iWorld
VOOT Select subscribers coming mainly from top 6 metros: Ferzad Palia
KOLKATA: Production houses have been able to resume the shooting schedule for shows since July, four months after the lockdown, but the fate of large scale projects still remains cloudy. Amid the backdrop of this uncertainty, the OTT players are innovating to churn out content.
VOOT Select, the subscription-based premium service of VOOT, that was introduced a few days before the lockdown, has launched a new show – The Gone Game. Interestingly, the show has been shot remotely and entirely in isolation during the lockdown. Directed by Nikhil Nagesh Bhat, The Gone Game is a one of a kind and a never-seen-before concept that puts creative freedom in the hands of the cast of the series to innovate while shooting from their homes.
Although some of the projects have been delayed during the lockdown, VOOT Select, Viacom18 Youth, Music, and English Entertainment head Ferzad Palia is confident of its content pipeline thanks to the mix of originals, international content and before TV.
The lockdown has given a huge surge to all streaming services. VOOT Select did not have a chance to compare its traffic to pre-Covid period but shelter-at-home directive has helped it to beat in terms of subscription, watch time.
Palia said the subscribers are consuming all sort of content with its originals like Asur, The Raikar Case, and Illegal creating a good buzz. Talking about the subscribers, Palia mentioned that they are mostly coming from top six metro cities followed by significant inflow from the top 15 cities as well.
While lockdown has created an opportunity for streaming services, it has also impacted the marketing strategy due to the absence of the outdoor medium. Palia said while they have not been able to effectively use the outdoors after the first few days of launch, they have diverted marketing spends towards digital and TV. VOOT Select is evaluating all options around the outdoor medium with lockdown ending in a few parts of the country but currently keeping the focus on digital and television.
During these last four-five months, many of the large OTT platforms have struck deals with movies lined up for theatrical release. Palia said the platform needs to focus on its own product now as it has a strong original slate and international content slate. He mentioned that no opportunity is off the table but timing is important.
“We are very clear that our distribution strategy is not to be necessarily available with every single partner. We are very selective about the partner that we choose and Tata Sky Binge is the first announcement that we have made. There are others in the pipeline. It's important for us to build reach and for that distribution to increase. While the heart of our business is d2c, if there are opportunities which will help consumers access us through partners and that is relevant for them, we will take a call,” Palia commented on distribution strategy.
As several parts of the country are reopening, experts believe there might be a slowdown in the growth of OTTs. But Palia said that subscribers have discovered new content and a new way of consumption. Hence, they are not seeing any slowdown in subscription growth or any reduction in time spend; both are growing day-by-day.
iWorld
Matka King campaign turns Mumbai into a city of cards
Massive card billboard, buses and shelters recreate 1960s Bombay.
MUMBAI: Mumbai isn’t just shuffling traffic this week, it’s dealing in drama, one card at a time. A high-impact outdoor campaign for Matka King has quite literally taken over the city, transforming everyday streets into a living, breathing throwback to the world of 1960s Bombay. At the centre of the spectacle is a towering billboard near the city’s T1 airport, created by visual artist Rob, assembling hundreds of playing cards into a striking portrait of Brij Bhatti, the infamous Matka King portrayed by Vijay Varma. The installation doesn’t just sit on the skyline; it commands attention, pulling eyes upward in a city otherwise known for looking straight ahead.
But the campaign doesn’t stop at a single visual. The streets themselves have been drafted into the narrative. Vehicles wrapped entirely in vintage playing card designs are cruising through Mumbai, while bus shelters constructed to resemble houses of cards have begun appearing across key locations. The effect is immersive less an advertisement and more a temporary rewriting of the city’s visual language, where modern Mumbai briefly slips into a stylised past.
The campaign leans heavily into experiential storytelling, extending the show’s world beyond screens and into public spaces. By using tactile, physical installations rather than purely digital amplification, it taps into a growing trend in entertainment marketing where scale, spectacle and shareability converge to create cultural moments rather than just promotional bursts.
Created by Abhay Koranne and directed by Nagraj Popatrao Manjule, the series features a wide ensemble cast including Kritika Kamra, Sai Tamhankar, Siddharth Jadhav and Gulshan Grover, among others. Produced under banners including Roy Kapur Films, the show is currently streaming on Prime Video across India and more than 240 countries and territories.
For now, though, the real action isn’t just on screen, it’s unfolding at traffic signals, bus stops and billboards. In a city that rarely pauses, this is one campaign that has managed to stop people mid-step and deal itself straight into public attention.
