In the ever-evolving landscape of entertainment, streaming platforms have emerged as powerful storytellers, redefining how content is consumed and shared. With their ability to cater to diverse audiences and embrace unconventional narratives, these platforms have broken barriers, offering creators a stage to amplify their voices and reach corners of the world once thought inaccessible.
As technology continues to shape audience behavior, the rise of on-demand streaming has not only changed the way we watch but also how we connect, making it a cornerstone of modern entertainment and cultural exchange.
The opening day of the India Digital Summit (IDS) 2025 featured a captivating panel discussion titled ‘Amplifying Voices: How India’s Streaming Platforms are Shaping the Future of Entertainment.’ The session was moderated by Archita Kashyap, Writer and Communication Strategist at SP Lohia Foundation, and included Sonal Kabi, Director and Head of Marketing at Amazon Prime Video; Aloke Majumder, Vice President of Technology at Hoichoi; and Saurabh Srivastava, COO – Digital Business at Shemaroo Entertainment.
The panel delved into diverse facets of the evolving entertainment landscape, exploring how streaming platforms are reshaping audience engagement by blending tradition with innovation. Discussions spanned the localisation challenges and opportunities in India’s multilingual ecosystem, the importance of brand authenticity in storytelling, and strategies to globalise Indian content while maintaining its cultural essence.
Majumder mentioned that Hoichoi’s parent company, SVF Entertainment, has been creating content for the past 26 years, establishing itself across every aspect of the entertainment industry. From producing content for television to owning a multiplex theatre, SVF Entertainment has been deeply embedded in the entertainment ecosystem.
“When the OTT wave emerged, we recognised it as the ideal way to connect directly with our audience. Unlike traditional methods like theatres or television, where direct interaction with the audience is limited, an OTT platform offers a unique opportunity. It allows us to understand our customers’ preferences, engage with them directly, and learn what they like or dislike. This model removes intermediaries, enabling us to deliver content directly to our audience. By continuously listening to their feedback, refining our approach, and tailoring our offerings, we’ve embraced a more customer-centric way of storytelling,” he added.
Majumder emphasised that when they pursue a story, their primary focus is to determine whether it aligns with the brand identity and how they wish to portray the brand. Equally important is assessing whether the story resonates with the interests of the consumers and viewers.
“The unique advantage we have lies in the timeless relevance of literature. Literature always works, and the Bengali language boasts an extensive repository of works across genres- even science fiction, with some remarkable pieces written over a century ago. This rich literary heritage serves as a wellspring for generating fresh narratives,” Majumder said.
“However, the challenge arises from the diversity within Bangla-speaking audiences. While the language remains a common thread, cultural nuances, interests, tastes, and preferences vary significantly. Therefore, we approach content creation with a deliberate focus on whether it caters to the distinct preferences of Bangla-speaking audiences, be they in India or other countries,” he added.
Meanwhile, Srivastava said that at some point, it becomes essential to draw a distinction between how different regions in India consume content. For example, there is a clear difference between how Gujaratis and Bengalis engage with content. India inherently faces a localisation barrier, with language acting as both a challenge and an opportunity. Unlike many other regions, Gujaratis exhibit unique content consumption patterns.
Furthermore he went on to say, “As marketers, we recognise that Gujaratis, like every other community, celebrate their culture and prefer consuming content in their mother tongue. The key lies in offering the right storytelling and options. Observing consumer behavior, it’s evident that Gujaratis are open to well-crafted content in their language. This is why platforms like Shemaroo, Amazon, and others now feature Gujarati content.”
“Over the past 7-8 years, the Gujarati film industry has produced remarkable movies, showcasing emerging talent and creativity. Despite initial challenges in building original stories, nurturing talent, and shaping consumer habits, there’s now a growing appetite for mother-tongue content. Stories told in the native language often strike a deeper chord, creating a resonance that no other language can achieve,” Srivastava added.
Responding to a question about how Prime Video selects or greenlights a story, Kabi said, “When we are picking a story, we typically ask ourselves, has it been said before? Is there a fresh dimension or a unique take here? So, what we are looking for is the creator’s passion in telling that story. If in a closed room, they are sharing a story with a few of us, without the background score, the music, the actors, and you still get invested in a story, then we know we have a winner at our hand.”
