DTH
Tata Sky rebrands to Tata Play to reflect its expanded business interests
Mumbai: DTH and pay TV platform Tata Sky has announced a new name and identity – Tata Play as it expands its business interests beyond direct-to-home services.
The company’s services include a 100 per cent fiber network that has been renamed to Tata Play Fiber. Its aggregator app Tata Play Binge offers content from 13 OTT platforms through various bundled offerings. The company announced that it has also onboarded Netflix as one of the OTT platforms on the Tata Play Binge service.
To enhance its customer experience, Tata Play said it will now offer free service visits for customers and de-active DTH customers can continue to recharge and get restarted on the platform with no reconnection charges.
The new identity has been created by venturethree, London and the campaign has been designed by Ogilvy India. According to the statement, the new brand identity will be promoted heavily across all touchpoints starting 26 January and through the coming months. Kareena Kapoor Khan and Saif Ali Khan have been engaged to promote Tata Play in national markets and R Madhavan and Priyamani will be the face of the campaign for the South markets. Both ‘Tata’ and ‘Tata Play’ are trademarks of Tata Sons.
“Tata Sky leveraged its market leadership in its core business to create an ecosystem of content delivery by foraying into OTT and broadband. We believe it is time for a brand identity that resonates beyond our DTH business,” said Tata Play MD and CEO Harit Nagpal. “I firmly believe that it’s one thing to own content, quite another to make it accessible. Distribution is what makes content easily discoverable for the masses, consumed, and talked about. Our DTH business has a sizeable market share and we’ll continue our endeavour to expand the TV viewing universe. The name Tata Play thus signifies our expanded range of product and services. The new identity is an outcome of our desire to be future-ready while making tomorrow better than today for homes and families.”
Tata Play chief communications officer Anurag Kumar said, the Tata Play brand mark and play mark takes inspiration from the ‘Tata’ mark – borrowing and reinforcing the trust, quality and recognition of India’s most valuable brand. “The word ‘Play’ adds youthfulness, ease and simplicity to an already trusted brand. The brand colours pink and purple along with dark blue and white are vibrant, youthful and add distinctiveness to the overall identity. With Tata Play, we promise you Fun, personalisation, flexibility, freedom, quality, innovation and connection. With Tata Play, you play better. And entertainment becomes aur bhi Jingalala,” he added.
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.
