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Bharti Airtel on Thursday announced a partnership with Perplexity, the AI-powered search engine, offering eligible users in India one year of free Perplexity Pro subscriptions.

Unlike conventional AI chatbots such as ChatGPT or Gemini, Perplexity functions as a real-time AI search engine that gathers information directly from the web to answer user queries.

Read More: <a href="https://www.storyboard18.com/advertising/bharti-airtel-spends-%E2%82%B91079-crore-on-advertising-in-fy25-amid-macro-pressures-75018.htm">Bharti Airtel spends ₹1,079 crore on advertising in FY25 amid macro pressures</a>

The company says it combines cutting-edge models like GPT-4.1 and Claude 4.0 Sonnet to generate precise and credible responses.

The deal appears to be part of a broader push to introduce Indian users to Perplexity’s unique offering - one that bypasses Google's long-standing grip on search habits. And with Airtel’s deep penetration across the country, the free Pro subscription puts Perplexity directly into the hands of millions.

The internet, predictably, had thoughts - and plenty of theories.

Some users speculated that the move might be linked to increasing Perplexity's valuation amid rumours of potential investment or acquisition by Apple. "It also seems like a ploy to get valuation up for potential Apple buyout or investment," one user noted.

Others viewed the move through a monetization lens, suggesting it's not just about paid subscriptions. "I'm assuming it's not just a monetization play but also about massive consumer tech adoption leading to an advertising business," read another comment.

Supporters rallied behind the initiative, cheering on Perplexity's "desi" partnership. "Let's be a good team to PPLX. After all, apna bhai hai... DESI," one user quipped.

Others, however, saw a calculated customer acquisition strategy. "This is mostly a Google habit-breaking promo. Most people in India wouldn't even know about Perplexity if this deal hadn't dropped. Now, with free Pro access, they’ll probably use it — and it feels premium,” one commenter observed. “Plex hopes that once the Pro period ends, some users stick around on the free version. Eventually, it can start showing them ads. Not sure they care about pro users.”

Others called it a bold move in India’s growing consumer AI race. “Great CAC [customer acquisition cost] strategy to watch out for in India’s AI space,” one user wrote. “The key will be converting free usage into paid utility."

Read More: <a href="https://www.storyboard18.com/digital/perplexity-launches-ai-powered-browser-comet-aims-at-google-chromes-68-market-share-73756.htm">Perplexity launches AI-powered browser 'Comet'; aims at Google Chrome’s 68% market share</a>

Airtel-Perplexity AI tie-up sparks online chatter over Apple, ads, and AI adoption

As India's media and entertainment landscape undergoes seismic shifts - driven by changing consumption habits, the OTT boom, advertiser realignments, and digital disruption - legacy players are being challenged to transform from within.

At the heart of this transformation is Zee Enterprises Entertainment Limited (ZEEL), which recently revealed a bold new brand identity under its 'Z What's Next' vision.

Also Read: <a href="https://www.storyboard18.com/brand-marketing/zee-entertainment-launches-new-identity-and-brand-universe-66257.htm">Zee Entertainment launches new identity and ‘brand universe’</a> 

To decode the story behind the rebrand and understand the road ahead, Storyboard18 caught up with Ashish Sehgal, Chief Growth Officer at ZEEL, for an in-depth conversation on platform evolution, regional strategy, and the new face of engagement in the content-first economy.

Rebranding with Purpose

Zee's new brand identity, launched as part of its 'What's Next' vision, marks a significant shift for the legacy media company. But what does a refreshed logo or sleek brand narrative really mean for the business?

"The whole idea to rebrand the whole Zee offering and also the identity was to connect with today's consumer," Sehgal explained. "And when I say today's consumer, it does not mean only youth. The way everybody is consuming media is changing... So it becomes very important that you refresh your brand, you don't remain fuddy-duddy."

He emphasized that the rebranding was not just about aesthetics but about evolving Zee's promise as content-first company powered by technology. "We are saying: I am content first, and technology is going to help me build that reach. So I will take my content wherever the consumer is sitting."

And that, Sehgal noted, is key to attracting advertisers. "What is an advertiser wanting? Advertiser is looking at the consumer I am reaching to... If I reach more and more consumers, it helps us to take that reach to the advertiser for them to build their businesses."

