iWorld
The biggest focus area for Hotstar is big scale-big idea-high concept series: Gaurav Banerjee
MUMBAI: Streamers in India are now bombarded with ‘original’ content on over-the-top (OTT) platforms. With so many shows, the only way to make a mark is by telling stories that matter and offering narratives in their comfort language. Hotstar gets both of it right. The late entrant in the game of originals does want to win the crown with ‘x’ number of shows but with quality stories. Hotstar is also ready to tap the regional market this year.
It has launched its first masterstroke of the year, Special Ops. The eight-episode series marks the digital debut of filmmaker Neeraj Pandey. The seventh series under Hotstar Specials is not targetted at any particular audience segment but the makers hope everyone watches it, as Star India Hindi Entertainment head Gaurav Banerjee said.
Banerjee noted the importance of the full-length trailer as it would draw more viewers if it receives a good response. Given Pandey's stature and calibre, the OTT platform is depending on those aspects to pull viewers this time.
Banerjee said that they would leverage the reach of the Star network and Hotstar to make this widely known to fans and to let them know that something “exciting and interesting” is now available. He is also hopeful of IPL giving a further boost to its attraction.
In a candid chat, Banerjee also spoke on Hotstar’s strategy going forward.
Edited excerpts:
Thriller seems to be a common genre in the OTT ecosystem. How is Special Ops different from other shows?
We can’t know what other people are doing. Therefore, we have stuck to the simple task of believing in our showrunner, his story and the knowledge of his craft. We've been talking to Neeraj and developing the show for the last 18 months. We have to believe that the story that we are telling has relevance, so viewers should see it and want to watch it. And you must believe that the storyteller has a lot of conviction. They're really motivated and inspired to tell that story.
How many shows do you have in the pipeline for the rest of the year? What are the new formats you are looking at?
We have several shows in the pipeline. But we are not defining our success by quantity, only by quality. So we don't want to build a big library. We don't want to drop a show every week. What we really want to do is to have some shows which viewers deeply care about or that hugely excites them. I think for us, that is success. So we have a deep pipeline of ideas that excites us but we want those to be really extraordinary. We don't want to build this business on the strength of library or frequency of launches.
How are you looking at digital original movies?
We have done a couple. But the biggest focus area for us is big scale-big idea-high concept TV series. I think that's something that that in India is pretty new. We have been at it for the last 13 months. That's what we will truly stay committed to. We want to learn how to make those well, market them, write them differently and cast them properly.
What is your plan in the regional market? Will you come out with regional shows this year?
We will this year. So I'm happy to confirm that Hindi will not be the only language in which we will be running productions. We want to run productions and make original content on Hotstar in other Indian languages as well. There are already two Tamil shows which we are in very advanced production right now.
Are you only focusing on South Indian languages?
Tamil is a huge market for us. In the Hotstar India Watch Report which we reported a while ago, we said that Big Boss Tamil was the most-watched piece of content. I think the Telugu market is important as well. We have big creative teams across many Indian languages. We have a very strong presence in Bengal with Star Jalsha, great presence in Marathi with Star Pravah, we have the best Malayalam channel Asianet. So I think all those are very powerful content engines and people everywhere are looking for ideas and talking to us and hopefully, we will see a lot of that come through.
What viewership trends have you noticed?
I think viewers are looking for variety. And what has worked very well for us is that we have offered a wide range of content. I think people have liked that. The second thing is something that really connects, that people watch a lot. So, I think engagement is fabulous. They can watch a long complex drama when they find the content is engaging and they haven't seen earlier.
iWorld
Uber spotlights Rs 25 bike rides with music led IPL campaign
Uber uses 15 second music films with Divine and Roll Rida to push Rs 25 rides
MUMBAI: In a season where ads usually swing for sixes with celebrity spectacle, Uber has chosen to play a clever single sharp, fast, and straight to the point. Uber has rolled out a distinctly stripped-down IPL campaign, putting its product Uber Bike rides starting at Rs 25 for up to 3 km front and centre, rather than leaning on big-budget storytelling. The campaign features hip-hop artist Divine in Mumbai and Roll Rida in southern markets, using music as the primary vehicle for recall.
IPL advertising has long been dominated by high-production narratives packed with cricketers and film stars. Uber’s approach flips that playbook. Instead of elaborate storytelling, the brand opts for 15-second music-led films quick, rhythmic bursts designed to mirror the pace of urban mobility itself.
The message is deliberately simple, affordable, fast rides that cut through city traffic. No layered plots, no extended build-up just a functional promise delivered with cultural flair.
In the Mumbai-led film, Divine zips through traffic on an Uber Bike, turning the Rs 25 price point into a hook with his signature wordplay around “pachisi”. The campaign cleverly reframes affordability as a moment of delight, the kind that leaves commuters with a “32-teeth smile” after beating traffic at minimal cost.
Meanwhile, Roll Rida’s version leans into southern sensibilities, blending Telugu and Tamil influences with high-energy visuals. Set to the beat of tape drums, the film celebrates how low-cost rides can unlock a more connected and vibrant city experience. Together, the films reflect a conscious push towards regional authenticity, rather than a one-size-fits-all national narrative.
The campaign also signals Uber’s sharper focus on India’s growing bike taxi segment. While the company offers multi-modal services spanning cars, autos, metro integrations and intercity travel, this push zeroes in on two-wheelers as a key growth lever in dense urban markets.
By anchoring the campaign around a Rs 25 entry price for short distances, Uber is targeting everyday commuters, particularly younger users navigating congested cities where speed and cost matter more than comfort.
With IPL advertising clutter at its peak, even the most straightforward message risks getting lost. Uber’s answer is to embed the proposition within culture using music, regional nuance and repeat-friendly short formats to drive recall. The creative team has also layered subtle visual cues including multiple references to “25” within frames encouraging repeat viewing and reinforcing the core message without over-explaining it.
The campaign reflects a broader shift in advertising priorities. As attention spans shrink and media environments get noisier, brands are increasingly favouring clarity over complexity and speed over scale.
Uber’s IPL play may not shout the loudest, but it lands where it matters in the everyday commute. Because sometimes, in a marketplace full of grand narratives, a Rs 25 ride is story enough.
