Towards the end of 2019, Saugata Mukherjee, then with Disney+ Hotstar, switched job to head original content for rival, Sony LIV. Except, Sony LIV as a streaming app wasn’t quite Hotstar’s competitor in a real sense.

Because they had yet to develop a single web-only, original show or series. Which is strange, if you consider that Sony LIV is probably India’s first OTT platform - they’ve been around since 2013!

What was Sony LIV playing, up until early 2020? Catch-up TV - basically Sony broadcasting network’s shows downloaded on the app. 

And then the pandemic struck. Production came to a halt. There was no new TV episode -  only audiences with an insatiable visual appetite, sitting at home, staring at a screen, when not out of the window.

Mukherjee recalls, “Sony LIV re-launched right in the middle of the pandemic [with original web content]. One couldn’t have planned for the frenetic pace at which we had to recalibrate, from technology, business and content development point of view - [lead time on] all of which had to be crunched dramatically.”

Likewise for Ferzad Palia, from Voot, which as an app was also simply an advertising-led digital arm for Viacom as a TV broadcaster: “We’d been meaning to play the subscription game for sometime. We had to bring all the plans forward by about a year. Voot Select is a COVID baby. We launched on March 3, 2020. By March 16, we were working from home. To get tech like that so early in the game? It was chaotic as well, of course.”

But it paid off, as Palia points out, with audience numbers outgrowing estimates they’d made for both Year One and Two; and viewers from beyond top 10 Indian cities willing to pay for online entertainment, even post unlock!

Monika Shergill from Netflix, the nascent OTT industry’s first-mover in India, calls 2020 the year of “intense connection, with an acceleration in adoption [of streaming services]; a whole new set of audiences [coming in].” 

The thriller Asur was the flagship show for Voot Select. Like Scam 1992 was for Sony LIV. Both of which have earned nominations at the mid-day and Radio City’s Hitlist OTT Awards that this discussion is a heads up for. Netflix has totally dominated the films and non-fiction nominations. They had 28 Indian original releases last year anyway, besides international productions, making Netflix an entertainment industry of its own!  Rather than just a streamer/app.

The best instance of an independent producer inadvertently benefitting from Coronavirus might well be Sameer Nair, from Applause Entertainment, who delivered 11 shows in 2020 alone, across platforms, including the nominated Criminal Justice: Behind Closed Doors on Disney+ Hotstar. 

Hungry eyeballs were all there. Library shelves on OTTs needed constant replenishment. While Nair denies there was a hard-sell on among platforms to pick up shows, rumours suggest the big Bollywood films were indeed up for top dollars, at astronomical rates, over a fierce bidding war, since theatres had shut down!

Shergill clarifies, “There is in fact a lot more juicy speculation around this; very little truth. What really happened is that with most services, there is already a pipeline of films you look at for a post theatrical [premiere]. Barring a couple of [mainstream] titles, most platforms that premiered [Bollywood] films [during pandemic] had already been signed up [from before].”

Which doesn’t take away from the bad blood between the OTT and cinema/theatre industry, as we speak, with the latter accusing top Bollywood producers of leaving the traditional exhibition sector in a lurch. Having sold off their major releases directly to web. 

To a point that in a chicken-egg situation, theatre owners argue that, sure, cinemas have re-opened; and people aren’t still coming in. But even if they did, what’s there to watch?

Some of this drought was of course unavoidable. For example the Tamil event pic Soorarai Pottru that Guneet Monga co-produced: “We had a big music launch on a plane in February, 2020. And then with the lockdown and pandemic, we just kept sending out press releases for updates. We didn’t know how long this would continue?”

Nair reasons, “You really can’t fault anyone. Cinema is a heavily cash-flow business. And it’s not like movies will stop getting made. You can fight another day, once you survive.” Shergill is glad that Netflix and other OTTs stepped in to partner with Bollywood at this hour of need.

Rangita Pritish Nandy admits, “Surely there was job-loss in cinema business; even theatres that have shut down may never open again. But for a producer, [investment on a] film is a [financial] ticking bomb, until the [point of] release.”

