DTH
Tata Sky and Zee Turner haggle on price
NEW DELHI: Tata Sky’s talks with Zee Turner for its bouquet of channels have got stalled on the issue of price.
While India’s second pay digital platform Tata Sky has evinced interest in the first two of the three bouquets of Zee Turner for Rs 42, the latter is insisting all its 29 channels should be taken.
According to sources close to the negotiations, Zee Turner has conveyed that it’s ready to give all its channels to Tata Sky’s DTH platform for Rs 74 per subscriber, which is 50 per cent of the price that cable operators pay for the channels.
Bouquet 1 of Zee Turner comprises Zee TV, Zee Cinema, Zee News, Zee Studio, Zee Bengali, Zee Gujarati, Zee Marathi, Zee Punjabi, Cartoon Network, Reality TV, CNBC, CNN, Zee Café, Zee Trendz, ETC, ETC Punjabi, Zee Jagran, Zee Smile, Zee Telgu and Zee Music..
The second bouquet includes HBO, Pogo, Awaaz, VH1 and Zee Business. Zee Turner is soft bundling Zee Sports at a price benefit.
The third bouquet, called Breakfree, consists of Zee Action, Zee Premier and Zee Classic, which air movies of different genre and are primarily available on Dish TV DTH platform.
Interestingly, Zee Turner wants to keep Zee Sports out of the negotiations with Tata Sky, saying a deal for the sports channel — holders of cricket rights for matches to be played by India on non-ICC recognised venues — could be done separately.
According to the sources, Zee Turner has reasoned that its demand is based on a recent ruling of a disputes tribunal in Dish TV vs Star case wherein Star was asked to make available its channel to Dish at Rs 27 per subscriber, which is 50 per cent less than the price cable ops pay.
Zee Turner has further said that in the Dish vs Star case, when Dish had wanted select channels of Star, the Hong Kong-based broadcaster was unwilling to accede to the proposal.
Extending the same logic, Zee Turner has conveyed to Tata Sky that it would have to take all its channels.
However, Tata Sky is only interested in the first two bouquets of Zee Turner for a price of Rs 42 per subscriber per month.
On August 8, while announcing the commercial launch of Tata Sky service in 300 cities, company’s MD and CEO Vikram Kaushik had admitted that talks with Zee Turner had not been concluded.
Amongst the 55-odd channels being offered by Tata Sky presently to its subscribers, Zee and Turner channels like Zee TV, Zee Sports, Cartoon Network and Pogo and some third party products like HBO, Reality TV, Awaaz and CNBC TV18 are conspicuous by their absence.
Country’s first pay DTH platform, the Subhash Chandra-owned Dish TV, boasts of 1.25 million subscribers.
Pubcaster’s DD Direct+ claims a subscriber base of 3.5 to 4 million for its subscription-free service of free to air channels.
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.
