DTH
TSA, IBF launch interactive badminton game
MUMBAI: The International Badminton Federation (IBF) and its marketing agency Total Sports Asia (TSA) have launched Badminton Manager, an interactive fantasy game.
IBF executive deputy president Datuk Punch Gunalan says that Badminton Manager allows badminton fans from around the world to become more actively involved in the game, managing their own team of players.
“Fantasy games are very well known in other major sports like football and formula one. It creates a new level of enjoyment for the badminton fan by giving them an interactive experience of the game.”
Total Sports Asia CEO Marcus Luer says, “Playing Badminton Manager will bring fans closer to the players, tournaments and the new points system with its fun and educational elements. We want to share this opportunity with as many fans as possible and we are offering this top of the line product at absolutely no cost for the users.”
Badminton Manager is launched in conjunction with the Thomas & Uber Cup. Gunalan said that “Starting with Thomas & Uber Cup just seems right. It represents a terrific opportunity for badminton enthusiasts to get acquainted with the game. We have plans to extend Badminton Manager to the World Championships in September and continue with a year-long version by the 2007 season.
“Being a truly global sport, an online presence is increasingly important for the game of badminton. Badminton Manager will be featured on the official IBF and Thomas & Uber Cup websites. It will also have its own dedicated website at www.badmintonmanager.net”.
Sportdreams, a European fantasy sports company from Europe produced Badminton Manager 2006. The company’s CEO Gerald Smith says, “We believe that the fantasy badminton audience will grow rapidly. We are not only creating a true fun experience for fans around the world, but at the same time build a database with the incredibly dedicated and loyal following that is treasured by commercial partners.
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.
