictive AI tools, gamified interactions, and NFT-driven engagement.

With climate-driven consumption patterns reshaping strategies and digital channels redrawing the battlefield, the cola wars, between the majors and newer challengers, are no longer just about thirst, they’re about timing, technology, and tactical innovation.

Retail rules, Q-comm bubbles: Cola Wars heat up as brands tap digital playbooks

In the era of influencer culture, content creation courses have become increasingly popular, enticing many with promise of a creative lifestyle. Storyboard18 spoke to Ankur Warikoo, author and internet personality, to discuss his online school, WebVeda, which offers courses for aspiring creators.

<a href="https://www.storyboard18.com/brand-makers/rise-of-online-courses-for-creators-and-dreams-of-digital-fame-meeting-hard-realities-63413.htm">Read more: Rise of online courses for creators and dreams of digital fame meeting hard realities</a>

What is the value proposition of online content creator courses and what skills do aspiring content creators require to succeed?

The education industry underwent a massive overhaul during the Covid-19 pandemic. While students were forced to take online classes, working professionals opted for various courses, such as fitness, public speaking, investing, and trading. Platforms like Udemy, Coursera, and YouTube opened up opportunities for the enthusiastic learners and teachers alike. Many Learning Management Systems (LMSs) mushroomed, simplifying the process of creating, selling and managing online courses.

The biggest thing that happened during the pandemic was the emergence of high-quality teachers online. I have always maintained that the world has no dearth of students, but it always has a dearth of good quality teachers. Some 'solo' teachers became prominent, not necessarily content creators, but as genuine teachers who wanted to teach. A great example from the personal finance domain is CA Rachna Ranade, who leveraged her teaching expertise to create engaging content and courses. She has always been a teacher and that's what she decided to do--to teach online. The second category of people also emerged, comprising content creators who had built a certain number of followers and earned trust in specific domains such as fitness, beauty, lifestyle, or music. They curated quality content and became online teachers, generating a passive revenue stream. I think that's where we are right now, the Stage I of the educational overhaul that has been unfolding since Covid pandemic. 

There were numerous courses available to upskill, but some domain requires expertise and are mandatory, such as investing in stocks. During the pandemic, social media saw a massive surge in the short form of content following TikTok ban. The long-form of content on YouTube is also being condensed into is also bit-sized capsules. Content creators put out mini capsules of a subject that would take perhaps hours to teach. Online courses offer a pedagogy that facilitates learning and assimilation, making learners aware of their goals and aspirations. At WebVeda, our courses are not new, or nobody ever heard of, or seen it. There's no intellectual property in our courses. However, the intellectual property is the way I teach and the curate that content that I had learned through my life experiences. We are delivering such content in a concise manner.

Could you provide an overview of WebVeda Online School and its offerings?

At WebVeda, our online school offers high-quality and affordable courses to students. With over 445,000 enrollments and 6,000-8000 new students added every month, our average course price is around Rs 1,100. The objective is to provide best quality education to everyone with an internet connection and a phone. We currently offer 12 courses, including time management, money management, communication, how to start your own startup, career planning, how to become a YouTuber, how to start Instagram journey. All courses undergo a six-month upgrade cycle, with free upgrades for students. Our most popular courses are time management, followed by communication and career planning.

What is the current performance and reception of the YouTube course?

Our YouTube course has been purchased by approximately 82,000 individuals. This comprehensive 12-hour course covers everything about the platform, including starting a channel, monetizing YouTube, understanding algorithm, topic selection and creating a content engine. We also teach upload frequency, balancing long-form and short-form content, monetization options and potential earnings. Our dashboard are completely transparent, showcasing the money that we have earned from the platform, growth and journey of the channel. Being transparent helps the aspiring content creator whether to take this career option seriously or not. We provide knowledge and information that they need to succeed to become a YouTuber without being limited by lack of information. 

Could you share some data on the demographics of learners enrolled in the YouTube course?

Our demographics are as follows: Approximately 10% are below 18, 40% are between 18 and 25, 30% are between 25 and 35, and the remaining percentage comprises individuals above 35. This indicates a fairly young audience, predominantly between 18 and 30 years old. Geographically, 40% of our students hails from India's top-10 cities, including, Delhi, Hyderabad and Bengaluru, while 50% are from other parts the country, and 10% are from outside India. In terms of occupation, 20- 25% of enrollees are students, bulk of them (about 50%) are working professionals, 10 to 15% are freelancers, and the rest are currently unemployed. 