Diversifying Revenue: Beyond Linear, Beyond Ads

Zee is moving swiftly to counter headwinds in the traditional television space by unlocking new monetization avenues across digital and live formats. "We have now, of course, Zee5, which is a digital offering," Sehgal noted. "We have opened up even ads onto our AVOD consumers so that we can offer premium customers to our advertisers."

The company is also reinvesting in live events and IP-driven experiences to deepen engagement and drive experiential brand value. "We are creating our old IPs, building them, and curating them from today's perspective. That helps brand building and becomes a touch point for advertisers to engage with our consumers."

Sehgal also touched on newer distribution and monetization models. "We have opened up FAST channels recently on OEMs... So only advertising money from television is not the focus. We are now opening new streams to improve our subscription base through offerings like seven language packs, and even exploring commerce through content."

Also Read: <a href="https://www.storyboard18.com/brand-makers/divya-karani-and-saurav-adhikari-join-zee-board-following-shareholder-nod-73474.htm">Divya Karani and Saurav Adhikari join ZEE Board following shareholder nod</a> 

The Zee Bet: Building, Not Buying

With Pay TV under pressure and the rise of streaming giants, the media landscape is ripe for consolidation. Yet, Sehgal reasserted Zee's confidence in organic brand creation over acquisition. "Zee has always believed - more than acquisition - we try to build our own brands."

Pay TV still remains relevant, he insisted. "It is still the biggest reach medium for any advertiser, even at current stage... and people who came onto free TV a few years back are now upgrading themselves onto television."

To reinvigorate Pay TV, Zee is betting big on exclusive content and strategic premieres. "Like IPL did a reverse thing, going behind paywall on digital, which brought back people back to TV. Similarly, we are doing a lot of TV-first premieres of our movies. So that will help build the Pay TV ecosystem."

Regional is the New National

If there's one megatrend defining Zee's roadmap, it's localization. And it's not just a regional strategy - it's a language-first strategy.

"Regional is the buzzword today," Sehgal said. "even platforms like YouTube and Facebook are now creating more regional content because they understand India is not one language or culture."

But Zee is going further. "We don't call it regional anymore. For us, Hindi is also a language. So out strategy is all language-based. There's no 'national' strategy now."

This language-centric model is about maximizing cultural resonance and return on investment. “One language may have fewer consumers, but that consumer may be from a much richer state,” Sehgal pointed out. “You have to touch base in their own language, in their own culture.”

Navigating Disruption and Distribution

On the challenges facing TV distribution - TRAI tariff orders, bundling woes, and OTT migration - Sehgal admitted that innovation is the need of the hour.

"It is always about how to innovatively create your packages for cable operators to showcase and become more relevant from the content being consumed in each state," he said. 

That will help us to still see that the overall revenue on the distribution side is not de-growing.”

As for the Ministry of Information and Broadcasting’s recent proposal to introduce multiple audience measurement systems, Sehgal remained cautious. “It’s just a draft where they’re asking for consultations… I have no comment to make right now on that.”

Zee's Big Bold Bets

Looking to the future, Sehgal outlined two major bets that will help shape Zee's 2-25-25 playbook.

"One is building more and more homegrown IPs - not just for one market but that can travel across platforms and languages," he said. "The second is growing our new-age platform Zee5... So we want to own the consumer on both ends - linear and digital."

And the golden thread tying it all together? Language.

"Language-based content is going to be the underlying theme in every strategy we make," Sehgal concluded. "Once you have one successful IP, you can replicate that into other markets. That's the vision.

Also Read: <a href="https://www.storyboard18.com/how-it-works/south-india-and-content-partnerships-likely-to-drive-pay-tv-margins-in-2025-58934.htm">South India and content partnerships to drive Pay TV margins in 2025</a>

'Regional is the buzzword today': Ashish Sehgal on why language-first content is the future of India

Netflix Inc’s Co-Chief Executive Officer, Ted Sarandos, has clearly stated that the platform is open to partnering with creators from anywhere in the world--as long as they entertain its audience.

Sarandos said Netflix is eager to collaborate with the world's best creators, including those from India, who can connect meaningfully with viewers.

