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In a move that has sparked debate and introspection across the entertainment industry, the government recently invoked Section 69A of the IT Act to block 25 OTT platforms, including ALTT, Ullu, and other lesser-known streaming services, citing broadcast of obscene content. While critics of censorship may view this as a blow to creative freedom, a large section of the media and entertainment industry has openly supported the crackdown.
“Two wrongs don’t make a right. The fact that these platforms were allowed to operate and flourish was problematic to begin with. But continuing to let them stream content that clearly isn’t kosher would have been worse. So, while the ban may have come late, it’s still a step in the right direction,” says Dr. Sandeep Goyal, Managing Director of Rediffusion.
He adds, “When self-regulation fails, the government has little choice but to step in with executive action. Creative freedom may be subjective—but obscenity is not. If curbing easy access to porn is seen as a negative move, then so be it.”
Dr. Goyal’s remarks echo a broader industry sentiment that’s been simmering under the surface for some time. While the ban may appear drastic to some, many insiders argue it simply reflects what responsible players have been saying for years: that in the absence of content standards and age gating, a section of the OTT space has veered off course. The lack of accountability, especially among smaller platforms, has turned parts of the ecosystem into a digital free-for-all.
“OTT should have some regulation. Films have the CBFC. TV does self-regulation. OTT is the Wild West,” noted a senior producer and ex-ALT Balaji executive, requesting anonymity. “Porn is available. So, make porn if you want to. But why make soft porn and call it content?”
“I’m not against adult content—as long as there’s a clear system of branding it as such and ensuring access only after proper age verification. But we have to acknowledge the broader societal impact of two things: extremely low data costs and the easy availability of porn and soft porn on mobile phones. We can’t keep hiding behind ‘creative freedom’ to justify this. And it’s not just about visuals—the kind of language and dialogue often used in such OTT shows is off-putting for many viewers,” he explains.
Pep Figueiredo, COO - PTPL India and former SonyLIV executive, also hailed the move. “I’ve always believed that digital content should be about more than just profanity, nudity, or shock value. It should reflect creativity, culture, and strong narrative. There’s so much potential in the medium—reducing it to titillation only undermines what it can truly achieve.”
The Ministry of Information and Broadcasting (MIB) invoked Section 69A of the IT Act to issue blocking orders against these platforms last week, which include ALTT, Ullu, and several regional and small-scale streaming services.
Small platforms
India’s video OTT ecosystem harbours close to 70 OTT platforms. Barring a dozen international and national and a handful of prominent regional ones, the rest are small and hyperlocal platforms.
“While major OTT players are more mindful of what they release, it's the smaller streaming players which seem to be chasing business and subscriptions without any accountability,” say industry leaders.
According to PwC’s report, Global Entertainment & Media Outlook 2023–2027: India Perspective, the Indian video OTT market—led by platforms like Amazon Prime Video, Netflix, and Disney+ Hotstar (now JioCinema)—is projected to reach a revenue of $3.5 billion by 2027.
“As the market matures, it’s these very players who will need to strike a balance between reach and responsibility —or risk being left behind in a more regulated and quality-conscious digital future,” a senior executive noted.
This sentiment reflects a broader concern about the dilution of content quality in the race for eyeballs and subscriptions. Smaller OTT platforms, often operating on lean budgets and short runways, have increasingly turned to sensational content to boost viewership. The formula is simple—low-cost production, provocative themes, and viral language. But the long-term brand impact is anything but simple.
“Forget the visuals—listen to the dialogues. That’s what puts off large sections of the audience,” said another industry veteran. “Big OTT players are more cautious. The smaller ones? Many are just chasing numbers.”
Indeed, the economics of streaming is unforgiving. With data costs at rock bottom and access to mobile content nearly universal, even fringe platforms can find an audience. But chasing easy engagement can lead to a branding dead-end.
ALTT: A Case Study in OTT Drift
The story of ALTT—once a pioneer in India’s OTT space—is illustrative. “After early success, including hits like Gandii Baat, the platform leaned heavily into adult-themed content in a bid to sustain growth. What started as experimentation quickly defined its identity. And while that paid off in short-term traction, it arguably boxed the brand into a niche that was difficult to scale or respectably monetize,” industry leaders noted.
Published On: Jul 28, 2025 9:08 AM
After the government's stern action, Ekta Kapoor claims that she and her mother Shobha Kapoor are no longer associated with ALTT as of 2021.
There is a trend where founders of these platforms will wash their hands off claiming they are not associated with the banned platform anymore – my question to them is, well who set the tone for the platform in the first place, questions Figueiredo.
However, some experts caution that banning content may not effectively reduce its demand. Instead, such restrictions often drive audiences toward illegal alternatives, including torrent sites and VPN-based streaming platforms.
“Rather than curbing interest, bans can inadvertently fuel underground access routes, making it more difficult to monitor and regulate consumption,” warns an OTT expert.
Many executives suggest that a more balanced approach—focused on accessibility, education, and regulation—may be more effective than outright prohibition.
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