We offer a 14-day refund policy. One common reason for refunds is that our courses, such as YouTube, Instagram, LinkedIn, or content writing, require a long-term commitment, with students often expecting quick returns. I emphasize that success takes time, typically at least two years, my own journey has spanned 12 years to get what I'm today.

How do you envision the future of content creation courses evolving?

I am not much convinced about the long-term viability of content creation courses because the AI is going to disrupt the landscape in the next five years. Social media is going to evolve, so the relevancy of current teachings will diminish rapidly, rendering many courses obsolete by next year. So I don't think any of the courses that are being created by creators for content creation are going to have a long shelf life. Logically, high-quality courses should have enduring value, but the rapid transformation driven by AI may outstrip our ability to adapt. I have observed this shift daily in my work, and it's concerning that some content creators may not be prepared for the impact of AI on their field. 

To what extent do you leverage artificial intelligence in your content creation process?

We leverage AI extensively, both in front-end and back-end application, to enhance our content. AI tools assist with editing, subtitling, language translation, scripting, video creation, and more. AI is assisting content creators in producing high-quality content at an unprecedented pace. Tasks that previously required extensive time for scripting, shooting, editing, post-production, and launching can now be completed significantly faster--often X by three hours, X by 5 hours or X by 10 hours. With this, creator are able to produce content on multiple topics and manage multiple channels simultaneously.

AI will disrupt content creation in 5 years: Ankur Warikoo

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

The Delhi High Court has refused to grant a temporary injunction in favour of San Nutrition Private Limited in its plea against alleged defamation, disparagement and trademark infringement by four social media influencers who made videos featuring San Nutrition's 'Doctor's Choice' products.

The Delhi High Court cited that criticism of consumer brands, when backed by scientific evidence, does not amount to defamation. Justice Amit Bansal noted that San Nutrition nowhere questioned the genuineness of the findings in the laboratory reports relied by the defendants/influencers. The Court noted that San Nutrition only questioned the credibility of the laboratories, stating that they were not FSSAI registered.

The ruling came in response to an interim plea filed by San Nutrition Private Limited, which sued four influencers, Arpit Mangal, Kabir Grover, Manish Keshwani and Avijit Roy, for posting critical reviews of its whey protein products under the "Doctor’s Choice" label.

The Court said that the veracity of the results of the laboratory reports can only be tested at the stage of trial. It noted that they cannot be disregarded at an interim stage merely because they are not FSSAI recognized.

The court affirmed that influencers can display brand names in their critiques without fear of trademark infringement claims. It also said that satire, hyperbole and pointed criticism remain protected forms of free speech; and brands cannot shift blame onto outsourced manufacturers for false claims on product labels.

The court found that Arpit Mangal’s review was based on credible laboratory test results and upheld his defence of truth. Even language deemed harsh, such as Mangal’s description of the product as "ghatiya" (inferior) was protected, with the judge noting that lab reports supported his claims.

San Nutrition’s attempt to discredit the lab tests and disown responsibility for the label information was dismissed as "completely untenable", further reinforcing the need for brands to maintain transparency about their products.

<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>

Influencers' fact-based criticism of brands is not defamation: Delhi High Court

Despite a raging crisis around the brand, consumers took to social media to profess their admiration for BluSmart and its fleet of green rides. But, when EV startup BluSmart found itself in trouble recently, observers noted an uncanny silence from its branding and communications team. There were no public statements, no investor updates, no founder apologies, only a void quickly filled by investigations, speculation and criticism. 

<a href="https://www.storyboard18.com/how-it-works/blusmart-may-restart-operation-in-may-as-climate-investment-platforms-show-interest-in-beleaguered-firm-63600.htm">Read more: BluSmart may restart operation in May as climate investment platforms show interest in beleaguered firm</a>

It’s not the first time a promising startup has stumbled in public view. From Byju’s aggressive sales controversies to GoMechanic’s financial irregularities, a pattern has emerged time and again: Indian startups often excel at building hype but falter when reality demands accountability.

Branding Without a Backbone

"In PR, we are often focused just on polishing the image of the company, irrespective of what the founders are doing on the ground," says Praveen Singh, Founder & Chief Strategist, StrategyVerse Consulting.