"We wanna be in business with the best creatives on the planet, regardless of where they come from. Some of them are here in Hollywood. Others are in Korea. Some are in India. And some are creators that distribute only on social media platforms, and most of them have not yet been discovered. So for those creators doing great work, we have phenomenal distribution, desirable monetization, brilliant discovery in our UI, and a hungry audience waiting to be entertained," Sarandos said during the Quarter 2 earnings call of the company held on Friday morning IST. 

<a href="https://cms.storyboard18.com/advertising/netflix-aims-to-double-ad-revenue-launch-interactive-advertisements-in-2025-75278.html">Netflix aims to double ad revenue, launch interactive advertisements in 2025</a>

He said that working with creators make complete sense to expand Netflix's viewership. However, the businessman clarified, "Not everything on YouTube will fit on Netflix". 

Netflix's registered a 16 percent year-on-year rise in its revenue in Quarter 2 2025, driven by increased users, higher subscription pricing, and strong ad revenue.

According to the over-the-top (OTT) streaming player, the revenue was slightly above its guidance due to favourable foreign exchange impact. Additionally, the California-based company's member growth has also scaled up in Q2. The operating income of Netflix surged to $3.8 billion, up 45 percent year-on-year, while the operating margin jumped to 34 percent compared to 27 percent in Q2 2024.

<a href="https://cms.storyboard18.com/digital/how-the-streaming-battle-has-come-down-to-youtube-and-netflix-74355.html">How the streaming battle has come down to YouTube and Netflix</a>

Netflix has expected an increase in revenue growth by 1 percent in the next quarter. 

The company mentioned, "In Q3, we expect revenue growth of 17% (on both a reported and F/X neutral basis) driven by growth in members, pricing and advertising revenue".

However, it has anticipated a decline in its operating margin to 31 percent in Q3.

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"Similar to past years, we expect our operating margin in the second half of 2025 will be lower than the first half due to higher content amortization and sales and marketing costs associated with our larger second half slate," Netflix mentioned.

For overall 2025, Netflix has increased its revenue forecast to $44.8 billion-$45.2 billion from $43.5 billion-$44.5 billion, previously, representing 15%-16% year-over-year growth.

Netflix hints at bringing Indian creators onboard to boost content offerings

Netflix Inc has laid out its approach to enhance revenue through advertising initiatives in the current calendar year. "We’re pleased with the results, which are consistent with our goal to roughly double ads revenue this year," the OTT player mentioned in a statement.

During the Quarter 2 earnings call, the California-based company said that the company's in-house ad tech platform, Netflix Ad Suite, has been rolled out across all its ads market, including the US, Spain, Canada, and nine other countries. 

<a href="https://cms.storyboard18.com/ott-news/netflix-hints-at-bringing-indian-creators-onboard-for-future-content-strategy-75290.html">Netflix hints at bringing Indian creators onboard for future content strategy</a>

Greg Peters, Co-Chief Executive Officer of Netflix Inc said they have witnessed increased programmatic buying--an automated way of buying and selling online ad space in real-time.

Notably, Netflix integrated search engine platform Yahoo's demand side platform (DSP) into its advertising ecosystem in June this year to expand programmatic access to its ad inventory.

"We’re gonna roll out additional demand sources like Yahoo that’ll further open up the market for us," Peters said.

He also noted that demand for leveraging advertiser and third party data sources have also increased lately. Peters said the focus will be on improving the overall ad experience for its users by implementing qualitative personalization.

<a href="https://cms.storyboard18.com/digital/how-the-streaming-battle-has-come-down-to-youtube-and-netflix-74355.html">How the streaming battle has come down to YouTube and Netflix</a>

Peters further revealed that the streaming giant will launch 'Interactive advertisements' in the second half of 2025.

The Co-CEO also hinted at leveraging generative AI technology for its ads business. 

"It’s a high hurdle to create a brand-forward spot in a creative universe of one of the titles that we’re currently carrying. But it’s very compelling for both watchers and for those brands, and we think these generative techniques can decrease that hurdle iteratively over time and enable us to do that in more and more spots," Peters said.

