DTH
DD Free Dish locks in 8 Mpeg-2 slots; Star, Zee, Sony, Colors lead day 1
With higher prices and tighter rules, India’s top broadcasters secure coveted free-to-air positions.
NEW DELHI: The battle for India’s television screens has officially begun. On the opening day of Prasar Bharati’s 8th annual e-auction, heavyweights like Star, Zee, Sony, and Colors successfully secured eight coveted Mpeg-2 slots on DD Free Dish.
According to the media reports, this year’s auction is a significant departure from the past. The process assumes added significance this year as it is the first after Prasar Bharati amended its E-auction Methodology, tightening eligibility conditions and revising the reserve price structure for Mpeg-2 slots.
Despite the stricter rules and higher costs, the industry’s major networks showed no hesitation. Of the eight slots sold on Monday, six belonged to the premium Bucket A plus (Hindi general entertainment) and two to Bucket A (Hindi movies).
Industry experts suggest that this early rush is all about reach. DD Free Dish currently beams into roughly 45 million households, mostly in rural and semi-urban areas. For broadcasters, missing out on this platform means losing access to a massive chunk of India’s viewing public.
The new rules, rolled out in January 2026, have raised the stakes significantly. For Bucket A plus (Hindi general entertainment channels), the reserve price now starts at Rs 15 crore, while Bucket A (Hindi movies) begins at Rs 12 crore, marking a notable increase from previous years.
To prevent tactical low-ball bidding, the prices will only go up in subsequent rounds. For instance, the second round for Bucket A plus jumps to Rs 16 crore. By front-loading the auction, Prasar Bharati ensures that the most popular channels pay a premium for the best positions on the dial.
One of the most talked-about changes in this 94th e-auction is the operational clause. To stop speculative bidding, channels must now prove they are already active on at least one private DTH platform or a registered cable operator. In short: if your channel isn’t already on air somewhere, you aren’t invited to the party.
While it sounds like a corporate chess match, the outcome dictates what millions of people will watch for the next year (from April 2026 to March 2027). With the big networks securing their spots early, viewers can expect the usual mix of high-drama soaps and blockbuster films to remain the staples of free-to-air TV.
As the auction continues, the industry is watching to see if smaller players can stomach the rising costs or if the free dish universe will become an exclusive club for the media giants.
DTH
Prasar Bharati’s WAVES earns Rs 2.9 crore in first year
Platform scales content, users but monetisation gaps limit revenue growth.
MUMBAI: Big waves, small ripples at least for now. When Prasar Bharati launched its OTT platform WAVES at the 55th International Film Festival of India in November 2024, it pitched a bold vision: a homegrown rival to global and domestic streaming giants, blending video, audio, gaming and commerce into a single digital ecosystem. Five months into FY2024–25, however, the platform’s revenue stands at just Rs 2.90 crore, a figure that underscores the gap between ambition and monetisation.
On paper, WAVES looks anything but modest. The platform has ingested 13,608 titles, totalling 9,495 hours of content, with over 13,000 titles already live. It has streamed more than 575 live events from the Mahakumbh Amrit Snan and the 76th Republic Day parade to the Hockey India League, Kabaddi World Cup and Mann Ki Baat while offering 74 live TV channels and 12 radio channels. With over 10 lakh registered users and more than 200 content partners onboarded, the scale resembles that of a fully operational streaming service rather than a pilot project.
The architecture supporting this scale is equally robust. Built under Prasar Bharati’s Central Archives vertical, WAVES runs on a cloud-based infrastructure with DRM, encryption and an integrated analytics dashboard. It includes dedicated units for content ingestion, quality control, publishing, graphics, marketing and billing, and is distributed across platforms such as OTTplay, Tata Play and BSNL. The offering extends beyond video to include audio-on-demand, e-games and even e-commerce via ONDC integration.
Yet, the numbers reveal a core disconnect. Despite its scale, WAVES generated just Rs 2.90 crore in a market where India’s OTT industry crossed Rs 23,000 crore in 2024. A key bottleneck lies in monetisation infrastructure: subscriptions cannot currently be purchased within the app and must be completed via an external website. In a mobile-first country where over 95 per cent of OTT consumption happens on smartphones, this extra step creates friction that most users are unlikely to overcome.
Ironically, content is not the problem, it is the platform’s biggest strength. Prasar Bharati holds one of the world’s richest broadcast archives, including 45,154 hours of digitised Akashvani programming and 35,723 hours from Doordarshan. For WAVES alone, over 3,800 hours of archival content have been made OTT-ready, including classics such as Ramayan and Shaktimaan, alongside rare cultural recordings and historical broadcasts.
There are early signs that this library holds commercial potential. Revenue from archival content licensing rose sharply to Rs 3.38 crore in FY24, up from Rs 67 lakh the previous year. Meanwhile, free digital platforms continue to drive massive reach, the PB Archives Youtube channel clocked 119.78 million views and added 4,02,000 subscribers in FY2024–25, crossing 1.7 million in total, while DD News has over 5.84 million subscribers.
That, however, presents a strategic dilemma. While free distribution builds scale, it also conditions audiences to expect content at zero cost making it harder to transition to paid models. WAVES, designed as a hybrid AVOD-SVOD platform with advertising and subscription layers, is yet to fully crack this balance.
The broader challenge is not technological but strategic. In an ecosystem dominated by platforms offering seamless payments, aggressive pricing and high-budget originals, WAVES is still bridging the gap between being a content repository and a commercially viable product.
For now, the platform reflects both promise and paradox. It has the scale, the content and the infrastructure but until monetisation catches up, WAVES remains less a revenue engine and more a digital showcase of what India’s public broadcaster could become.