Nandy should know, having been a film producer for almost a couple of decades. Her nominated show Four More Shots Please 2 was declared the most watched Indian content on Amazon Prime Video during the early part of pandemic.

While much is made of the current fracas between OTTs and cinemas, the impact of the pandemic on the television industry — a more direct competitor, with people’s changed viewing habits — isn’t perhaps highlighted enough. Also given that traditional TV is dependent on advertising, which in turn relies on the health of the economy. 

Nair says the ratio between earnings from subscription and advertising had already reached 50:50 ratio by 2020. As for advertising revenue, Palia (Voot Select) and Mukherjee (Sony LIV), both broadcasters in the OTT space, contend the numbers have nearly returned to pre-pandemic levels already. 

This is no time for media obituaries whatsoever. Whether TV, cinema, web, broad consensus at the Sit with Hitlist huddle is that they will all co-exist. Both audiences and their options are potentially limitless. 

Right down to an app like Mubi that shows only world cinema and art-house titles, and that Monga helped launch in India in 2019: “That library has completely captured the imagination of cinephiles.”

And, why, even Netflix could become network TV, no? Shergill says, “Taking our shows back to a linear feed on TV in France is something new for us. Either way, choice and ease for consumers will determine audience behaviour. Linear TV versus streaming, versus cinema, are all slightly different spaces.”

Hardly five years old, the Indian OTT industry has clearly outdone itself in terms of globally competitive content. Rare happy news of 2020 was Delhi Crime (Netflix) winning an Emmy, where Four More Shots Please (Amazon Prime Video) was also nominated. Some of this has to do with how, unlike cinema and TV, web platforms in India (like with other democracies) have so far grown without the restrictive shadow of external control/suppression/editing.

Panelists don’t deny that this might just change, for the worse; who knows, with cloud of COVID-19 receding, and the darkness of state censorship looming instead. OTT content bosses, I suspect, would prefer to sit out this part of the discussion. 

Nair says, “We’ve grown up watching flowers kissing instead of humans, but we grew up, right?” Palia says, “Take heart from the fact that we’re still better than a lot of countries.” Monga says, “Iranian cinema is so beautiful, and then you see Korean content that’s travelling across the world.” “She’s just drawn those parallels straight, and given you the best quote,” Nandy suggests. Well.

Reality shows have now adopted the straight-from-home concept in a bid to get more viewers and participants from across India
Radhika Bhirani (HINDUSTAN TIMES; May 11, 2020)

The reality of present times is driving a ‘new normal’ for reality TV shows. Entertainment channels are tapping into digital opportunities to set the ball rolling for their non-fiction content, in an attempt to not just woo a new set of viewers, but also to open up an alternate gateway to push participation from across the country.

For the first time, Kaun Banega Crorepati, for its 12th season, has rolled out a 100% digital selection and screening process for its contestants, amid the lockdown due to the Coronavirus pandemic.

“The fact that a large number people are homebound and spending long hours on TV and digital media, made it conducive, says Ashish Golwalkar, head — Content, Sony Entertainment Television (SET) and Digital Business. “We expect the participation to grow exponentially,” he adds, revealing that a digital process will soon be announced for their shows Super Dancer and Indian Idol, too.

There’s also Dance Deewane 3, which is employing a virtual screening process, enabling participants to stay safe and audition from their homes, through an app. The response has been “overwhelming”, says Manisha Sharma, head of content, Colors, adding: “We clocked 1,000+ entries in just two days. There’s no reason one should lose hope. We want our viewers to stay motivated during these tough times.”

Apart from that, viewer engagement is a key reason why MTV has formulated original content. While a first-of-its kind virtual audition for a wild card entry is happening for Roadies Revolution, the channel is also showcasing straight-from-home concepts such as Hustle From Home, a six-part series with rappers jamming from home, and Ace Quarantine, which has contestants trying to ‘ace the quarantine’ with specific tasks.

Be it amid the lockdown or even for the immediate future, straight-from-home content is becoming the norm, believes Ferzad Palia, head of Voot Select, Youth, Music, and English Entertainment, Viacom18. “Our properties have bridged the gap for new content on television. We’re adapting to the new normal,” says Palia, adding that shows riding on repute, such as Roadies, will continue to get traction.