<a href="https://cms.storyboard18.com/digital/netflixs-ted-sarandos-reflects-on-india-strategy-sacred-games-may-have-come-too-soon-69439.html">Netflix’s Ted Sarandos reflects on India strategy: ‘Sacred Games may have come too soon’</a>

On content strategy, Netflix emphasised it focuses on "local for local", which means developing shows and films that deeply connect with audiences in their home countries. Netflix also mentioned it will continue to invest in immersive, narrative games based on its IP.

Meanwhile, Netflix posted a revenue growth of 16 percent during the April-June quarter of 2025, reaching $11.08 billion, driven by high subscription fee, increased ad revenue and rise in membership. Additionally, it has updated its full-year revenue forecast to be around $44.8 billion- $45.2 billion, up from $43.5 billion-$44.5 billion.

Netflix aims to double ad revenue, launch interactive advertisements in 2025

Criminal Justice: A Family Matter garnered 27.7 million viewers, making it a top-performing Hindi fiction series on JioHotstar, produced by Applause Entertainment and BBC Studios India. Ek Badnaam Aashram S3 Part 2 followed closely with 27.1 million viewers on Amazon MX Player, produced by Prakash Jha Productions. Panchayat S4, the much-loved rural satire from TVF, clocked 23.8 million viewers on Amazon Prime Video.

Paatal Lok S2, produced by Clean Slate Filmz and Eunoia Films, attracted 16.8 million viewers on Amazon Prime Video. Netflix’s Korean import Squid Game S3 drew 16.5 million viewers in India, showcasing the global franchise’s continued appeal. The Legend of Hanuman S6, an animated Hindi series on JioHotstar by Graphic India, reached 16.2 million viewers.

Netflix’s Hindi fiction drama The Royals, produced by Pritish Nandy Communications, recorded 15.5 million viewers.The Secret of the Shieldars, another Hindi fiction entry on JioHotstar by Dashami Creations, secured 14.5 million viewers.Chidiya Udd, a gritty Hindi series on Amazon MX Player by Baweja Studios, drew in 13.7 million viewers. Rounding out the top 10, Netflix’s Hindi film Jewel Thief – The Heist Begins, produced by Marflix Pictures, attracted 13.1 million viewers.

JioHotstar leads the list with 16 titles in the Top 50, making it the most dominant platform in terms of volume. Netflix follows closely with 14 entries, reflecting its strong mix of Indian originals and international imports that appeal to Indian audiences. Both Amazon MX Player and Amazon Prime Video have 8 titles each, showing competitive presence across fiction and reality formats. Sony LIV features 2 titles, while ZEE5 appears just once in the rankings.

Fiction continues to be the backbone of OTT content in India, with 39 out of the Top 50 titles falling under the fiction series category. Films and reality shows are equally represented, with 5 titles each, indicating that while long-form storytelling remains dominant, standalone films and unscripted formats are beginning to gain more attention.

Hindi dominates the list by a large margin, with 34 of the 50 titles being in the Hindi language. English follows with 6 titles, including both international hits and global franchises with Indian viewership. Tamil has 4 titles, while Korean content features 2 entries, showing its niche but dedicated following. Malayalam, Mandarin, and Telugu each contribute 1 title, pointing to growing regional diversity but still limited representation in the national Top 50 list.


JioHotstar tops streaming charts with 16 hits; Criminal Justice leads with 27.7 mn viewers

When a U.S. federal court blocked the Federal Trade Commission’s (FTC) proposed “click-to-cancel” rule, designed to make it easier for users to cancel digital subscriptions, the impact rippled far beyond American shores. For India, where the OTT subscription economy is booming, the decision raises pressing concerns: Will Indian platforms use this as a cue to embed more friction in cancellation flows? And if they do, what can the law and regulators do to stop it?

A recent LocalCircles survey highlights the depth of consumer frustration.

According to the data, 50% of Indian OTT users report difficulty in cancelling their subscriptions, citing opaque paths, excessive steps, or unclear terms. The most common grievance is the presence of multi-step processes, which often involve logging in through a desktop browser, navigating through buried settings, or dealing with customer service before a cancellation can be processed. 

