At one time, television programs were not just a source of entertainment in India, but a cultural phenomenon. Families would gather in their living rooms, neighbors would drop by, and entire communities would bond over popular serials, news bulletins, and live sports. Watching TV was more than a pastime; it was a shared ritual that shaped conversations, influenced opinions, and created collective memories. The arrival of Direct-to-Home (DTH) satellite services marked a turning point. Suddenly, viewers who once had access to only a handful of channels were introduced to a universe of choices. From regional channels to international broadcasts, from niche music stations to dedicated sports networks, the television experience became vast and diverse. With small, portable dishes, people could enjoy this abundance of content almost anywhere, breaking the limitations of geography and accessibility.
Yet, technology never stands still. The rise of high-speed internet ushered in another revolution—the era of web series and OTT platforms. For the first time, audiences were liberated from the rigid schedules of television. They could watch what they wanted, when they wanted, without waiting for a program slot or enduring endless reruns. OTT platforms promised freedom: freedom from advertisements, freedom from censorship, and freedom from the monotony of formulaic TV serials. Viewers embraced this change wholeheartedly. The ability to binge-watch entire seasons, explore global content, and discover fresh storytelling formats felt like a new dawn in entertainment.
But as history often repeats itself, the promise of OTT platforms began to fade. Despite charging heavy subscription fees, these platforms slowly introduced advertisements into their content streams. What was once celebrated as an ad-free sanctuary started resembling the very TV channels it had replaced. The frustration of viewers grew as ads interrupted the flow of gripping dramas, intense sports matches, or emotional films. Worse still, platforms began offering “ad-free” options at an even higher cost, essentially forcing viewers to pay twice—once for access, and again for uninterrupted viewing. This exploitative model has left many feeling cheated, as the quality of entertainment is deliberately compromised to extract more money.
Platforms like JioHotstar have become notorious for excessive advertising. The sheer frequency of interruptions is so overwhelming that viewers often abandon the content midway, unable to tolerate the constant disruption. What was meant to be a relaxing escape has turned into a stressful experience. The irony is striking: OTT platforms, which rose to prominence by promising freedom from ads, now weaponize ads as a tool to squeeze profits from their subscribers.
The larger issue is the absence of regulation. Unlike television, which is subject to certain broadcasting standards, OTT platforms currently operate with minimal oversight. This lack of accountability allows them to prioritize profit over viewer satisfaction, manipulating consumer choice under the guise of “premium services.” In their race to maximize revenue, they are eroding the very trust and loyalty that once made them so appealing.
This shift also raises deeper questions about the future of entertainment. Are we moving toward a system where every form of content is locked behind multiple paywalls? Will creativity and storytelling be overshadowed by aggressive monetization strategies? The joy of watching a program lies in immersion, in losing oneself in the narrative. When ads constantly break that immersion, the essence of entertainment itself is lost.
Television once united people, while OTT promised individuality and freedom. But now, both seem trapped in the same cycle of commercialization. The challenge ahead is not just technological—it is ethical. Entertainment platforms must decide whether they exist to enrich the lives of viewers or merely to exploit them. Until stronger checks are placed, the common viewer will continue to suffer, caught between nostalgia for the past and disappointment with the present.
