iWorld
One Digital Entertainment crosses the 1200+ channel mark
MUMBAI One Digital Entertainment, known for managing digital video content and channels for some of the biggest creators in the country like Sanjeev Kapoor, Honey Singh, Badshah, Speed Records, Raftaar, Rannvijay, Anubhav Sinha, Tiger Shroff, Fever FM amongst others, recently crossed the 1200+ YouTube channels mark, further consolidating its position as the largest multi-channel network in the country. The company that started around three years ago today boasts of an undisputed 20 billion minutes of content that has been consumed on its network so far,
One Digital’s expansive presence ranges from music, entertainment, lifestyle, food, comedy and more. The company is also credited with identifying new talent and creating Internet sensations like Prajakta Koli, who has crossed 37,000 subscribers in less than 10 months on her channel Mostly Sane. The largest content network for YouTube in India and also distributes content across multiple other content publishers and partners. 2016 will also see One Digital foray more actively into original web programming with a line-up of 12 different formats to be launched.
Commenting on this success, One Digital Entertainment COO and CO founder Gurpreet Singh said, “Driving reach & viewership for online video has been a challenge for a lot of entities in this space but One Digital Entertainment has developed its secret sauce to ensure we are able to deliver each creator their due. We are also humbled by the support and the talent of our creators and channels and only look to make this business more meaningful for them”.
iWorld
Streaming boom crosses 200 million as India shifts to sustainable growth
From content bets to CTV rise, industry leaders map streaming’s next phase
MUMBAI: India’s streaming story has entered a new chapter, and this time it is less about land grab and more about staying power. At a panel on the evolving streaming economy, industry leaders agreed that with subscriptions crossing 200 million and revenues surging, the focus has decisively shifted to sustainable growth, smarter content bets and sharper partnerships.
Moderator EY partner Raghav Anand, set the tone by pointing to the sharp jump in paid subscriptions, driven by a mix of sports, bundling and improved distribution. The result is a fast-maturing ecosystem where subscription revenues are beginning to complement, and in some cases rival, advertising-led growth.
For Amazon Prime Video Svod business India director & head Shilangi Mukherji, the past decade has been about balancing choice with clarity. “It’s not an either-or market anymore,” she noted. “There is space for everything, from television to ad-supported streaming to subscriptions. The real win is when they all grow together.”
At the heart of this growth lies a simple trio: selection, value and convenience. Content remains king, but not in isolation. Platforms are now curating vast libraries that blend originals, rentals, and third-party services, all under one roof. The aim is to create an ecosystem where viewers do not need to hop between apps to find what they want.
Content itself is also evolving. Mukherji highlighted that nearly half of Prime Video’s viewership comes from outside a show’s home region, underlining the collapse of traditional language silos. Stories are no longer “regional” but increasingly pan-Indian, with talent and narratives travelling seamlessly across states.
Franchise-building has become another cornerstone, with a majority of shows designed for multiple seasons. The goal is not just to attract viewers but to keep them coming back, turning series into long-term cultural touchpoints rather than one-off hits.
On the production side, Hungama Digital Media managing director & CEO Neeraj Roy, described an industry that is both resilient and recalibrating. While the pandemic accelerated content consumption and discovery, it also reset market dynamics. Pre-sales have softened, satellite revenues have tightened, and the easy money phase of digital deals has cooled.
“The honeymoon is over,” Roy said candidly. “Now, content has to prove itself. If it works at the box office or with audiences, everything else follows.”
This shift, he argued, is pushing creators towards greater discipline. Fewer projects are being made, but with sharper focus on quality and audience appeal. At the same time, global exposure to diverse content, from Korean dramas to Malayalam cinema, has raised the bar for storytelling across the board.
Another quiet transformation is unfolding in how content is consumed. While mobile remains the primary gateway, especially for payments and discovery, connected TVs are fast becoming the preferred screen for long-form viewing. Mukherji described this not as a battle of devices but as a “force multiplier”, with platforms tailoring plans for mobile-only users, living room viewers and multi-device households alike.
The monetisation playbook is also widening. Beyond subscriptions and ads, platforms are experimenting with rentals, bundled offerings and commerce integrations, building layered revenue streams that cater to different stages of the consumer journey.
Looking ahead, both panellists pointed to global ambition as the next frontier. Mukherji emphasised taking Indian stories to the world through deeper localisation, calling content India’s soft power. Roy, meanwhile, stressed the need for investment in infrastructure, skills and, crucially, transparent data systems to guide creators with better insights.
If the first phase of India’s streaming boom was about scale, the next will be about substance. And as the industry settles into this new rhythm, one thing is clear: the real streaming wars may be over, but the race to win viewers’ time has only just begun.