Read more: <a href="https://www.storyboard18.com/digital/us-court-blocks-click%e2%80%91to%e2%80%91cancel-rule-cancelling-netflix-prime-video-subscription-could-soon-be-a-hassle-74658.htm">US Court blocks “Click‑to‑Cancel” rule; Cancelling Netflix, Prime Video subscription could soon be a hassle</a>


This consumer pain point is not just a design flaw— it’s fast becoming a legal and ethical battleground.

A 2023 U.S. investigation found that cancelling Amazon Prime Video required navigating four different pages, six clicks, and answering 15 prompts. This led the FTC to sue Amazon, alleging deceptive practices — a lawsuit that is still ongoing.


A Growing Regulatory Void


“In India, if a cancellation process is significantly harder than signing up, it could qualify as a deceptive or coercive trade practice under Section 2(47) of the Consumer Protection Act, 2019,” said Divya Singh, Advocate at Jotwani Associates. She added that Rule 4(9) of the Consumer Protection (E-commerce) Rules, 2020, mandates accessible cancellation policies, and that OTT platforms adopting such “dark patterns” could be operating in breach of these norms.

Siddharth Chandrashekhar, Advocate at the Bombay High Court, echoed this view, noting that while TRAI does not currently regulate user interface design, such practices could come under scrutiny by the Central Consumer Protection Authority (CCPA) or even the Competition Commission of India (CCI) if they are deemed to be intentionally misleading or manipulative.

“Platforms may not be legally compelled to simplify cancellation, but from a corporate policy standpoint, global UX uniformity is often cited to justify friction, even in India. The U.S. court's ruling removes a regulatory deterrent. That could inspire more complexity elsewhere,” Chandrashekhar warned.


Read more: <a href="https://www.storyboard18.com/digital/prime-videos-multi-tier-maze-is-amazon-undermining-trust-in-indias-ott-boom-73255.htm">Prime Video’s Multi-Tier Maze: Is Amazon undermining trust in India’s OTT boom?</a>


The LocalCircles survey, based on inputs from over 95,000 verified users across 353 districts, found that 50% of respondents have frequently experienced difficulty in cancelling subscriptions due to the lack of a clear option or the feature being deliberately hidden within the platform interface.

Among the nine dark patterns identified and validated across 245 platforms studied, interface interference was one of the most prevalent, with 86% of consumers stating that they have frequently encountered situations where buttons to decline offers or cancel subscriptions were “difficult to find, greyed out, or smaller in font compared to ‘Accept’ or ‘Subscribe’ options.”

The report further pointed out that OTT platforms are known to use deceptive practices to manipulate a user interface to make it difficult for consumers to take certain actions, such as cancelling subscriptions or deleting accounts.

Read more: <a href="https://www.storyboard18.com/digital/with-fractional-production-costs-ad-rates-just-15-of-long-form-shows-microdramas-see-surge-in-brand-interest-73473.htm">With fractional production costs & ad rates just 15% of long-form shows, microdramas see surge in brand interest</a>


Additionally, users pointed out the practice of bait and switch, where 53% of users reported being unaware at the time of subscription that some shows or films would require additional rental payments, or in some cases platforms demanding that they pay a higher price for an ad-free viewing experience.


Legal Grey Zones, Real-World Impact


While the FTC’s rule in the U.S. was struck down on procedural, not substantive, grounds, Indian experts caution that global OTT players like Netflix, Prime Video, and Disney+ may use the temporary rollback to justify sluggish or opaque cancellation processes in India. 

According to Sonam Chandwani, Managing Partner at KS Legal, “Multi-step cancellation mechanisms, especially those involving deliberate opacity or nudging, are likely to fall under the ambit of unfair trade practices.”

Read more:<a href="https://www.storyboard18.com/how-it-works/from-margins-to-mainstream-indias-ott-boom-turns-regional-to-capture-bharats-diverse-viewers-65800.htm"> From Margins to Mainstream: India’s OTT boom turns regional to capture Bharat’s diverse viewers</a>


She added that the CCPA has already issued guidelines in 2023 to crack down on dark patterns, and the Digital India Act presents an opportunity to codify one-click cancellations as a statutory right. “This is not just good policy, it’s a rights issue,” Chandwani emphasized.