He points to Byju’s where, despite rising customer complaints, the branding team maintained a glowing public image until legal troubles made headlines. "We've seen the same with BluSmart. There’s a clear breach of trust with investors, customers, employees and yet no coordinated communication response."

The issue is systemic, Singh notes. "Brand and PR teams still don't have enough authority to confront founders. In many cases, the management itself is missing from public view when a crisis hits, and comms teams, tied to leadership instructions, can't act independently."

He argues that startups need continuous audits not just of operational health, but of whether the brand narrative still matches reality. "If we don't listen to customer feedback and fix gaps proactively, these episodes will keep happening," he warns.

Investor Story vs Consumer Story

Anup Sharma, a PR and strategic communications consultant, highlights another fracture point: the growing mismatch between investor-facing narratives and consumer-facing realities. "Investor communications often emphasize market opportunity, scalability, revenue models, and long-term vision. Consumer-facing communications, however, need to focus more on the immediate value the product or service delivers. When these two stories get out of sync, it can create confusion and distrust."

Sharma points to Byju’s again. "To investors, Byju’s painted a picture of rapid international expansion and a billion-dollar edtech market opportunity. But on the consumer side, there were rising concerns around aggressive sales tactics and product dissatisfaction. The mismatch eventually began impacting both consumer trust and investor confidence."

The same pattern played out internationally with Uber during its early regulatory battles, and more recently, closer to home with GoMechanic, where silence during crisis only worsened the brand's downfall.

Silence Amplifies Speculation

"Startups celebrate their wins loudly — funding rounds, awards, partnerships," Sharma observes. "But when facing pivots, shutdowns, or internal crises, many go silent — out of fear of negative perception or legal consequences. The problem is, that silence creates a vacuum, and speculation fills it."

During the COVID-19 pandemic, companies like Airbnb showed how it should be done; they managed layoffs with open letters, clear communication, and ongoing support for affected employees, retaining brand goodwill despite harsh realities. In contrast, WeWork’s disastrous IPO attempt stands as a warning: defensive, inconsistent communication only magnified stakeholder distrust.

According to Sharma, "A good PR strategy aligns messaging with the actual stage of the company’s development—whether it’s finding product-market fit, scaling, or preparing for a new funding round."

One of the biggest and known start-up companies OYO, aggressively marketed global expansion before establishing strong operational foundations, leading to later reputational challenges. On the flip side, brands like Freshworks from India took a steady, carefully managed approach to communication, focusing on realistic milestones before their IPO on Nasdaq, which helped maintain credibility with both investors and other stakeholders.

"Even during a crisis, consistent and emotionally intelligent communication is critical," Sharma stresses. "Stakeholders look for leadership more than ever in tough times."

Zomato’s founder Deepinder Goyal offers a rare example of effective crisis communication. Facing backlash over profitability concerns and delivery worker treatment, Goyal consistently addressed issues head-on through social media updates, open letters, and interviews where he acknowledged shortcomings without defensiveness. His tone remained humble yet confident, empathetic yet firm which appears to be a strategy that helped Zomato retain brand trust even under heavy scrutiny.

Branding Cannot Mask Operational Failures

Brand consultant Nisha Sampath believes today's startups often confuse 'branding' with 'purpose'. "The real responsibility for the company’s narrative, especially in a startup, lies with the founder, who, like the captain of the ship, is steering the narrative. If the founder surrenders the narrative to branding teams, and external agencies, without giving them sufficient, consistent and ongoing indication of the value system and thought process that underpin the business, there is a danger of a gap emerging."

Rutu Mody Kamdar, founder of Jigsaw Brand Consultants, adds, "Brand-building is powerful, but when it runs ahead of viability, it creates a fragile ecosystem — one where expectations are raised before the experience or the operations can match up. Purpose needs to emerge from lived reality, not just aspiration. Otherwise, branding risks becoming a castle built in the air."

Kamdar sums it up sharply, "Branding and marketing teams do play a role, but the larger accountability lies with leadership. Brand teams can shape the story, but they cannot substitute the substance."