Talking of that, to mark 25 years of Sa Re Ga Ma Pa, Zee’s flagship music reality show, the channel has planned a 25-hour music marathon on the web, with a concert with well-known names singing from the confines of their homes. “It’ll surely help uplift the mood of people across the world during the lockdown,” says singer Udit Narayan.

As most of us are self-quarantining due to the Coronavirus outbreak, digital shows and OTT platforms have turned to be our sole entertainers
Juhi Chakraborty and Rishabh Suri (HINDUSTAN TIMES; March 25, 2020)

Staying in is what most of us are doing amid this pandemic situation. And naturally, the more we stay at home, the more we find ourselves glued to the screens. Now, with no film releases in sight because of the shutdown of theatres and shoot of TV shows stalled across the country, what everyone is finding solace in are the OTT platforms. In fact, web shows have become the best tool for people to ward off boredom, and the platforms, too, are ensuring that the audience is spoilt for choice.

RISE IN TRAFFIC
The web, in times of no new films or TV shows, has seen a drastic spike in their traffic. Tarun Katial, CEO, ZEE5 India confirms, “We’ve seen a spike across key metros, as audiences continue to consume a wide variety of content. Interestingly, we’ve seen a significant jump in the consumption on connected devices, too, and this could be because many people are working from home.”

Neeraj Roy, Founder & CEO, Hungama Digital Media, shares that since the beginning of March, there has been an increase of over 20% in viewership on Hungama Play. While this trend started in Mumbai, Delhi and Bengaluru, they’re also beginning to notice this spike in other cities. “Further, being at home 24/7 has had a visible impact on consumption hours as well. Instead of peaking between 8-10 in the morning, consumption now remains high till 11.30 am. Likewise, consumption goes up during lunch hours. At night, instead of the usual 8 pm to midnight, consumption now starts peaking at 6 pm,” he informs.

Ali Hussein, CEO, Eros Now, on the increase in platform’s engagement during the current lockdown situation, says, “In the era of social distancing, consumers are turning to digital entertainment. We’ve seen an increase of 200% in paid subscribers on a daily basis and App Annie shows a 78% increase in daily traffic.”

ON TREND
With so much ‘spare’ time in hand, OTT content on varied themes has found acceptance. Ferzad Palia, Head- Voot Select, Youth, Music & English Entertainment, Viacom18, says their new shows are already trending. “Our growth can’t be attributed to increased consumption alone… new, original content like Asur (right) and Marzi have received phenomenal response,” he says.

Interestingly, apart from recent films such as Chhapaak, Tanhaji: The Unsung Warrior (both on Hotstar), and Street Dancer 3D (on Amazon Prime), doomsday films such as Contagion (featured pic; based on a fictional virus pandemic), Zombieland: Double Tap and the documentary Pandemic: How To Prevent An Outbreak (left), now figure among the top watched films on their respective streaming platforms. On Netflix again, films such as Resident Evil: The Final Chapter (left; above), a sci-fi movie in which humanity is wiped out because of a T-Virus outbreak is on top besides filmmaker Imtiaz Ali’s SHE, a web show, which is trending at Number 1.

Director Neeraj Pandey, whose show Special Ops (left) has received rave reviews upon its release on Hotstar, says that it’s all about the content and the timing of the release doesn’t matter. “If the content is good, people will see it whenever they have time. As a story-teller, you’re essentially working for the audience, and want to have a wider base.”

Roy further reveals that videos across various formats are being watched widely. “Recently we launched Damaged 2 and Kashmakash, or even the ones we launched earlier like Bar Code and Damaged, are witnessing a spike in streaming. Short-format videos under categories of humour, entertainment, health etc. are also being consumed,” he says.

Mentalhood (right) on ALT Balaji and Zee5 is also trending, and its actor Dino Morea says, “We came at a good time when everyone is binge watching stuff, and ours is a top-rated show. Glad that people are watching it.”

WHAT’S NEXT

- There’s no stopping these OTT platforms as they continue to churn out new content even in these times.

- ALT Balaji has three new offerings — Who’s Your Daddy, Baarish- Season 2 and XXX UNCENSORED S2.