The 2023 CCPA guidelines classify manipulative cancellation designs as “interface interference,” and while not every multi-step process is a violation, overly complex flows involving redirection, hidden buttons, or forced customer interactions may be legally actionable.

Snigdhaneel Satpathy, Partner at Saraf and Partners, notes that in India, OTT platforms are not currently subject to a unified consumer experience mandate for subscription cancellations. However, Indian OTT services often align with global standards, especially those operated by multinational entities. Potentially, under India’s Consumer Protection Act, 2019, any practice that misleads or causes inconvenience to consumers—especially if it’s designed to obstruct cancellation—could be deemed “unfair trade practice.”


Global Ruling, Local Responsibility


“Platforms may argue for a uniform global design, but India must insist on user-first experiences,” said Sourya Banerjee, Associate Director, Public Policy Communications & Advocacy at Jajabor Brand Consultancy. 

Banerjee pointed out that India's legal ecosystem already offers some guardrails, such as RBI’s recurring debit rules, which require explicit user consent for subscription renewals. However, these protections don’t always extend to account deletions or service exits, often left to platform discretion.

Read more:<a href="https://www.storyboard18.com/how-it-works/ott-platforms-go-family-friendly-as-govt-mulls-ott-broadcast-policy-46763.htm"> OTT platforms go ‘family-friendly’ as govt mulls OTT broadcast policy</a>


Banerjee stressed that while no new policy may be immediately necessary, regulators must closely monitor industry practices. “If platforms force users to go to websites to cancel subscriptions started on mobile apps, this may not violate the law per se, but it’s certainly bad faith design in the smartphone-first Indian market.”

India’s subscription economy is expected to surpass $3.5 billion by 2026, yet the legal and regulatory infrastructure to govern consumer exit rights remains inadequate. As OTT services blur the lines between media, technology, and commerce, experts argue that inter-agency coordination between TRAI, MeitY, and CCPA is essential.

Read more: <a href="https://www.storyboard18.com/how-it-works/mib-industry-align-on-accessibility-standards-for-otts-finalisation-of-draft-guidelines-in-works-63607.htm">Govt, industry align on 'Accessibility Standards' for OTTs; finalisation of draft guidelines in works</a>


Experts agree that a 'one-click cancellation' mandate, inspired by the FTC’s original intent, is not just feasible, it’s necessary. Such a requirement would align with global best practices while safeguarding Indian users from exploitative retention schemes.

‘Click to Cancel’ or ‘Click and Suffer’: OTT platforms risk legal action over subscription retention tactics

Tata Play Binge onboarded WAVES, the OTT platform by Prasar Bharati. WAVES adds a blend of culturally rooted, family-friendly content, including regional gems, Hindi originals, timeless classics, and legacy programming, under one roof. The partnership unites Doordarshan with on-demand streaming.

 
Offering 20,000+ hours of content in 12 Indian languages, WAVES includes old classics like Byomkesh Bakshi, Fauji, and Hum Log, to a wide range of contemporary shows, like Sarpanch Sahab, Jaiye Aap Kahan Jayenge, and Della Bella. Additionally, WAVES also provides live streaming content such as Prabhu Shriram Lalla Aarti from Ayodhya, Prime Minister Narendra Modi’s Mann Ki Baat, and live sporting events like Kabbadi World Cup, German Football Cup competition – Pokal, Hockey India League and more. Converging broadcasting with OTT, the platform also provides access to 35+ live TV channels, creating a seamless viewing experience that combines the familiarity of traditional television with the flexibility of OTT streaming.

 
Speaking on the partnership, Pallavi Puri, Tata Play’s Chief Commercial and Content Officer said, “Tata Play Binge was created to make OTT content more accessible to every Indian, and our partnership with Prasar Bharti is a meaningful step in that direction. WAVES brings a rich archive of culturally rooted, inclusive, and diverse programming, much of it is timeless content that deserves a renewed audience. We’re proud to be the first platform bringing this treasure trove of stories into Indian homes, reinforcing the power of streaming to connect, entertain, and empower communities across the country.”