She further elaborated that evolving viewing tastes and preferences, along with the growing demand for diverse, fresh content, are key factors in developing or commissioning a project. Using her own varied viewing choices across genres and languages as an example, she affirmed how today’s audience has a palate for diversity, with the same viewer watching different kinds of shows and movies within a single day.
Being asked about her views on how Prime Video uses marketing for customer engagement, she shared, “We’re in the entertainment business. If the campaign is not entertaining, it’s not a great campaign. So, with every campaign, what we’re trying to look for is something bold, interesting, and something disruptive.” She further added, “The audience needs to feel excited about watching a show or a movie right from the time when they see a hoarding or watch a piece of content on social.”
When asked about strategies to make specific content stand out in a sea of content, Srivastava emphasised that there are two primary types of content they focus on, licensed and original. Licensed content often includes blockbuster or hit movies that hold significant pre-marketing value in their respective markets. While this content might be considered less prominent or less-reviewed on platforms featuring Hindi or other language content, for them, it still carries considerable weight. This is largely because the industry in this space isn’t mature enough to market these titles at the scale their release demands. That’s where Shemaroo steps in to bridge the gap.
“When it comes to original content, we work within the constraints of available resources. Here, the key is to identify what resonates most with the audience and aligns with the brand’s authenticity. For instance, Hellaro, a critically acclaimed Gujarati film and one of the finest Indian movies in recent years, wasn’t originally part of ShemarooMe. While we already had three out of five major titles, Hellaro was one we aspired to have in our collection, something we could proudly associate with our brand,” he said.
“Even though we were launching a lineup of 13 titles, with new releases every week and accompanying campaigns, we made a deliberate decision to prioritise Hellaro. As a brand, we wanted to celebrate this film finding its rightful place with us. To mark its arrival, we crafted a thoughtful campaign in collaboration with its creators and cast, underscoring our pride in its inclusion. Such decisions, consistently aligned with our brand identity, not only help us maintain authenticity but also carve out the right mind space for us over time,” he added.
Meanwhile, Majumder emphasised that one of the most important aspects to consider is how your brand is perceived, what people associate with it, and the expectations they have. Everything, including the stories you tell, should align with that identity.
“In our case, the majority of our content is produced in-house. All our Indian web series and movies are our own productions, which gives us a significant advantage in maintaining control over quality and consistency. At the beginning of each year, we curate and announce our content slate, providing a clear roadmap of what’s coming over the next 12 months. This strategy allows our marketing and performance marketing teams to plan effectively while building anticipation among our audience. It also fosters a sense of trust, as viewers know that when we announce a slate of shows or movies, we will deliver on those promises. This assurance encourages them to wait eagerly for our upcoming content,” he said.
Furthermore, he added that marketing for them revolves around creating excitement and anticipation. By announcing the entire slate well in advance, they give their audience a clear idea of what to expect.
“This approach is especially critical since we operate as a subscription-only platform. We don’t offer free trials, monthly plans, or shorter subscription options. A few years ago, we experimented with an even bolder approach by introducing a three-year subscription plan. To the best of our knowledge, no one else in the industry had attempted this. It worked because we had already established trust by delivering on our promises. Our audience knew that the content we announced would be released as planned, reinforcing their confidence in us. Being entirely subscription-based means that keeping our promises is not just important, it’s essential,” Majumder stated.
Responding to the question on whether Indian content is making a mark globally, Kabi spoke about the fact that with localisation, Indian content has actually gained fans worldwide, and over 25% audience of Indian titles on Prime Video comes from outside India. Elaborating on the same with examples of Amazon Originals, she said, “Citadel: Honey Bunny was the most watched series on Prime Video worldwide in its launch weekend, and was streamed in 200 countries worldwide, trending in Top 10 on Prime Video in almost 150 countries. Similarly, Call Me Bae was viewed in over 165 countries worldwide, featuring among the top 10 trending titles on Prime Video in 50+ countries in its launch week.”
On being asked about what kind of value addition to Indian storytelling can be expected to be seen in the long run, she replied, “It’s a privilege that we are able to take Indian stories to audiences in over 240 countries and territories. When we’re developing a story, we’re thinking first- how it will find sizable viewership and success within the market where we are commissioning it. But there’s no denying that it will be streamed and appreciated by audiences across many countries. A good story will always find its audience.”