- “The main objective of our community service campaign #StayALT is to encourage everyone to follow the precautionary directives, while keeping them engaged with a variety of content,” shares Divya Dixit, SVP, Marketing, Analytics & Direct Revenue at ALTBalaji.

- Amazon Prime has made a selection of kids and family content available for free, and will also release Four More Shots Please! Season 2 on April 17. Netflix, meanwhile, has one of its most popular shows, Money Heist’s season 4 lined up for an early April release.

OTT platforms asked to lower streaming quality to reduce internet overload
Industry body Cellular Operators Association of India (COAI) has written to the telecom department and OTT companies to lower the streaming resolution to reduce the burden on the networks in the wake of people staying at home due to the coronavirus outbreak. “During this critical time, it’s essential to cooperate with TSPs to manage traffic distribution patterns which are likely to strain network infrastructure at a time when it is needed for various critical requirements,” COAI’s official letter read.

OTT platforms witness six to 20 per cent boost in viewership due to lockdown; rejig their slate for the next two months
Mohar Basu, Letty Mariam Abraham (MID-DAY; March 24, 2020)

As the lockdown has left people homebound, OTT platforms have witnessed a sharp spike in the consumption of content. On one hand, with shoots across the country suspended, digital projects that were on floors are bound to be delayed. On the other hand, as they enjoy the undivided attention of viewers sans the competition posed by television that is churning out reruns of shows, some streaming platforms are considering advancing the release of their series. So, how are the big players charting the uncertain waters of the coming weeks?

Netflix and Amazon Prime are adhering to their India slate for the time being. A case in point being Manisha Koirala's Netflix film Maska that drops this Friday. Ask director Neeraj Udhwani how he completed the post-production in the current scenario, and he explains, "I delivered the film to them in the first week of January. As a rule, they ask for the material in advance because it then goes for an entire round of subtitling across the countries it is releasing in."

While the release of a project being advanced seems unlikely, there is a possibility that the April and May offerings — despite being complete — could be pushed ahead. An insider at Netflix India, requesting anonymity, shares, "Maska's promotional work was done in early March, so its release seems viable. But with the marketing team working from home now, the next month's line-up could change if the situation doesn't improve post March 31. It would be unwise to release a project without promoting it adequately."

At Amazon Prime, all eyes are on the second season of Four More Shots Please. The marketing team is devising a virtual promotional plan, thereby ensuring that the release is not deferred owing to low buzz.

An insider from the production team informs, "Combination dates from the leads of the show have been procured, and telephonic interviews have been lined up. All the video interviews have been called off for now, and will be pursued later over video call. Individually, the cast is promoting the show on social media."

Meanwhile, Zee5 — which has seen a six per cent rise in viewership — has ALT Balaji's Baarish season two and Who's Your Daddy lined up for next month. An insider informs, "However, the bosses at ALT Balaji and Zee5 have had to push the March release of Bebaki as its patchwork shoot could not be completed due to the suspension of shoots."

Hungama Play has seen a 20 per cent rise in viewership and a change in the watching patterns over the past month, says Siddhartha Roy, COO, Hungama Digital Media. It is arguably the only streaming platform to have advanced the release of a few shows to make the most of the period. "We had planned to release Comedycha Rada, a Marathi stand-up comedy special, in the second half of April. However, we are now bringing that forward to early April. We are also looking at the possibility of launching another show, Bhootatlela, a horror comedy in Hindi and Marathi, next month."

Ferzad Palia, head, Voot Select, acknowledges that the platform has witnessed an uptake of subscribers. But he believes that the new offerings also have a role to play in the rise in subscribers. "Our new content like Asur and Marzi have received a positive response. So, the growth could be attributed to the new content as well as the current situation. We have three Hindi originals and five regional shows [which are] ready for release."


Netflix's Maska


Voot Select head Ferzad Palia says new shows like Arshad Warsi-starrer Asur have received positive response and the growth in the subscriber base could be attributed to it


The second edition of ALTBalaji's Baarish is likely to release online next month

Roshni K Olivera (MUMBAI MIRROR; December 20, 2014)