 
On the collaboration, Gaurav Dwivedi, CEO of Prasar Bharati, said, “WAVES was created to bring public service content into the digital age, to make it accessible and engaging for today’s audiences. This partnership with Tata Play Binge strengthens that vision. It brings together the credibility of Doordarshan with the reach and convenience of a modern streaming platform. Families, young viewers, and audiences across the country can now experience content that reflects our cultural depth and storytelling legacy, all in one place.”

Read More:<a href="https://www.storyboard18.com/how-it-works/challenge-of-being-a-public-broadcaster-is-to-present-a-balanced-narrative-prasar-bharati-ceo-53575.htm" rel="noopener" target="_blank">Challenge of being a public broadcaster is to present a balanced narrative: Prasar Bharati CEO</a>

Read More:<a href="https://www.storyboard18.com/television/tata-play-ad-expenses-drop-by-29-to-rs-124-28-crore-in-fy25-profit-drops-by-49-71854.htm" rel="noopener" target="_blank">Tata Play ad expenses drop by 29% to Rs 124.28 crore in FY25, profit drops by 49%</a>

Tata Play Binge onboards Prasar Bharti’s WAVES OTT

In a landmark decision, the U.S. Court of Appeals has struck down the Federal Trade Commission’s (FTC) “click‑to‑cancel” rule, which was designed to simplify subscription cancellations by requiring digital services to offer cancellation methods as easy as the sign-up process. 

The rule had been set to go live on July 14, 2025, but judges found that the FTC failed to complete a required economic impact analysis for regulations projected to exceed $100 million in annual effect, rendering the rule procedurally flawed. This regulation was part of the Joe Biden administration’s broader consumer protection agenda, aimed at reducing digital friction and ensuring fair treatment in online services.

Read more: <a href="https://www.storyboard18.com/digital/prime-videos-multi-tier-maze-is-amazon-undermining-trust-in-indias-ott-boom-73255.htm">Prime Video’s Multi-Tier Maze: Is Amazon undermining trust in India’s OTT boom?</a>

Supporters argued that such transparency would reduce negative-option marketing traps that lock consumers into recurring charges.

With the rule struck down, streaming platforms like Netflix, Amazon Prime Video, Disney+, and HBO Max are no longer obligated to maintain frictionless cancellation processes. 

Read more: <a href="https://www.storyboard18.com/advertising/amazon-doubles-prime-video-ad-load-to-4-6-minutes-per-hour-70189.htm">Amazon doubles Prime Video ad load to 4–6 minutes per hour</a>


Though most currently allow straightforward opt-outs, services could choose to reintroduce hoops such as hidden settings, multi-page flows, or phone-based cancellations to reduce churn and boost revenue.

The ruling also carries global implications. Streaming giants tend to standardize subscription experiences worldwide. If they alter cancellation protocols in response to the U.S. court decision, users in countries like India, where consumer regulation and enforcement vary, could also see more cumbersome procedures.

Read more: <a href="https://www.storyboard18.com/how-it-works/ott-platforms-go-family-friendly-as-govt-mulls-ott-broadcast-policy-46763.htm">OTT platforms go ‘family-friendly’ as govt mulls OTT broadcast policy</a>

US Court blocks “Click‑to‑Cancel” rule; Cancelling Netflix, Prime Video subscription could soon be a hassle

India’s digital content and immersive tech landscape is set for a major boost with the Indian Institute of Creative Technologies (IICT) opening admissions this August. The institute, dedicated to Animation, Visual Effects, Gaming, Comics and Extended Reality (AVGC-XR), has attracted significant backing from global tech giants including Google, Meta, YouTube, and Hotstar.

Announced by Union Minister for Information & Broadcasting Shri Ashwini Vaishnaw at the World Audio Visual Entertainment Summit (WAVES) in May 2025, IICT is envisioned as a world-class talent hub for India’s creative economy. The institute is launching 18 specialized courses — spanning Gaming, Post Production, Animation, Comics, and XR — all designed in close collaboration with industry leaders.

In a major development, IICT has signed a Memorandum of Understanding (MoU) with the University of York (UK), enabling academic exchanges, global certifications, and joint research.