Read More:<a href="https://www.storyboard18.com/how-it-works/have-industry-bodies-like-aaai-failed-independent-and-smaller-ad-agencies-47769.htm" rel="noopener" target="_blank">ED detains Gensol's Puneet Singh Jaggi in alleged money laundering case; conducts searches against firm</a>

From promising EV brand to PR pariah? The BluSmart communication breakdown

As India's media and entertainment sector hurtles toward a digital-first future, the conversation around accessibility is no longer confined to policy circles, it is becoming a cultural imperative. On May 2, WAVES 2025 - the World Audio Visual & Entertainment Summit will spotlight this urgent transformation through a landmark panel on accessibility standards in media and entertainment, organised by Network18 Group. 

The session, divided into two parts, will explore both technological innovation and the socio-political forces reshaping how millions of Indians access content.

The Ministry of Information & Broadcasting (MIB) has laid clear guidelines for accessibility across broadcast and cinema, and is currently working on similar standards for digital media, inspired by the Web Content Accessibility Guidelines (WCAG). Officials emphasize that the nation's approach is not simply about compliance, but about creating a truly inclusive digital ecosystem, one where every story can be heard, seen, and felt by all.

“Having an impairment shouldn't mean being disabled by inaccessible media and entertainment,” said Christopher Patnoe, Google's Head of Accessibility and Disability Inclusion for EMEA, who will join the panel. “An impairment isn't necessarily disabling until you encounter a video without captions when you're deaf, or a website without alternative text when you're blind.”

At the heart of this transformation is technology. Adaptive tools, AI-powered captioning, screen reader compatibility, and voice-guided navigation are now integral to how content is created and consumed. Yet, as panelist Rachel Lowenstein, co-founder and chief creative officer of The Neu Project, notes, accessibility must be seen not as charity, but as strategy.

“Disabled people creatively solve problems in a world not designed for us every day. That’s the kind of innovative thinking media and tech should be building around, for the good of their businesses and for the good of society.”

The panel will not only showcase technological strides but also dig deeper into the cultural and societal underpinnings of accessibility. Speakers will address how inclusive media policies can serve as catalysts for democratic participation, social cohesion, and a vibrant creative economy.

“Stories shape our culture, fuel empathy, and connect us across differences," said Dipti Prasad, founder of XL Cinema and Nobaflix, the world’s first OTT platform for people with disabilities. "By bringing accessibility, through audio description, captions, and sign language, to every screen, we enrich the creative ecosystem itself.”

India’s ambitious push for media accessibility reflects a broader global trend, but with uniquely local stakes. Over a billion Indians consume an average of three hours of media daily, according to Prof. Brij Kothari, social entrepreneur and academic at IIT-Delhi.
“The most stunning aspect is that the tools that create universal access also have the proven power to scale improved reading literacy and language ability for all 1.4 billion Indians,” Kothari said.

The panel will also grapple with the tension between viewing accessibility as a moral obligation versus a business opportunity. Ashay Sahasrabuddhe, founder of Kintel, framed it this way: "With OTTs, accessibility of content is almost achieved. As entertainment becomes more experiential, we must work towards bringing that experience to persons with disabilities. A cohesive and holistic approach may solve the conundrum of whether accessibility is a right or a business."

For disability rights advocate, Rhodes scholar and co-founder of Mission Accessibility, Rahul Bajaj, the answer is clear. "Media accessibility ensures that people with visual and hearing disabilities are also able to watch electronic media on an equal footing with their non-disabled counterparts. It is a right which every stakeholder must do their bit to help make real."

Indeed, many panelists argue that accessibility is as much about dignity and belonging as it is about compliance or profit.
“Accessibility in the media shouldn’t be seen as a technical fix; it’s a creative opportunity to tell fuller, richer stories,” said Priti Salian, journalist and disability inclusion advocate. “When we build access in, we also build trust and belonging.”

Danish Mahajan, founder of Radio Udaan, India's first internet radio station run by persons with visual disabilities, puts it even more simply: “Accessibility isn’t just about inclusion, it’s about representation, empathy, and the right to experience stories that reflect the full spectrum of humanity." He added, "conversations around accessibility open doors, shift perspectives, and create a world where no voice is left unheard.”

At WAVES 2025, this diverse and accomplished panel chaired by Storyboard18's editor Delshad Irani, will send a powerful message: the future of media and entertainment must be one where no voice is left unheard, and every story finds its audience.

SOCIAL MEDIA