DTH
Sony channels back on Tata Sky after a two-month blackout
MUMBAI: All’s well that ends well. A commercial dispute between Sony Pictures Networks India (SPNI) and India’s DTH premier operator Tata Sky has finally been resolved mutually. All Sony channels, which were dropped from the satellite platform, have returned after two-month partial blackout — much to the relief of the consumers.
According to industry sources, the terms and conditions of the contract between the broadcaster (SPNI) and the DTH operator (Tata Sky) were mutually resolved, though the exact nature of the financial deal has not been revealed.
On 1 October 2018, Tata Sky pulled off 22 SPN channels from the platform, which evoked massive anger among consumers. The DTH platform had retained some of the Sony channels on a-la-carte rates, though.
According to Tata Sky CEO Harit Nagpal, commercial negotiations with the broadcaster had broken down as deals being sought by SPNI would have forced the distribution platform to hike prices for the consumers. Sony, meanwhile, had claimed that the decision by the leading DTH platform was “unilateral”.
Earlier, SPN had issued a disconnection notice to Tata Sky on 7 September 2018, which was followed by a public notice on 10 September 2018 detailing the same.
According to a PTI report, SPNI's three-year contract with Tata Sky had expired on 31 July 2018. After the contract got over, Tata Sky had asked for an extension so the deal could come through and it also tried to reach a new pricing deal after 31 July 2018. The talks had failed at this point.
Later, the Telecom Disputes Settlement Appellate Tribunal TDSAT heard a case relating to commercial dispute on 11 October 2018 and advised the parties concerned to take four weeks to try and reach a mutually acceptable negotiated agreement.
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.
