iWorld
India’s OTT content market expected to touch Rs 1420 cr by 2020
MUMBAI: The Indian OTT content market is expected to grow at a CAGR of 26 per cent and touch Rs 1420 crore by 2020, as per the ‘2018 Fast Track India: Reimaging the Content Ecosystem’ forum. In 2017, the market was estimated to be Rs 710 crore.
The 2018 Fast Track India: Reimaging the Content Ecosystem is a knowledge series forum by the Federation of Indian Chambers of Commerce (FICCI).
At the inaugural address, Maharashtra government secretary & director general, information & public relations and special inspector general of police, cyber Brijesh Singh said, “India has a rich cultural history and a vibrant content industry. The time is right for digital content players to showcase India’s soft power through homegrown stories that connect with a global audience. Sectoral regulations and policies will create new opportunities for the domestic industry in addition to boosting innovation and growth.”
Disinformation and integrity of the data ecosystem have raised several questions for the industry and for regulators globally. The heavy dependence on data-based innovation and regulatory responses to privacy challenges, further raise policy questions for India. As governments and market participants seek to devise appropriate accountability and liability frameworks for global media platforms, isolated policy decisions can be detrimental to projected growth outcomes.
On liability regimes evolving globally for intermediary platforms, MPA VP and regional legal counsel, Asia Pacific Michael Schlesinger said, “India stands on the verge of a bright digital future, one in which creators, consumers and intermediaries all function symbiotically in a healthy internet ecosystem. Still, unique challenges like online piracy must be addressed. Thankfully, India is starting to ensure appropriate rules of the road, including site blocking to reduce piracy traffic, an infringing website list to choke ad revenues, and domain seizures by the Maharashtra cyber unit to keep the internet ecosystem in India more honest. Steps like these should accompany others to ensure all players including internet platforms are more accountable.”
Speaking in a panel on online content regulation, Eros International Media Ltd group general counsel Aamod Gupte said, “While we have been discussing the need for self regulation of content by OTT players, in a sense we may have missed the bus. With the institution of the Digital Communications Regulator of India (DCRAI), there is possible regulatory oversight for digital content and that is something we need to watch out for. This is not just a name change but clear policy change.”
India is on track to becoming the second largest video-viewing audience globally; it is expected to reach 500 million by 2020 from 250 million in 2017.
On the ‘Video Market: Harnessing Innovations and Partnerships’ panel, Shemaroo Entertainment Ltd COO Kranti Gada said, “As digital video consumption goes mass and the market gets more and more crowded, audiences will compel us to innovate and this may not be just limited to technology and content but also in collaborations and partnerships. While we at Shemaroo sit on premium content and years of consumer insights, we are of the philosophy that collaborations and partnerships eventually make businesses sustainable and scalable.”
“Viewers have demanded a world of technology innovation where content lives on multiple screens, the exciting task for creators is to now tell innovative stories. We need to weave plots and characters that, as never before, live across traditional media, digital media, and social media,” said TV and virtual reality producer Jonathan Dotan.
iWorld
Netflix cuts jobs in product division amid restructuring
Layoffs hit creative studio unit as leadership and strategy shifts unfold.
MUMBAI: The streaming wars may be fought on screen, but the latest plot twist is unfolding behind the scenes. Netflix has reportedly begun laying off several dozen employees from its product division as part of an internal reorganisation, according to a report by Variety. The cuts are believed to have primarily affected the company’s creative studio unit, which works on marketing assets such as in app trailers, promotional visuals and live experience content for the streaming platform.
The company has not disclosed the exact number of employees impacted.
According to the report, the layoffs were not tied to employee performance. Instead, the restructuring eliminated certain roles while other employees were reassigned to different teams within the organisation.
The roles affected are understood to include designers, producers and creative specialists responsible for marketing and brand experience initiatives.
The job cuts come as Netflix adjusts its leadership structure and reshapes its product and creative teams. Last month, Elizabeth Stone was promoted from chief technology officer to chief product and technology officer, giving her oversight of product, engineering and data operations across the company.
Earlier, in December 2025, Netflix also appointed Martin Rose as head of creative for global brand and partnerships, a move seen as part of a broader restructuring of the company’s brand and product functions.
Despite the layoffs, Netflix remains one of the largest employers in the streaming sector. The company is estimated to employ around 16,000 people globally, with roughly 70 percent of its workforce based in the United States and Canada. In 2023, the company reported approximately 13,000 employees, indicating that its headcount had grown significantly before the latest restructuring.
The workforce changes arrive at a time when Netflix is navigating a shifting financial and strategic landscape in the global entertainment industry.
The streaming giant recently secured $2.8 billion in additional cash after receiving a breakup fee from Paramount Skydance following its withdrawal from a deal involving Warner Bros. Discovery.
Speaking to Bloomberg, Netflix co chief executive Ted Sarandos explained that the company had evaluated multiple scenarios during the negotiations but chose not to match the competing offer once it learned that a higher bid had been submitted.
Netflix had capped its offer at $27.75 per share and ultimately stepped back rather than pursue Paramount’s $111 billion acquisition deal, which included a personal guarantee.
Sarandos also cautioned that the financing structure behind the Paramount Skydance transaction could have ripple effects across the entertainment industry.
According to him, the debt heavy deal could trigger significant cost cutting, with David Ellison, chief executive of Paramount Skydance, expected to eliminate about $16 billion in costs and potentially cut thousands of jobs as part of the integration process.
For Netflix, the current restructuring appears to be part of a broader attempt to streamline operations while continuing to invest in product, technology and global content even as the streaming industry enters a new phase of consolidation and financial discipline.