Big Tech Joins Hands with IICT

Tech behemoths like Google, Meta, Microsoft, and Adobe, along with YouTube, NVIDIA, and India’s JioStar, have pledged long-term collaborations. These companies will contribute to curriculum design, offer scholarships, support student internships, assist with startup incubation, and facilitate recruitment opportunities. JioStar, through its involvement in the AVGC-XR ecosystem, is also expected to play a significant role in content development and placement.

“This marks a turning point in India’s ambition to become a global AVGC-XR powerhouse,” said Dr. Vishwas Deoskar, CEO of IICT. “We are designing globally benchmarked programs rooted in India's creative depth and digital future.”

The full curriculum will be released later this month. IICT’s governance includes stalwarts such as Sanjay Jaju, Vikas Kharge, Chandrajit Banerjee, Rajan Navani, and Gaurav Banerjee, ensuring alignment with industry trends and innovation pathways.

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MIB's IICT gets global boost via Google, Meta, Nvidia and Microsoft

Netflix executives for years had dismissed the idea that the company had any true competitors. Co-founder Reed Hastings once claimed that Netflix’s real competition was people choosing to sleep or socialize. But YouTube can no longer be ignored.

According to The New York Times, Netflix and YouTube are now engaged in an escalating battle for dominance of the television screen — a rivalry even Netflix’s leadership can no longer brush aside.

For years, increasing subscriber numbers to their streaming services was the ultimate goal for media companies. Now, those companies are trying to increase the amount of time viewers spend on their service. 

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On that score, YouTube and Netflix stand above the competition, the article noted.

According to Nielsen, the two accounted for 20% of all television viewing time in the United States in May (12.5% for YouTube, 7.5% for Netflix). The next closest streaming competitor is Disney, whose multiple streaming services (Disney+, Hulu, ESPN+) together accounted for 5% of TV time in the same period.

Two years ago, YouTube’s share of TV time was roughly half a percentage point higher than Netflix’s — now it is 5 percentage points.

Their strategies for success are very different, but, in ways large and small, it’s becoming clear that they are now competing head-on, the article noted.

"Top executives at both companies are beginning to mention each other in public more, sometimes dismissively. And the companies are veering into each other’s turf, with Netflix executives showing an increased appetite for signing up creators who otherwise call YouTube their home — and trying to explain why their business model would be better for them," the article read.

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In 2024, Netflix generated $39 billion in revenue and surpassed 300 million global subscribers — more than any other streaming platform. The company is also highly profitable, reporting over $10 billion in operating income last year.

Meanwhile, YouTube, owned by Google, brought in $54 billion in revenue, second only to Disney among media companies. However, media analysts at MoffettNathanson projected that YouTube would overtake Disney in revenue this year, dubbing it “the new king of all media.” While YouTube does not publicly disclose profits, the firm estimated its 2024 operating income at just under $8 billion.

On average, YouTube has an audience of 7 million viewers watching off a TV set at any given moment during the day, more than Netflix’s daily average of 4.7 million, according to Nielsen. During prime-time hours, however, when the highest concentration of viewers is watching TV, the margins are tighter. An average of 11.1 million Americans are tuned into YouTube on their TV screens at night this year while 10.7 million are watching Netflix.

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It’s worth noting that Nielsen only tracks viewership on television screens. Both Netflix and YouTube have massive audiences who also watch on smartphones, tablets, and laptops. According to Netflix, about 70% of its viewers watch on a TV, while the remaining 30% use other devices.

The article further notes that in recent months, Netflix has licensed shows from creators who used to be primarily on YouTube. 

For instance, “Ms. Rachel,” a children’s program that appears on YouTube, has also been streaming on Netflix since the beginning of the year, to great success. Netflix has also brought on shows like the game show “Pop the Balloon” and “Sidemen,” a popular British YouTube group. The company has also been in discussions with representatives from other popular YouTube channels, including Mark Rober, Dude Perfect, Danny Go and Gracie’s Corner, according to two people familiar with the negotiations.


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While both companies have tech roots, the article also pointed out how as with the competition between the iPhone and Android smartphones, Netflix and YouTube are essentially two different systems: a closed platform (Netflix) versus an open one (YouqaTube). And while Netflix’s recommendations for viewers are far ahead of many of its streaming competitors’, YouTube has more data inputs from users to make even more precise recommendations.